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  • Painted wooden panel of the Altar of d'Ix showing the apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Romanesque Altar Front of Cardet<br /> <br /> Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br /> <br /> This Romanesque painted altar front is dedicated to the Nativity. Bottom left is a painting of the Three Kings.
  • Romanesque Altar Front of Cardet<br /> <br /> Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br /> <br /> <br /> This Romanesque painted altar front is dedicated to the Nativity. Top left shows the Annunciation of the Virgin Mary.
  • Romanesque Altar Front of Cardet<br /> <br /> Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br /> <br /> <br /> This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla.
  • Romanesque Altar Front of Cardet<br /> <br /> Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br /> <br /> <br /> This Romanesque painted altar front is dedicated to the Nativity. Bottom left shows The Flight to Egypt.
  • Romanesque Altar Front of Cardet<br /> <br /> Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br /> <br /> <br /> This Romanesque painted altar front is dedicated to the Nativity. Top left depicts the nativity scene with Mary, Joseph, the Shepherds and Christ in a manger.
  • Romanesque painted Canopy of Tavèrnoles.<br /> <br /> Second quarter of the thirteenth century from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br /> <br /> Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br /> <br /> Second quarter of the thirteenth century from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br /> <br /> Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br /> <br /> Second quarter of the thirteenth century from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br /> <br /> Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Gia altar front<br /> <br /> Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br /> <br /> Romanesque painted altar front from Santa Maria Gia, Spain, showing Christ Pantocrator. The exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing The Madonna and Child. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting the Magi or Three Kings from the Nativity, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting the Annociation of the Virgin and The Visitation with St. Elizabeth, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting a scene from the Nativity with St. Joseph, Mary and the baby Christ, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • The Romanesque Altar Front of Avia<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15784<br /> <br /> <br /> The altar front of Byzantine art d'Avia depicting the Virgin Mary in the style of “Our Lady of the Way”. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting a scene from the Nativity with St. Joseph, Mary and the baby Christ, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Altar of Esquius - Painted wooden panel<br /> <br /> Second quarter of the twelfth century<br /> <br /> Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br /> <br /> <br /> The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of St. Maria de Taull<br /> <br /> 1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3904<br /> <br /> Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles. Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. This panel shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. This panel shows Archangel Michael fighting a dragon. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. Three of the four compartments of the small altar front are dedicated to San Michael. Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. This panel shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • Romanesque painted altar front from Santa Maria Gia, Spain, showing the temptaion of Saint Martin. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 3902.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Romanesque Altar Front of Cardet<br /> <br /> Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br /> <br /> <br /> This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Romanesque painted Gia altar front<br /> <br /> Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br /> <br /> Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing The Madonna and Child and scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • Christ Pantocrator Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br /> <br /> Tempera with stucco metallic leaf reliefs and on a wood panel.<br /> Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br /> <br /> National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br /> <br /> The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Altar of Esquius - Painted wooden panel<br /> <br /> Second quarter of the twelfth century<br /> <br /> Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br /> <br /> <br /> The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • Trail and Arrest of St. Catherine<br /> <br /> Between 1241-1255<br /> Mixed Technica transferred to canvas<br /> It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br /> <br /> Acquisition of the Museum Board 2008 campaign. MNAC 214241<br /> <br /> Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits between Romanesque and Gothic.
  • Altar of St. Maria de Taull<br /> <br /> 1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3904<br /> <br /> Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles. Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Trail and Arrest of St. Catherine<br /> <br /> Between 1241-1255<br /> Mixed Technica transferred to canvas<br /> It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br /> <br /> Acquisition of the Museum Board 2008 campaign. MNAC 214241<br /> <br /> Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits between Romanesque and Gothic.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. Three of the four compartments of the small altar front are dedicated to San Michael. Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • The Romanesque Altar Front of Avia<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15784<br /> <br /> <br /> The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Baltarga<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15804<br /> <br /> The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most likely to have come from the workshop of highly skilled Greek painters, which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Absis d’esterri de Cardos a Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing the apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br /> <br /> Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br /> <br /> <br /> La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Romanesque Altar Front of Cardet<br /> <br /> Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br /> <br /> <br /> This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Romanesque painted Gia altar front<br /> <br /> Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br /> <br /> Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br /> <br /> Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br /> <br /> Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br /> <br /> Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br /> <br /> Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Gia altar front<br /> <br /> Second quarter of the thirteenth century from the church of Santa Maria Gia and Xia, High Ribagorca, Huesca, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: 3902 MNAC.<br /> <br /> Romanesque painted altar front from Santa Maria Gia, Spain, showing Scenes from the life of Saint Martin. The exceptionally the bottom frame remains the signature of the author, a painter named John (Johannes). This work is typical of the Ribagorca style and incorporates early gothic compositional styles and narrative that subtly illuminates the faces. Also typical of the Ribagorca workshop are the decorated plaster reliefs on the entire surface of the front, which is covered with the characteristic gold leaf.
  • Romanesque painted Canopy of Tavèrnoles.<br /> <br /> Second quarter of the thirteenth century from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br /> <br /> Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br /> <br /> Second quarter of the thirteenth century from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br /> <br /> Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque painted Canopy of Tavèrnoles.<br /> <br /> Second quarter of the thirteenth century from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br /> <br /> Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br /> <br /> Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing The Madonna and Child and scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing The Madonna and Child and scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing The Madonna and Child and scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing The Madonna and Child. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing The Madonna and Child and scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing scenes depicting the martyrdom of saints. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Stoning of St. Stephen<br /> <br /> Circa 1100s<br /> <br /> Fresco Transfer to canvas<br /> <br /> From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br /> <br /> Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br /> MNAC 15953<br /> <br /> The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Stoning of St. Stephen<br /> <br /> Circa 1100s<br /> <br /> Fresco Transfer to canvas<br /> <br /> From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br /> <br /> Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br /> MNAC 15953<br /> <br /> The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br /> <br /> Circa 1100s<br /> <br /> Fresco Transfer to canvas<br /> <br /> From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br /> <br /> Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br /> MNAC 15953<br /> <br /> The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br /> <br /> Circa 1100s<br /> <br /> Fresco Transfer to canvas<br /> <br /> From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br /> <br /> Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br /> MNAC 15953<br /> <br /> The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br /> <br /> Circa 1100s<br /> <br /> Fresco Transfer to canvas<br /> <br /> From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br /> <br /> Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br /> MNAC 15953<br /> <br /> The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br /> <br /> Circa 1100s<br /> <br /> Fresco Transfer to canvas<br /> <br /> From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br /> <br /> Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br /> MNAC 15953<br /> <br /> The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Christ Pantocrator Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br /> <br /> Tempera with stucco metallic leaf reliefs and on a wood panel.<br /> Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br /> <br /> National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br /> <br /> The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br /> <br /> Tempera with stucco metallic leaf reliefs and on a wood panel.<br /> Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br /> <br /> National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br /> <br /> The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br /> <br /> Tempera with stucco metallic leaf reliefs and on a wood panel.<br /> Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br /> <br /> National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br /> <br /> The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Altar of Esquius - Painted wooden panel<br /> <br /> Second quarter of the twelfth century<br /> <br /> Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br /> <br /> <br /> The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br /> <br /> Second quarter of the twelfth century<br /> <br /> Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br /> <br /> <br /> The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br /> <br /> Second quarter of the twelfth century<br /> <br /> Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br /> <br /> <br /> The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br /> <br /> Second quarter of the twelfth century<br /> <br /> Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br /> <br /> <br /> The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br /> <br /> Second quarter of the twelfth century<br /> <br /> Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br /> <br /> Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br /> <br /> <br /> The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Absis d’esterri de Cardos a Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Absis d’esterri de Cardos a Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Absis d’esterri de Cardos a Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles. National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Christ Pantocrator Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br /> <br /> Tempera with stucco metallic leaf reliefs and on a wood panel.<br /> Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br /> <br /> National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br /> <br /> The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of St. Maria de Taull<br /> <br /> 1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3904<br /> <br /> Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles. Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br /> <br /> 1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3904<br /> <br /> Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles. Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br /> <br /> 1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3904<br /> <br /> Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles. Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of St. Maria de Taull<br /> <br /> 1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3904<br /> <br /> Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles. Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. Three of the four compartments of the small altar front are dedicated to San Michael. Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. This panel shows Archangel Michael fighting a dragon. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. This panel shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. This panel shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Trail and Arrest of St. Catherine<br /> <br /> Between 1241-1255<br /> Mixed Technica transferred to canvas<br /> It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br /> <br /> Acquisition of the Museum Board 2008 campaign. MNAC 214241<br /> <br /> Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits between Romanesque and Gothic.
  • Trail and Arrest of St. Catherine<br /> <br /> Between 1241-1255<br /> Mixed Technica transferred to canvas<br /> It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br /> <br /> Acquisition of the Museum Board 2008 campaign. MNAC 214241<br /> <br /> Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits between Romanesque and Gothic.
  • Trail and Arrest of St. Catherine<br /> <br /> Between 1241-1255<br /> Mixed Technica transferred to canvas<br /> It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br /> <br /> Acquisition of the Museum Board 2008 campaign. MNAC 214241<br /> <br /> Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits between Romanesque and Gothic.
  • Trail and Arrest of St. Catherine<br /> <br /> Between 1241-1255<br /> Mixed Technica transferred to canvas<br /> It comes from the old chapel of St. Catherine's cathedral La Seu d'Urgell, Spain, Spain.<br /> <br /> Acquisition of the Museum Board 2008 campaign. MNAC 214241<br /> <br /> Thirteenth century Romanesque painted altar front of the Arrest of St. Catherine who was a patron of the Dominican Order and a model popular saint of the medieval times. The painting style sits between Romanesque and Gothic.
  • The Stoning of St. Stephen<br /> <br /> Circa 1100s<br /> <br /> Fresco Transfer to canvas<br /> <br /> From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br /> <br /> Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br /> MNAC 15953<br /> <br /> The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Twelfth century Romanesque fresco called the Apostles of d’Orcau from the church of Santa Maria in the castle of d’Orcau, Catalonia, Spain . National Art Museum of Catalonia, Barcelona. MNAC 4532
  • Twelfth century Romanesque fresco called the Apostles of d’Orcau from the church of Santa Maria in the castle of d’Orcau, Catalonia, Spain . National Art Museum of Catalonia, Barcelona. MNAC 4532
  • Twelfth century Romanesque fresco called the Apostles of d’Orcau from the church of Santa Maria in the castle of d’Orcau, Catalonia, Spain . National Art Museum of Catalonia, Barcelona. MNAC 4532
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. Three of the four compartments of the small altar front are dedicated to San Michael. Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. Three of the four compartments of the small altar front are dedicated to San Michael. Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. Three of the four compartments of the small altar front are dedicated to San Michael. Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br /> <br /> Second quarter of the thirteenth century<br /> Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1932. MNAC 3913<br /> <br /> Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will. Three of the four compartments of the small altar front are dedicated to San Michael. Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • The Romanesque Altar Front of Avia<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15784<br /> <br /> <br /> The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15784<br /> <br /> <br /> The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15784<br /> <br /> <br /> The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels. National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting the Annociation of the Virgin and The Visitation with St. Elizabeth, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting the Magi or Three Kings from the Nativity, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting a scene from the Nativity with St. Joseph, Mary and the baby Christ, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • The Romanesque Altar Front of Avia<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15784<br /> <br /> <br /> The altar front of Byzantine art d'Avia depicting the Virgin Mary in the style of “Our Lady of the Way”. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting a scene from the Nativity with St. Joseph, Mary and the baby Christ, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • The Romanesque Altar Front of Avia<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15784<br /> <br /> <br /> The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque frescoes of the Apostles from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of the Apostles from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of Apse of St. Steven of Andorra (Sant Esteve) from the church of Sant Esteve d’Andorra, painted around 1200-1210, Andorra la Vella. National Art Museum of Catalonia, Barcelona. MNAC 35711
  • The Romanesque Altar Front of Baltarga<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15804<br /> <br /> The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most likely to have come from the workshop of highly skilled Greek painters, which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15804<br /> <br /> The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most likely to have come from the workshop of highly skilled Greek painters, which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15804<br /> <br /> The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most likely to have come from the workshop of highly skilled Greek painters, which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br /> <br /> Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br /> <br /> National Art Museum of Catalonia, Barcelona. MNAC 15804<br /> <br /> The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most likely to have come from the workshop of highly skilled Greek painters, which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Romanesque frescoes of St. Steven of Andorra (Sant Esteve) from the church of Sant Esteve d’Andorra, painted around 1200-1210, Andorra la Vella. National Art Museum of Catalonia, Barcelona. MNAC 35706
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Romanesque painted altar front from Santa Maria Gia, Spain, showing the temptaion of Saint Martin. National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 3902.
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br /> <br /> Around 1192-1220, Tempera on wood from Catalonia, Spain.<br /> <br /> Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br /> <br /> It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s, specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon

Gallery Details

Romanesque Catalan Altar Panel Paintings - National Museum of Catalan Art (MNAC) - Picture & Images

Gallery Description:

Pictures and images of the Romanesque panel painting and frescoes of the MNAC Barcelona.

The MNAC’s ( Museu Nacional d'Art de Catalunya) Eleventh and Twelfth century collection of Romanesque panel painting is one of the most important in the world, and is a beautiful testimony to the importance of the production of polychrome liturgical furniture in medieval Catalonia. The most significant works are the altar frontals, some complete with side panels, which show the...
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