Limestone Etruscan funerary urn, 104 x 75 cm, late 3rd century B.C, Italy. This object is one of five ash urns found in a tomb of the Velsi family of ancient Chiusi. This urn is the largest and best preserved of the group. Its inscription, “FASTIA VELSI LARZL, VELUS PUIA,” which extends across the front and part of the left end of the lid, identifies the cremated remains as those of “Fastia Velsi, wife of Larza Velu.” - mfa.org
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Limestone Etruscan funerary urn, 104 x 75 cm, late 3rd century B.C, Italy.

This object is one of five ash urns found in a tomb of the Velsi family of ancient Chiusi. This urn is the largest and best preserved of the group. Its inscription, “FASTIA VELSI LARZL, VELUS PUIA,” which extends across the front and part of the left end of the lid, identifies the cremated remains as those of “Fastia Velsi, wife of Larza Velu.” - mfa.org

Fra Filippo Lippi, Coronation of the Virgin (detail), 1441-47, Tempera on wood. Galleria degli Uffizi, Florence. A bit of Renaissance, for a change :) Here’s a work by Botticelli’s master. This detail is one of my favorite because of its finesse, its delicate colours and very precise drawing. Lippi appears here as a skilled colourist, particularly in the fabrics, with rich golden silks and a beautiful transparent veil interlaced in this young girl’s hair. The character is perfectly drawn, in the typical canon Lippi invented, with a round face over a small pointy chin. 
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Fra Filippo Lippi, Coronation of the Virgin (detail), 1441-47, Tempera on wood. Galleria degli Uffizi, Florence.

A bit of Renaissance, for a change :) Here’s a work by Botticelli’s master.

This detail is one of my favorite because of its finesse, its delicate colours and very precise drawing. Lippi appears here as a skilled colourist, particularly in the fabrics, with rich golden silks and a beautiful transparent veil interlaced in this young girl’s hair. The character is perfectly drawn, in the typical canon Lippi invented, with a round face over a small pointy chin. 

Red-figures Lucanian pottery, ca. AD 400. Museo Nazionale Archeologico, Italy.  A youthful Dionysos, seated on a rock and wearing high fur-lined boots, fancy head-dress and only a mantle over his thighs , watches a maenad dance to the pipes. Behind him a female wearing an animal skin over a long-sleeved, short-skirted dress and high boots, holds a torch over his head and a situla. A stayr, at ease, watches. - beazley.ox.ac.uk
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Red-figures Lucanian pottery, ca. AD 400. Museo Nazionale Archeologico, Italy. 

A youthful Dionysos, seated on a rock and wearing high fur-lined boots, fancy head-dress and only a mantle over his thighs , watches a maenad dance to the pipes. Behind him a female wearing an animal skin over a long-sleeved, short-skirted dress and high boots, holds a torch over his head and a situla. A stayr, at ease, watches. - beazley.ox.ac.uk

Silver, posthumous issue Roman denarius of Marcus Aurelius (AD 161-180), struck under Commodus in AD 180. Rome, Italy.
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Silver, posthumous issue Roman denarius of Marcus Aurelius (AD 161-180), struck under Commodus in AD 180. Rome, Italy.

Meditation (detail), Simone Martini. Italian Gothic Era Painter (ca 1285-1344)
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Meditation (detail), Simone Martini. Italian Gothic Era Painter (ca 1285-1344)

(via isgandar)

Source: poboh

Fresco of Paquius Proculus and his wife, Pompeï ca. AD 20-30, Naples National Museum of Archaeology.
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Fresco of Paquius Proculus and his wife, Pompeï ca. AD 20-30, Naples National Museum of Archaeology.