The Flickr 340Sce Image Generatr

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads and the figure of Lazarus)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Fine-grained white marble
Late Antique, Roman Late Imperial period, ca. 320-340 CE with post-antique additions (including the majority of the heads and the figure of Lazarus)
Roman urban workshop
No archaeological provenience; documented at Palazzo Albani in Soriano nel Cimino by 1720

From left: the Raising of Lazarus; Jesus lays hands on the head of a woman (probably originally the bleeding woman, later transformed into Mary of Bethany); the deceased portrayed in the pose of an orant; feeding the multitude; the healing of the man born blind; the healing of the paralytic man; the Sacrifice of Isaac

Photographed on display in the Raccolta Lercaro, Bologna, Italy
In the collection of the Opera Diocesana Madonna della Fiducia, Bologna
Gift of the Comunità Ebraica Italiana (Rome) to Cardinal Giacomo Lercaro

Stone, glass, and terracotta
Roman Late Imperial period, ca. 325-350 CE
From Aquileia (see on Pleiades), Grandi Terme (Great Baths)

Photographed on display in the Gallerie d'Italia - Napoli, Naples, Italy, as part of an exhibit of artifacts restored thanks to funding by Intesa Sanpaolo
In the collection of the Museo Archeologico Nazionale di Aquileia

Stone, glass, and terracotta
Roman Late Imperial period, ca. 325-350 CE
From Aquileia (see on Pleiades), Grandi Terme (Great Baths)

Photographed on display in the Gallerie d'Italia - Napoli, Naples, Italy, as part of an exhibit of artifacts restored thanks to funding by Intesa Sanpaolo
In the collection of the Museo Archeologico Nazionale di Aquileia

Stone, glass, and terracotta
Roman Late Imperial period, ca. 325-350 CE
From Aquileia (see on Pleiades), Grandi Terme (Great Baths)

Photographed on display in the Gallerie d'Italia - Napoli, Naples, Italy, as part of an exhibit of artifacts restored thanks to funding by Intesa Sanpaolo
In the collection of the Museo Archeologico Nazionale di Aquileia

Stone, glass, and terracotta
Roman Late Imperial period, ca. 325-350 CE
From Aquileia (see on Pleiades), Grandi Terme (Great Baths)

Photographed on display in the Gallerie d'Italia - Napoli, Naples, Italy, as part of an exhibit of artifacts restored thanks to funding by Intesa Sanpaolo
In the collection of the Museo Archeologico Nazionale di Aquileia

Stone, glass, and terracotta
Roman Late Imperial period, ca. 325-350 CE
From Aquileia (see on Pleiades), Grandi Terme (Great Baths)

Photographed on display in the Gallerie d'Italia - Napoli, Naples, Italy, as part of an exhibit of artifacts restored thanks to funding by Intesa Sanpaolo
In the collection of the Museo Archeologico Nazionale di Aquileia

Stone, glass, and terracotta
Roman Late Imperial period, ca. 325-350 CE
From Aquileia (see on Pleiades), Grandi Terme (Great Baths)

Photographed on display in the Gallerie d'Italia - Napoli, Naples, Italy, as part of an exhibit of artifacts restored thanks to funding by Intesa Sanpaolo
In the collection of the Museo Archeologico Nazionale di Aquileia