• 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.
  • 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 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 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.
  • 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.
  • 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 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 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 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 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 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.
  • 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.
  • 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 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.
  • 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 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.
  • 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 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.
  • 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.
  • 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 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 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.
  • 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 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.
  • 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.
  • 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.
  • 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 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.
  • Medieval Byzantine mosaics of with a depiction of Christ Pantocrator on the apse and main altar, Monreale Cathedral, Sicily
  • Medieval Byzantine mosaics of with a depiction of Christ Pantocrator on the apse and main altar, Monreale Cathedral, Sicily
  • Medieval Byzantine mosaics of with a depiction of Christ Pantocrator on the apse and main altar, Monreale Cathedral, Sicily
  • 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.
  • 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 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.
  • 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.
  • 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.
  • 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.
  • 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 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 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 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 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting Christ Pantocrator ( In Majesty) surrounded by Byzantine style angels, and below scenes from the Baptism of Christ, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting Christ Pantocrator ( In Majesty) surrounded by Byzantine style angels, and below scenes from the Baptism of Christ, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting Christ Pantocrator ( In Majesty) surrounded by Byzantine style angels, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting Christ Pantocrator ( In Majesty) surrounded by Byzantine style angels, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • The Romanesque Apse of Sant Clement de Taull<br />
<br />
Around 1123, Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi,Alta Ribagorca, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15806, 15860, 15966, 15968, 22996<br />
<br />
<br />
Romanesque frescoes depicting Christ in Majesty *Pantocrator) in the upper Apse and the Virgin  Mary and the Apostles in the central register.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Medieval enamelled tabernacle depicting Christ in majesty, circa 1200 AD from Limoges, enamel on gold. AD. Inv OA 8984, The Louvre Museum, Paris.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  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. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Medieval stained glass Window of the Gothic Cathedral of Chartres, France - dedicated to the Good Samaritan .  Bottom central panel shows Adam dwelling in Paradise, below - At the inn, the Samaritan nurses the injured man back to health, left - God breathing life into Adam, above - God warning Adam and Eve not to eat from the tree of knowledge, right - God creates Eve out of Adam's rib . Small central oval panel - Tempted by the serpent, Eve tastes the forbidden fruit , left side panel - Adam and Eve conversing beneath the tree of knowledge, right side panel -  God finds Adam and Eve hiding their nakedness. Top centre panel - God instructing Adam and Eve how to live in the wilderness, below - An angel casts Adam and Eve out of Paradise , left - Labouring in the wilderness; Adam digs and Eve spins, right -  Cain murdering his brother Abel with a sickle, above -  Christ in Majesty, seated on the rainbow. A UNESCO World Heritage Site.
  • The Romanesque Apse of Sant Clement de Taull<br />
<br />
Around 1123, Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi,Alta Ribagorca, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15806, 15860, 15966, 15968, 22996<br />
<br />
<br />
Romanesque frescoes depicting Christ in Majesty *Pantocrator) in the upper Apse and the Virgin  Mary and the Apostles in the central register.
  • The Romanesque Apse of Sant Clement de Taull<br />
<br />
Around 1123, Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi,Alta Ribagorca, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15806, 15860, 15966, 15968, 22996<br />
<br />
<br />
Romanesque frescoes depicting Christ in Majesty *Pantocrator) in the upper Apse and the Virgin  Mary and the Apostles in the central register.
  • The Romanesque Apse of Sant Clement de Taull<br />
<br />
Around 1123, Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi,Alta Ribagorca, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15806, 15860, 15966, 15968, 22996<br />
<br />
<br />
Romanesque frescoes depicting Christ in Majesty *Pantocrator) in the upper Apse and the Virgin  Mary and the Apostles in the central register.
  • The Romanesque Apse of Sant Clement de Taull<br />
<br />
Around 1123, Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi,Alta Ribagorca, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15806, 15860, 15966, 15968, 22996<br />
<br />
<br />
Romanesque frescoes depicting Christ in Majesty *Pantocrator) in the upper Apse and the Virgin  Mary and the Apostles in the central register.
  • The Romanesque Apse of Sant Clement de Taull<br />
<br />
Around 1123, Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi,Alta Ribagorca, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15806, 15860, 15966, 15968, 22996<br />
<br />
<br />
Romanesque frescoes depicting Christ in Majesty *Pantocrator) in the upper Apse and the Virgin  Mary and the Apostles in the central register.
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints. Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Jesus Christ in Majesty surrounded by the four Evangelist Symbols. A UNESCO World Heritage Site.
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Jesus Christ in Majesty surrounded by the four Evangelist Symbols. A UNESCO World Heritage Site.
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints. Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Last Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • Tympanum of central west portal: Christ in Majesty presides over the Day of Judgement, supported by an array of saints.  Gothic Cathedral of Notre-Dame, Amiens, France
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Twelfth Century Romanesque fresco of Christ Pentocrator (In Majesty) from the Apse of the church of Sant Vicenc *Vincent) de Cardona, Barges, Spain. Painted around 1200. National Art Museum of Catalonia, Barcelona. MNAC 200715
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Early Renaissance frescoes by Vitale da Bologna (1309 — 1369) of Christ Pantocrator (in majesty), pinted in the Byzantine style of Christ appearing in a madorla or eye. Church of Santa Maria, Benedictine Abbey of Pomposa, Emilia-Romagna, Italy.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • Interior Byzantine Romanesque style Christian frescoes of the central apse with Christ Pantocrator (in majesty) in a maodorla, Santissima Trinita di Saccargia, consecrated 1116 AD, Codrongianos, Sardinia.
  • 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.
  • 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.
  • 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.
  • Twelfth Century Romanesque fresco of Christ Pentocrator (In Majesty) from the Apse of the church of Sant Vicenc *Vincent) de Cardona, Barges, Spain. Painted around 1200. National Art Museum of Catalonia, Barcelona. MNAC 200715
  • Twelfth Century Romanesque fresco of Christ Pentocrator (In Majesty) from the Apse of the church of Sant Vicenc *Vincent) de Cardona, Barges, Spain. Painted around 1200. National Art Museum of Catalonia, Barcelona. MNAC 200715
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Twelfth Century Romanesque fresco of Christ Pentocrator (In Majesty) from the Apse of the church of Sant Vicenc *Vincent) de Cardona, Barges, Spain. Painted around 1200. National Art Museum of Catalonia, Barcelona. MNAC 200715

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