• Family infront of the Basilica of the Sacred Heart of Jesus of Paris - Sacré-Coeur Basilica.
  • Grindelwald First- Family Walking  - Grindelwald First- Swiss Alps, Switzerland
  • Family having a picnic in Regents park
  • Runswick Bay - North Yorkshire - England - family walking
  • Runswick Bay - North Yorkshire - England - family walking
  • Runswick Bay - North Yorkshire - England - family making sand castles
  • Runswick Bay - North Yorkshire - England - family making sand castles
  • Runswick Bay - North Yorkshire - England - family making sand castles
  • Church & old village of Grindelwald in summer, Bernese Alps, Switzerland
  • Grindelwald First Lake- Picnic- Bernese Alps - Switzerland
  • Paris France - Pere La Chaise - cemetry
  • Paris France - Pere La Chaise - cemetry - Jim Morrison Grave
  • Paris France - Pere La Chaise - Grave of Paris Georges Enesco  (Enescu)
  • Paris France - Pere La Chaise - cemetry
  • Paris France - Pere La Chaise - cemetry
  • Paris France - Pere La Chaise - cemetry
  • Paris France - Pere La Chaise - cemetry
  • Grindelwald First Lake- Picnic- Grindelwald First- Swiss Alps, Switzerland
  • Children Skiing - Insbruck - Austrian Tyrol
  • Mother and child Skiing - Insbruck - Austrian Tyrol
  • Runswick Bay - North Yorkshire - England - grandad
  • Grindelwald First- Walkers - Bernese Alps - Switzerland
  • Paris France - Pere Lachaise - cemetery
  • Paris France - Pere La Chaise - cemetry
  • Walkers  - Grindelwald First- Swiss Alps, Switzerland
  • Father teaching his  child to Ski- Insbruck - Austrian Tyrol
  • Grindelwald First Lake-  Bernese Alps - Switzerland
  • Grindelwald First Lake- Picnic- Bernese Alps - Switzerland
  • Grindelwald First Lake- Picnic- Bernese Alps - Switzerland
  • Paris France - Pere Lachaise - cemetery
  • Paris France - Pere Lachaise - cemetery
  • Paris France - Pere Lachaise - cemetery
  • Paris France - Pere Lachaise - cemetery
  • Paris France - Pere Lachaise - cemetery
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family around the death bed of the deceased. In a Borgeoise realistic style sculpted by GB Villa 1896. The Rivara Family Tomb, Section D no 15, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family arounf the death bed of an old man sculpted in Borgeoise Realistic style by A Rivalta in 1872.  The Raggio family tomb, Scection D no 10, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a grieving family arounf the death bed of an old man sculpted in Borgeoise Realistic style by A Rivalta in 1872.  The Raggio family tomb, Scection D no 10, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and iamge of the stone sculpture of an angel with a grieving family on the steps of the Palrano tomb. Sculpted in a Borgeoise realistic style by C Rubatto in 1878. Section D no 09, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a dead man lying whilst surrounded by his grieving family. The Lavarello tomb sculpted by Brizzolara 1926. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the Neo classical style stone sculpture of the Curro Family Tomb sculpted by G Navonne in 1895. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Ital
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Picture and image of the stone sculptured Art Nouveau monumental tomb of the Masoleni family. The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an enigmatic angels face in a realistic style. One of the best know csulptures of Staglieno. The Oneto family tomb sculpted by G Monteverde. Section D no 13, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Christ standing arms outstretched by the sacophagus of the deceased whilst his wife prays on the steps of the tomb. Sculpted in a Borgeoise Realistic style by GB Villa in 1881. The Tomati family tomb, section D no 12, the  monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and iamge of the stone sculpture of an angel with a grieving family on the steps of the Palrano tomb. Sculpted in a Borgeoise realistic style by C Rubatto in 1878. Section D no 09, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and iamge of the stone sculpture of an angel with a grieving family on the steps of the Palrano tomb. Sculpted in a Borgeoise realistic style by C Rubatto in 1878. Section D no 09, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculptured monumental tomb of the Bracelli Spinola family sculpted by S Varni 1864. Section D no 8, the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women waiting by the gates of the tomb in a Borgeois Realistic style. The Piaggio Family Tomb sculpted by G Scanzi 1885. Section D no 36, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a man sitting in a chair on a plinth in Borgeois Realistic style. The Bomba family Tomb sculpted by G B Cevasco. Section D no 33, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a man sitting in a chair on a plinth in Borgeois Realistic style. The Bomba family Tomb sculpted by G B Cevasco. Section D no 33, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young women filling a candle stick with oil in an art Nouveau style. Family Tomb Montanari sculpted by G B Villa 1888. Section D no 31 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures and image of the stone sculpture of a mouring widow sitting on the steps of the tomb. The Lavarello Family Tomb sculpted by S Saccomanno 1890. Section D no 32, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of Giuseppe Ratto looking down on his grieving wife with an angel in a Borgeois Realistic style. The Ratto Family Tomb sculpted by L Orengo in 1890. Section D no 30 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a Madonna and child in Realistic style. The Baldulno Family Tomb sculpted by G Monteverde 1889. Section D no 28, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of a Madonna and child in Realistic style. The Baldulno Family Tomb sculpted by G Monteverde 1889. Section D no 28, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young girl picking flowers in a Borgeoise Realistic style. The Grillo Family Tomb sulpted by G Scanzi 1876. Section D No 26, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young girl picking flowers in a Borgeoise Realistic style. The Grillo Family Tomb sulpted by G Scanzi 1876. Section D No 26, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a young giral and her dog. The Varni family tomb sculpted by S Varni 1875. Sction D No 25 the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel at the doors of the Pallavicino Family tomb, sculpted by A Rivalta 1896. Section D no 27, the monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture of a women in Art Nouveau style. The G.B. Susto Family Tomb sculpted by L Beltrami in 1904. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture of the stone sculpture of a women in Art Nouveau style. The G.B. Susto Family Tomb sculpted by L Beltrami in 1904. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel on the Raggio Family Tomb 1887. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel on the Raggio Family Tomb 1887. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an angel on the Raggio Family Tomb 1887. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of an agel in thought at the door of the tomb of the Mantero family. Art Nouveau style sculpted by L Orengo 1895. Section B, no 04, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture in Borgeoise Realistic style of the Rossi family tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of the Podesta family tomb in the Borgeois Realistic style by  D Carli 1892. Section A, no 39, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a mourning women  stone sculpture in the realistic borgeois style. The tomb of the Stefano family Tsculpted by by G Benetti 1877. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a mourning women  stone sculpture in the realistic borgeois style. The tomb of the Stefano family Tsculpted by by G Benetti 1877. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of a mourning women  stone sculpture in the realistic borgeois style. The tomb of the Stefano family Tsculpted by by G Benetti 1877. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculpture of St George and the dragon on the Pastorino Family Tomb, 1881. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899.  An adolescent angel with delicate features is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the Neo classical style stone sculpture of the Curro Family Tomb sculpted by G Navonne in 1895. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Ital
  • Pictures of a borgeoise realistic style stone sculpture of a girl holding a crucifix on the Poggi Family Tomb. The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Crucifiction painted by the  Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the life of Eustace . Central panel shows act 2 ?the Tragedy and Exile? , central diamond - After various disasters, Eustace and his family abandon their home. Top Right - possibly Eustace negotiating passage to Egypt , top right - Eustace and his family board a boat to Egypt.  Bottom left from act one ?the Conversion:?- Placidus hears the words of Christ coming from the mouth of a stag, right - Placidus is baptised and given the name 'Eustace'. A UNESCO World Heritage Site.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the life of Eustace . Central panel shows act 2 ?the Tragedy and Exile? , central diamond - After various disasters, Eustace and his family abandon their home. Top Right - possibly Eustace negotiating passage to Egypt , top right - Eustace and his family board a boat to Egypt.  Bottom left from act one ?the Conversion:?- Placidus hears the words of Christ coming from the mouth of a stag, right - Placidus is baptised and given the name 'Eustace'. A UNESCO World Heritage Site.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey.  A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey.  A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Pictures & images of the ancient Lycian rock cut tomb of a Gladiator whose rock relief sculpture can be seen with his family ,  Myra, Anatolia, Turkey.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Murkmeli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Murkmeli is a village near Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Murkmeli has well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chvibiani with mount Shkhara (5193m) behind, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia.  Chvibiani is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chvibiani has well preserved stone Svanetian defensive tower houses attached to stone family houses. Mount Shkhara is the highest mountain in the Caucasus range.  A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower of Queen Tamar’s Castle,  Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Queen Tamar of Georgia reigned from 1184–1213. The Tamar castle originally had 4 defensive stone towers, of which one survives,  connected by a curtain wall. The castles 3 other towers were destroyed by the Soviets in the 1930’s. At 2,200 m (7217 ft) above sea level in the Caucasus mountains Ushguli is the highest inhabited village in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of  Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Ushguli is a group of four remote villages. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Stone medieval Svaneti tower houses of Chazhashi, Ushguli, Upper Svaneti, Samegrelo-Zemo Svaneti, Mestia, Georgia. Chazhashi is the main village of a group of four remote villages known collectively as Ushguli. At 2,200 m (7217 ft) above sea level in the Caucasus mountains these are the highest inhabited villages in Europe. Chazhashi has 13 well preserved stone Svanetian defensive tower houses attached to stone family houses. A UNESCO World Heritage Site.
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Close up picture of the Roman mosaics of the Peristyle depicting animals in a geometric mosaic wreath inside square panels, room no 13 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The peristyle mosaic floor of Villa Romana del Casale is decorated with square mosaic repeating designs which have a rope design geometric mosaic on the outside, inside which is are laurel wreath mosaics which surround Protomas, the representation of the head and neck of an animal often used decoratively in architecture, of wild and domesticated animals. The two sides of the peristyle have been identified as one side for visitors use and the other for the family. The peristyle mosaics lead on both sides around three sides of the peristyle to steps that lead up to the corridor of the Great Hunt Mosaics,
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Wide picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting hunters with a dead boar and hunters making an offering at an altar, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting deer being caught in a net trap, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting dogs chasing a fox, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting offerings being made at an altar, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt depicting a hare about to be speared,  room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the small hunt, room no 24 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Small Hunt room was used as a living room for guests of the Villa Romana del Casale. The Small hunt mosaic design has 4 registers running across the mosaic depicting hunting scenes. In the first register two servants are handling hunting dogs. In the second register figures are depicted burning incense at an altar to Diana, the goddess of hunting, before the hunt starts. The offering is being made by Constantius Clorus , the Caesar of Emperor Maximianus who owned the Villa Romana del Casale. Behind him is his son the future Emperor Constantine. To the right of the altar is a figure holding the reins of a horse dressed in a clavi decorated with ivy leaves indicating that he belongs to the family of Maximianus.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Close up detail picture of the Roman mosaics of the Diaeta of Arione used as a poetry and music room, room no 39 at the Villa Romana del Casale, first quarter of the 4th century AD. Sicily, Italy. A UNESCO World Heritage Site.<br />
<br />
The Diaeta of Arione is a large room of the Villa Romana del Casale where the Domina ( mistress of the Villa) gathered with members of the family to listen to poetry and music in a private setting. The floor mosaic depicts scenes of the marine court of Arione.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • The so called twin towers of Sangimignano built in the 13th century as defensive towers and also to show prestige and wealth. The Council of San Gimignano ruled that no tower should be built higher than that of the town Hall of San Gimignano so this family built two towers to be ahead of its opposition. A UNESCO World Heritage Site. San Gimignano; Tuscany Italy
  • The so called twin towers of Sangimignano built in the 13th century as defensive towers and also to show prestige and wealth. The Council of San Gimignano ruled that no tower should be built higher than that of the town Hall of San Gimignano so this family built two towers to be ahead of its opposition. A UNESCO World Heritage Site. San Gimignano; Tuscany Italy
  • The so called twin towers of Sangimignano built in the 13th century as defensive towers and also to show prestige and wealth. The Council of San Gimignano ruled that no tower should be built higher than that of the town Hall of San Gimignano so this family built two towers to be ahead of its opposition. A UNESCO World Heritage Site. San Gimignano; Tuscany Italy
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Pictures of Dun Carloway Broch on the Isle of Lewis in the Outer Hebrides, Scotland. Brochs are among Scotland's most impressive prehistoric buildings and were the precursors of the Medieval Scottish Tower Houses. The world Broch is derived from lowland scots who called forts Brough from the old Norse Borg. <br />
<br />
Broch stone roundhouses date from about 2,300 to 1,900 years ago, and are found mainly in north and west Scotland. Dun Carloway Broch was probably built around the time of the Roman occupation in Britain in 43AD and was probably the primary dwelling-places for the principal family in the area. Dun Carloway Broch would have provided some protection against sporadic raiding, but were not purely defensive structure but a focal point for the clan of the area.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Pictures & images of the ancient Lycian rock cut tomb of a Gladiator whose rock relief sculpture can be seen with his family ,  Myra, Anatolia, Turkey.
  • Pictures & images of the ancient Lycian rock cut tomb of a Gladiator whose rock relief sculpture can be seen with his family ,  Myra, Anatolia, Turkey.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey.  A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Ionic capital of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Excavations of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey.  A Harvard Art Museum excavation project.
  • 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 painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Roman Portrait bust of Roman Emperor Vespasian, circa  69 to 79 AD excavated from Minturno. Vespasian was Roman Emperor from AD 69 to AD 79. Vespasian founded the Flavian dynasty that ruled the Empire for twenty seven years. Vespasian was from an equestrian family that rose into the senatorial rank under the Julio–Claudian emperors. The National Roman Museum, Rome, Italy
  • Roman Portrait bust of Roman Emperor Vespasian, circa  69 to 79 AD excavated from Minturno. Vespasian was Roman Emperor from AD 69 to AD 79. Vespasian founded the Flavian dynasty that ruled the Empire for twenty seven years. Vespasian was from an equestrian family that rose into the senatorial rank under the Julio–Claudian emperors. The National Roman Museum, Rome, Italy
  • 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 painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Medieval Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets above it shows one of the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament.
  • Medieval Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. These windows were a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets above (right) is the Virgin Mary & Child and (left) is one of the four evangelists sitting on the shoulders of a Prophet - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament.
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Medieval Rose  Window of the South Transept of the Gothic Cathedral of Chartres, France- Circa 1225-30. A UNESCO World Heritage Site. Dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four Prophets - a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets
  • Ionic capital of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Excavations of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey. A Harvard Art Museum excavation project.
  • Ionic pillar base of the Temple of Artimis Sardis, originally the fourth largest Ionic temple when it was originally built in 300 B.C. In 150 AD under Roman rule when the worship  of the Emperor required all Roman cities to have a Temple dedicated to the Imperial family. The temple of Artimis was split into two sections with one half for Artemis and the Empress Faustina and the other for Zeus and Emperor Antoninus Pius and the present construction shows elements of Greek and Roman styles. Sardis archaeological site, Hermus valley, Turkey.

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Picture The Past

ABOUT

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

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

COUNTRIES

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

VIEW COUNTRIES INDEX....

HISTORICAL

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

EXPLORE HISTORICAL PLACES...

MUSEUMS

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

SEE MUESEUM ANTIQUITIES....