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The composition with the Crocus Gatherers from Xeste 3- This impressive fresco was spread across a number of walls in rooms on the ground floor and upper storey of the house, and shows women with lavish dress and ornaments picking crocus flowers. They are all turning in the direction of a seated female deity, who is protected by a winged griffin and accepts the gifts brought by the crocus gatherers, one of whom puts the flowers in a basket, from which a blue monkey takes them to give to the goddess.

The fresco of the Antelopes from room 1 of complex B, depicting a pair of antelopes facing each other framed by a sprig of ivy. They are of the ryx beissa species found in East Africa and are a Pari of the Blue Monkey mural from room 6 in complex B.

One of the two fishermen who ornament corners of room 5 in the West House.

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Popular subject in Egyptian art of all periods. Here the figures of the animals have been rendered with simple, black outlines without recourse to many interior lines, the only exception being the heads, where certain details are shown in red. The result is most striking: the artist has succeeded, using the simplest of means, in giving his subject incredible precision and vitality.

The fresco of the boys boxing from the south wall of the same room. The boys, each of whom wears a boxing glove on his right hand, are concentrating hard on avoiding one another’s blows. The composition skilfully conjures up the intensity of the scene and the effort of the small pugilists. On their heads they must have worn blue wigs, under which their own long black curly locks can be seen. The boy on the left of the fresco is wearing more jewelry than his opponent: a blue necklace, bracelets and an earring.

The fresco of the Alue monkeys from mom 6 of the same complex, depicting lively monkeys climbing up some rocks, evidently because 11 iey are being chased. The last one, who must be the leader of 11u’ band, is turning his head towards the pursuers. This wall-painting, too, although only a fragment survives, is full.

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