• Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this 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 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 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 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 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 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 on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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 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 whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being 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 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 whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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 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 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 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
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Frescoes depicting the crucifixion on the interior of the Romanesque Baptistery of Parma, circa 1196, (Battistero di Parma), Italy
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval enamelled panel depicting the Crucifixion, end of 12th cent from Limoges, enamel on gold. AD. Inv OA 7285, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.  Against a white background.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.   Against a grey background.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia. Against a grey art background.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • 6th century Eastern Roman Byzantine  Christian mosaic of the mosaic of the Most Holy Sepulchre and the memorial of Golgotha in Jerusalem .<br />
<br />
In the foreground is the dome of Golgotha, erected at the site of the crucifixion ofJesus Christ, from where  the four rivers of Paradise flow: the Geon = Gihon, the Fison = Pishon, the Tigris and Euphrates, symbolically referring to the Word (the four gospels). Sheep, representing the faithfuls, are drinking from the rivers. In the background are depictions of the the Holy Sepulchre with its door ajar, and two other buildings, symbolising Bethlehem and Jerusalem. <br />
<br />
From the threshold of the martyrdom erected in honour of Jesus Christ at the church of Iunca - Younga (in present the day region of Mahres in Tunisia). The Bardo National Museum, Tunis, Tunisia.  Against a black background.
  • Medieval Gothic ivory diptych depicting the Annunciation, Nativity, the adoration of the Magi and the crucifixion  made in Paris in second quarter of the 14th century.  inv 103, The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Painted walnut sculpture of the decent from the Cross, circa 1470-1490 possibly from Antwerp or the Brabant region of Belgium.  Inv RF 4696,  The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.

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