• Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Romanesque 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 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.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of 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.
  • 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.
  • Byzantine Deësis ( Entreaty) mosaic , 1261, in which John The Baptist,  both shown in three-quarters profile, are imploring the intercession of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • Byzantine Deësis ( Entreaty) mosaic , 1261, detail of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • Byzantine Deësis ( Entreaty) mosaic , 1261, detail of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • Byzantine Deësis ( Entreaty) mosaic , 1261, detail of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • Byzantine Deësis ( Entreaty) mosaic , 1261, detail of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • Byzantine Deësis ( Entreaty) mosaic , 1261, detail of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • Byzantine Deësis ( Entreaty) mosaic , 1261, in which the Virgin Mary & John The Baptist,  both shown in three-quarters profile, are imploring the intercession of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • Byzantine fresco of Christ on the cross in the church of  Saint Nicolas.   Mystras ,  Sparta, the Peloponnese, Greece. A UNESCO World Heritage Site
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • Resurection of Christ Mosaic- St Marks Basilica - Venice - Italy
  • St Marks Basilica - Mosaic of Christ - Venice - Italy
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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
  • 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
  • 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.
  • 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 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.
  • 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.
  • 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.
  • 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
  • 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.
  • 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.
  • Close up of the campinale & Facade with Byzantine Mosaic panel depicting Christ Pantocrator of the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Close up of the 13th century Byzantine Mosaic panel depicting Christ Pantocrator on the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Close up of the 13th century Byzantine Mosaic panel depicting Christ Pantocrator of the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Close up of the 13th century Byzantine Mosaic panel depicting Christ Pantocrator with angels on the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Close up of the  Byzantine Mosaic panel depicting Christ Pantocrator of the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Detail  Byzantine Mosaic panel depicting Christ Pantocrator and the Apostles on the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Close up of the  13th century Byzantine Mosaic panel depicting Christ Pantocrator of the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Facade with Byzantine Mosaic panel depicting Christ Pantocrator of the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Facade with Byzantine Mosaic panel depicting Christ Pantocrator of the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • 13th century Facade with Byzantine Mosaic panel depicting Christ Pantocrator of the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • 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
  • 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 painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • 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.
  • Absis d’esterri de Cardos a Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Absis d’esterri de Cardos a Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Absis d’esterri de Cardos a Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Absis d’esterri de Cardos a Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • 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
  • 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 painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • the medieval bas relief sculptures on the semi-circular arch over the central portal is a relief with the Christ enthroned between the sun and the moon and flanked by the Virgin, also enthroned and nursing Jesus, and St. Rufinus. Assisi Cathedral, Italy
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Byzantine mosaics of Christ , Mary and the Apostles at the Cathedral, Duomo of Cefalu [Cefaú] Sicily
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • Front of Saint Marks Basilica -Ascension  of Christ Mosaic- Venice - Italy
  • Front of Saint Marks Basilica Resurection of Christ Mosaic-  - Venice - Italy
  • Resurection of Christ Mosaic- St Marks Basilica - Venice - Italy
  • Christ Being Removed From Cross  Mosaic - St Marks Basilica - Venice
  • 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.
  • Close up of the 13th century Byzantine Mosaic panel depicting the Apostles on the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Close up of the 13th century Byzantine Mosaic panel depicting the Apostles on the Basilica of San Frediano, a Romanesque church, Lucca, Tunscany, Italy
  • Romanesque fresco  in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Byzantine mosaic of the Virgin and Child was the first of the post-iconoclastic mosaics inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I.  Hagia Sophia, Istanbul, Turkey
  • Byzantine mosaic of the Virgin and Child was the first of the post-iconoclastic mosaics inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I.  Hagia Sophia, Istanbul, Turkey
  • Byzantine mosaic of the Virgin and Child was the first of the post-iconoclastic mosaics inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I.  Hagia Sophia, Istanbul, Turkey
  • Byzantine mosaic of the Virgin and Child was the first of the post-iconoclastic mosaics inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I.  Hagia Sophia, Istanbul, Turkey
  • 12th Century Byzantine mosaic of  The Madonna & Child,  Hagia Sophia, Istanbul, Turkey
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Mosaic on Saint Marks Basilica -Taking Saint Marks Body From Alexandria -  Venice - Italy
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • 4 tetrachs on the facade of Saint Marks Basilica Venice - sith century afro - egyptian art
  • Sculpture of a Doge and the Lion of Venice above a door of Doges Palace - Venice Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Translation Of The Body Of St Mark Mosaic into Saint Marks  Basilica - Venice
  • Front of Saint Marks Basilica - Venice - Italy
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Cathedral of Our Lady of Strasbourg France. Gothic doorway and statues
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Venician flag flying over Saint Marks Basilica - Venice
  • Venician flag flying over Saint Marks Basilica - Venice
  • Detailed mosaic Saint Marks Basilica Venice
  • Detailed carving and marble column on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carving and marble column on the facade of Saint Marks Basilica Venice
  • Detailed carvings of Saint George on the facade of Saint Marks Basilica Venice
  • Detailed carving and marble column on the facade of Saint Marks Basilica Venice
  • Detailed carving and marble column on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carving and marble column on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carving and marble column on the facade of Saint Marks Basilica Venice
  • Detail of sixth Century Pillars From Acre - St Marks - Venice - Italy
  • Detail of sixth Century Pillars From Acre - St Marks - Venice - Italy
  • Detailed carving of 2 peacocks on the facade of Saint Marks Basilica Venice
  • Sculpture of a Doge and the Lion of Venice above a door of Doges Palace - Venice Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Mosaic on Saint Marks Basilica - Venerating St Marks's Body - Venice - Italy
  • Translation Of The Body Of St Mark Mosaic into Saint Marks  Basilica - Venice
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Pictures & images of the interior apse fresco depicting Christ Pantocrator. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the interior apse fresco depicting Christ Pantocrator. The Eastern Orthodox Georgian Svetitskhoveli Cathedral (Cathedral of the Living Pillar) , Mtskheta, Georgia (country). A UNESCO World Heritage Site.<br />
<br />
Currently the second largest church building in Georgia, Svetitskhoveli Cathedral is a masterpiece of Early Medieval architecture completed in 1029 by Georgian architect Arsukisdze on an earlier site dating back toi the 4th century.
  • Pictures & images of the Byzantine fresco panels on the north wall of the Gelati Georgian Orthodox Church of the Virgin, 1106, depicting Christ riding on a Donkey.  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). A UNESCO World Heritage Site.
  • Pictures & images of the Byzantine fresco panels on the north wall of the Gelati Georgian Orthodox Church of the Virgin, 1106, depicting Christ riding on a Donkey.  The medieval Gelati monastic complex near Kutaisi in the Imereti region of western Georgia (country). 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.
  • Medieval ivory figure of Christ at the pillar made in Paris around 1300-1320.  inv 12380, The Louvre Museum, Paris.
  • Medieval ivory figure of Christ at the pillar made in Paris around 1300-1320.  inv 12380, The Louvre Museum, Paris.
  • Medieval ivory figure of Christ at the pillar made in Paris around 1300-1320.  inv 12380, 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 ivory relief panel depicting the arrest of Christ.  From the workshop of Charles-le-Chauve circa 870 AD.. Inv. OA 9526, The Louvre Museum, Paris.
  • Medieval ivory relief panel depicting the arrest of Christ.  From the workshop of Charles-le-Chauve circa 870 AD.. Inv. OA 9526, The Louvre Museum, Paris.
  • Limoges figure of Christ from a Gothic Crucifix, circa 1200-1220. Copper engraving embossing, laced with an application of Champlevé enamelling and glass beads. Origin Unknow. Inv MNAC 4100. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • 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.
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Gothic chest decorated with the Resurection of Christ from Limoges Circa 1220. Engraved copper with inlaid enamel  enamel champlevé and glass on wooden core. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 65530
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • 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
  • Moasic on the apse bowl-vault of Jesus Christ Pantocrator, lord of the universe, is a 1506 reworking of the original Byzantine type image by a renaissance master mosaicist.
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its mosaic of Theodore Metochites presenting a model of the Chora church to Christ (panel I-48). Endowed between 1315-1321  by the powerful Byzantine statesman and humanist Theodore Metochites. Kariye Museum, Istanbul
  • Byzantine mosaics of Jesus Christ in the Cathedral of Monreale - Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics of Jesus Christ in the Cathedral of Monreale - Palermo - Sicily Pictures, photos, images & fotos photography
  • Byzantine mosaics at the Palatine Chapel ( Capella Palatina ) Norman Palace Palermo, Sicily, Italy. Christ above the Alter.

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