• Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • Pictures and images of St Giorgi (St George) Church, Samtsevrisi, Georgia (country). A perfect example of a 7th century Byzantine “Tree Cross” church  with a horseshoe apse laid out as in the Greek Cross style.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia, γία Σοφία, orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • The 8th century Greek cross domed Basilica of The Hagia Sophia,  , orHoly Wisdom. A Palaeochristian and Byzantine Monuments of Thessaloniki, Greece. A UNESCO World Heritage Site.
  • Fox Terrier at Fat Bessy's Cross, North Yorks Moors National Park
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 18b
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 17b
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 16b
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 92
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 91
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 89
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 88
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 87
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 86
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 85
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 84
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 83
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 82
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 81
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 80
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 79
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 78
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 77
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 76
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 75
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 74
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 73
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 72
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 71
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 70
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 69
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 68
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 67
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 66
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 65
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 64
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 63
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 62
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 61
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 60
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 59
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 58
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 57
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 56
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 55
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 54
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 53
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 52
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 51
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 50
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 49
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 48
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 47
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 46
  • 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 45
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 44
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 43
  • Bas Releif sculptures with scenes from the Bible, far left Jonah id swallowed by a whale,  on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 42
  • Bas Releif sculptures with scenes from the Bible, far left Jonah id swallowed by a whale,  on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 41
  • Bas Releif sculptures with scenes from the Bible, far left Jonah id swallowed by a whale,  on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 40
  • Bas Releif sculptures with scenes from the Bible, far left Jonah id swallowed by a whale,  on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 39
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 38
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 37
  • Bas Releif sculpture if a hunter in armour shooting an animal   on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 36
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 35
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 34
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 33
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 32
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 31
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 30
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 29
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 28
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 27
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 26
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 25
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 24
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 23
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 22
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 21
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 20
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 19
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 18
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey 17
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Bas Releif sculptures with scenes from the Bible on the outside of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Interior with frescos of the 10th century Armenian Orthodox Cathedral of the Holy Cross on Akdamar Island, Lake Van Turkey
  • Cross of the blue Madonna - Korseg Wineyards, Velem, Hungary
  • Fox Terrier at Fat Bessy's Cross, North Yorks Moors National Park
  • Cross on the main street of the old town - Tapolca, Balaton, Hungary
  • Cross on the main street of the old town - Tapolca, Balaton, Hungary
  • Cross on the main street of the old town - Tapolca, Balaton, Hungary
  • Cross on the main street of the old town - Tapolca, Balaton, Hungary
  • Cross on the main street of the old town - Tapolca, Balaton, Hungary
  • Cross on the main street of the old town - Tapolca, Balaton, Hungary
  • Cross of the blue Madonna - Korseg (Körseg) vineyards, Velem, Hungary
  • Cross of the blue Madonna - Korseg (Körseg) vineyards, Velem, Hungary
  • Cross of the blue Madonna - Korseg (Körseg) vineyards, Velem, Hungary
  • Cross of the blue Madonna - Korseg (Körseg) vineyards, Velem, Hungary
  • Cross of the blue Madonna - Korseg (Körseg) vineyards, Velem, Hungary
  • Cross of the blue Madonna - Korseg (Körseg) vineyards, Velem, Hungary
  • Cross of the blue Madonna - Korseg (Körseg) vineyards, Velem, Hungary
  • Cross of the blue Madonna - Korseg (Körseg) vineyards, Velem, Hungary
  • Christ Being Removed From Cross  Mosaic - St Marks Basilica - Venice
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • 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
  • St Marks Basilica - Mosaic of Christ - Venice - Italy
  • St Anne's church, St Annes lake, Transylvania, Romania. Chapel set amonst heavy wooded hills of Mount Ciumatu.
  • St Anne's church, St Annes lake, Transylvania, Romania. Chapel set amonst heavy wooded hills of Mount Ciumatu.
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • Venician flag flying over Saint Marks Basilica - Venice
  • Venician flag flying over 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 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
  • 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
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  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
  • Front of Saint Marks Basilica -Ascension  of Christ Mosaic- Venice - Italy
  • Front of Saint Marks Basilica Resurection of Christ Mosaic-  - Venice - Italy
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Resurection of Christ Mosaic- St Marks Basilica - Venice - Italy
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Translation Of The Body Of St Mark Mosaic - 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
  • Detail of sixth Century Pillars From Acre - St Marks - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Resurection of Christ Mosaic- St Marks Basilica - Venice - Italy
  • Paris - France - Pont Alexadre 111 - Column
  • Paris - France - Pont Alexadre 111 - Column
  • Paris - France - Pont Alexadre 111 - Statue
  • Paris - France - Pont Alexadre 111 - Statue
  • Paris - France - Pont Alexadre 111 - Statue
  • Paris - France - Pont Alexadre 111 - Statue
  • Paris - France - Pont Alexadre 111 - Statue
  • Paris - France - Pont Alexadre 111 - Dutch Barge
  • Paris - France - Pont Alexadre 111 - Statue
  • Paris - France - Pont Alexadre 111 - Column
  • Paris - France - Pont Alexadre 111 - Sign
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment, 875-999. The cross depicts Christ seated in a halo with two figures above blowing trumpets and two figures below with a horn or a scroll, possibly a last judgement scene. Below are sculpted interlaced patterns. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment, 875-999. The cross depicts Christ seated in a halo with two figures above blowing trumpets and two figures below with a horn or a scroll, possibly a last judgement scene. Below are sculpted interlaced patterns. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment, 875-999. The cross depicts Christ seated in a halo with two figures above blowing trumpets and two figures below with a horn or a scroll, possibly a last judgement scene. Below are sculpted interlaced patterns. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment, 875-999. The cross depicts Christ seated in a halo with two figures above blowing trumpets and two figures below with a horn or a scroll, possibly a last judgement scene. Below are sculpted interlaced patterns. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • A typical Anglo Saxon grave cover raised cross fragment decporated with raised interlaced patterns from 800-899. Lindisfarne Abbey Museum, Northumbria, England
  • A typical Anglo Saxon grave cover raised cross fragment decporated with raised interlaced patterns from 800-899. Lindisfarne Abbey Museum, Northumbria, England
  • A typical Anglo Saxon grave cover raised cross fragment decporated with raised interlaced patterns from 800-899. Lindisfarne Abbey Museum, Northumbria, England
  • A typical Anglo Saxon grave cover raised cross fragment decporated with raised interlaced patterns from 800-899. Lindisfarne Abbey Museum, Northumbria, England
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Anglo Saxon sandstone cross shaft fragment, 775-840. The complicated pattern depicts ribbon shaped animals with long thin bodies and legs. An animals face can be seen in the bottom right in profile with one eye and a mouth .Lindisfarne Abbey Museum, Northumbria, England
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this 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

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