• Reconstruction light show of the how the Gothic statues looked on the Gothic Cathedral of Notre-Dame, Amiens, France
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against a grey background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey. <br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a black background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.  Against a grey background
  • 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
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Gothic panel of the (Virgin Mary) Madonna of Humility. Polychrome and gold leaf on wood, circa 1433-1435. The Virgin is seated on a cushion on the floor holding the baby Jesus. She hand a jug with roses a symbol of motherhood and purity. Behind her a gold curtain is held by three angels, while two others are sitting on the floor are playing the organ and lute. The skill of the use of light and shade and the fine brushwork points to an artist of great skill using the Quattrocento style. The piece has been identified as that described by the writer on art Giorgia Vasari in 1568 which was owned Gondi family in Florence.. Inv MNAC 212817. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic panel of the (Virgin Mary) Madonna of Humility. Polychrome and gold leaf on wood, circa 1433-1435. The Virgin is seated on a cushion on the floor holding the baby Jesus. She hand a jug with roses a symbol of motherhood and purity. Behind her a gold curtain is held by three angels, while two others are sitting on the floor are playing the organ and lute. The skill of the use of light and shade and the fine brushwork points to an artist of great skill using the Quattrocento style. The piece has been identified as that described by the writer on art Giorgia Vasari in 1568 which was owned Gondi family in Florence.. Inv MNAC 212817. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Tombstone of a carpenter, The  Merry Cemetery ( Cimitirul Vesel ),  S?pân?a, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan P?tra? (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a shepherd , The  Merry Cemetery ( Cimitirul Vesel ),  S?pân?a, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan P?tra? (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a fiddler and man in traditional clothes, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing an shepherd with his sythe,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a thresher showing a couple threshing wheat,   The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a couple threshing wheat, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a mother showing her with her sons in a kitchen,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a man painting the tombstones,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a man on his horse, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a farmer on his tractor,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a lumberjack,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a lorry owner,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a washer women,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a fruit farmer,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a white background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.   Against a black background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman Sebasteion relief  sculpture of the goddess Victory, Aphrodisias Museum, Aphrodisias, Turkey.  Against an art background.<br />
<br />
A winged goddess Victory( Nike) flies past carrying a military trophy. She wears a long light dress and has one breast and one leg exposed. Her clothing is set in motion by her swift flight.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a warm art background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a white background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a black background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery. Against a grey background
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a white background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a warm art background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a white background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a black background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey. Against a warm art background.<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman statue of Hecate. Marble. Perge. 2nd century AD. Inv no 2010/541. Antalya Archaeology Museum; Turkey.  Against a grey background<br />
<br />
 Hekate is a goddess in ancient Greek religion and mythology, most often shown holding a pair of torches or a key and in later periods depicted in triple form. She was variously associated with crossroads, entrance-ways, light, magic, witchcraft, knowledge of herbs and poisonous plants, ghosts, necromancy, and sorcery.
  • Roman fresco wall decorations of cryptoporticus A  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The paintings in the long corridor, which got light only from small high-placed windows, are on a white background. The illusionistic decoration shows a row of columns on a high socle decorated with "grottesche". In the background, pictures alternating theatrical scenes, scenes of worship, and landscapes seem to hang on a wall divided by pilasters. Some of the scenes are probably later restorations of the originals. <br />
In the upper part a loggia holding sphinxes and statues of divinities rests on caryatids (architectural supports in the form of female figures). <br />
Because there was limited time for excavation, only the more important decorative elements were removed from the walls. A drawing on the modern base on which the fragments are inserted gives an idea of the effect of the whole, which is known to us from a watercolor done at the time.
  • Roman fresco wall decorations of cryptoporticus A  of the Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.<br />
<br />
The paintings in the long corridor, which got light only from small high-placed windows, are on a white background. The illusionistic decoration shows a row of columns on a high socle decorated with "grottesche". In the background, pictures alternating theatrical scenes, scenes of worship, and landscapes seem to hang on a wall divided by pilasters. Some of the scenes are probably later restorations of the originals. <br />
In the upper part a loggia holding sphinxes and statues of divinities rests on caryatids (architectural supports in the form of female figures). <br />
Because there was limited time for excavation, only the more important decorative elements were removed from the walls. A drawing on the modern base on which the fragments are inserted gives an idea of the effect of the whole, which is known to us from a watercolor done at the time.
  • 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
  • Gothic wooden statue of Sant Joan Evangelista (John the Evangelist) from Gremany, circa 1500, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64114. Against a light grey background.
  • Gothic altarpiece of Saint Esteve (Stephen) & John the Baptist by Mestre de Bardalona, early 15th century, tempera and gold leaf on for wood from Santa Maria de Badalona.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   15824. Against a light grey background.
  • Gothic marble relief sculpture from the tomb of Ramon d'Urtx, died 1290, from the convent of Sant Domenee de Puigcerda, Cerdanya, Spain..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64011. Against a light grey background.
  • Gothic alabaster relief sculpture of two profits by Pere Oller, circa 1415, from the convent del Carme, Girona, Spain..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 214163. Against a light grey background.
  • Gothic altarpiece depicting left to right - the Archangel Gabriel, the martyrdom of Santa Eulalia and St Caterina, by Bernat Martorell, circa 1442-1445, Temperal and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  1442. Against a light grey background.
  • Gothic Panel from the tomb of the Knight Sancho Sanchez Carillo . Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a light grey background.
  • Gothic Catalan altarpiece of, left to right, the martydom of St Bartholomew, Calvaty and the deat of St Mary Magdelene, by Jaume Huguet, Barcelona circa 11465-1480, tempera and gold leaf on for wood, from the church of San Marti de Petegas de san Seloni, Valle Oriental, Spain.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   24365. Against a light grey background.
  • Gothic box made from poplar wood with stucco reliefs, gold leaf gold decorations and traces of polychrome iron and brass 2nd quarter 15th century, possibly from Barcelona, Catalunya, Spain. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 12120. Against a light grey background.
  • Gothic embossed Brass on wood box, circa 1370-1450, possibly made in Barcelona, Catalunya. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 5361. Against a light grey background.
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Underground Etruscan tomb no 5636 made about 1second half of the 3rd century BC. This tomb has a flat roof and stone benches on each side. On the right wall is a scene with protraits of the dead buried in the tomb followed by a female demon of death carrying a torch to light the way to the after life. Excavated 1969 , Etruscan Necropolis of Monterozzi, Monte del Calvario, Tarquinia, Italy. A UNESCO World Heritage Site.
  • Figures one holding a lighted nadle from the Vestibule of the Adventus, room no 11 - Roman mosaics at the Villa Romana del Casale which containis the richest, largest and most complex collection of Roman mosaics in the world, circa the first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.
  • Greek  Hellenistic marble statue of Apollo, God of light, fine arts & prophecy, 2nd cent. B.C.  Istanbul Archaeological museum Inv 383 T.  Cat. Mendel 548
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Aphrodite of Fréjus in the style known as "Venus Genetrix". A 1.64m high Roman statue, dating from the end of the 1st century BC to the start of the 1st century AD, in Parian marble, was discovered at Fréjus (Forum Julii) in 1650. It is considered as the best Roman copy of the lost Greek work. Louvre Museum, Paris<br />
<br />
The Venus Genetrix style of statue depicts Aphrodite (Venus to the Romans) as Genetrix ( Latin for Mother). This sculptural type was adopted by the Julia-Claudian dynasty after Julius Caesar claimed that he was defended from Venus herself.  The original lost Greek statue is attributed to Greek sculpture Callimachus who created a Bronze Aphrodite in 420-410. According to Pliny's Natural History showing her dressed in a light but clinging chiton or peplos, which was lowered on the left shoulder to reveal her left breast and hung down in a sheer face and decoratively carved so as not to hide the outlines of the woman's body. Venus was depicted holding the apple won in the Judgement of Paris in her left hand, whilst her right hand moved to cover her head. From the lost bronze original are derived all surviving copies. The composition was frontal, the body's form monumental, and in the surviving Roman replicas its proportions are close to the Polyclitean, an ancient Greek sculptor in bronze of the fifth century BC.
  • Tombstone of a miner,  The  Merry Cemetery ( Cimitirul Vesel ),  S?pân?a, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan P?tra? (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • The  Merry Cemetery ( Cimitirul Vesel ),  S?pân?a, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan P?tra? (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a miner in a mine, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a miller bagging corn, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a logger chopping trees, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing an aold women sitting at her table,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a fiddler and a man dancing in traditional clothes,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a fiddler and a man doing a traditional dance,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a man doing a traditional dance,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a mother showing her with her sons,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a Husband showing him drinking with his wife, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a soldier, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a lorry owner and lorry,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone showing a man in traditional clothes, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a farmer on the way to cut hay, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a weaver,   The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a farmer picking fruit,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a shepherd in the fields,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a house wife sitting at her table,   The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a school master,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a disabled man,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of an army  tank driver,   The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a drinker in the pub,   The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a Colonel,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a house wife, The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a man being killed by a logging accident ,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a man in traditional hat,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a forestery forman,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a forestery worker,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstone of a timber mill worker,  The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Tombstones in  The Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • The  Merry Cemetery ( Cimitirul Vesel ),  Săpânţa, Maramares, Northern Transylvania, Romania.  The naive folk art style of the tombstones created by woodcarver  Stan Ioan Pătraş (1909 - 1977) who created in his lifetime over 700 colourfully painted wooden tombstones with small relief portrait carvings of the deceased or with scenes depicting them at work or play or surprisingly showing the violent accident that killed them. Each tombstone has an inscription about the person, sometimes a light hearted  limerick in Romanian.
  • Light House on the top of The old citadel [ ?????? ??????? ] Corfu City, Greek Ionian Islands
  • Light House on the top of The old citadel [ ?????? ??????? ] Corfu City, Greek Ionian Islands
  • Light House on the top of The old citadel [ ?????? ??????? ] Corfu City, Greek Ionian Islands
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.
  • Rollieflex Rollei T with Compur Shutter and Light meter
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • close up of colourful of reds, orange and yellows  autumn leaves on a tree with the light coming through them.
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case Traditionl black Japanese tea setting
  • A modern fruit cake with redcurrants, wild strawberries, blacberry and creme patisserie in a light sponge case in a designer dish.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

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

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

COUNTRIES

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

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HISTORICAL

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

EXPLORE HISTORICAL PLACES...

MUSEUMS

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

SEE MUESEUM ANTIQUITIES....