• Bronze Age Hattian gold flask from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold flask from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold flask from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold flask from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold flask from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold flask from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold flask from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold flask from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold flask from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold flask from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Bronze Age Hattian gold necklace from Grave TM, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold necklace from Grave TM, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold necklace from Grave TM, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold necklace from Grave TM, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold necklace from Grave TM, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold necklace from Grave L,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold necklace from Grave L,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold necklace from Grave L,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold necklace from Grave L,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold necklace from Grave L,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold goblet from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold goblet from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold goblet from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold goblet from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold goblet from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold decorated mace from Grave K,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold decorated mace from Grave K,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold decorated mace from Grave K,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold decorated mace from Grave K,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold decorated mace from Grave K,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold belt buckle from Grave L, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold belt buckle from Grave L, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold belt buckle from Grave L, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold belt buckle from Grave L, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold belt buckle from Grave L, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold necklace from Grave E,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold necklace from Grave E,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold necklace from Grave E,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold necklace from Grave E,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold necklace from Grave E,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold bracelet  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold bracelet  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold bracelet  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold bracelet  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold bracelet  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold necklace from Grave MA,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold necklace from Grave MA,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold necklace from Grave MA,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold necklace from Grave MA,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Bronze Age Hattian gold necklace from Grave MA,  possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold goblet from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold goblet from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold goblet from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold goblet from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold goblet from Grave K, possibly a Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Bronze Age Hattian gold furniture covering  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a white background
  • Bronze Age Hattian gold furniture covering  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a warm art background
  • Bronze Age Hattian gold furniture covering  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a black background
  • Bronze Age Hattian gold furniture covering  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey. Against a gray background
  • Bronze Age Hattian gold furniture covering  from a possible Bronze Age Royal grave (2500 BC to 2250 BC) - Alacahoyuk - Museum of Anatolian Civilisations, Ankara, Turkey
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • 1st -2nd century AD gold death mask from the Roman levant.  Jerusalem, Israel. British Museum no 139535
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 254 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask Known from Grave IV, Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC. Cat No 253 Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask  from Grave Circle A, Mycenae. 16th Century BC. The mask is made of a thin sheet of beaten gold . 16th century BC.  Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask Known as the "mask of Agamemnon"  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold & shows a man with a beard. 16th century BC. Cat No 624 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • Gold Death Mask  from Grave V, Grave Circle A, Mycenae. The mask is made of a thin sheet of beaten gold and is the only mask from grave circle A with eyes open. 16th century BC. Cat No 259 Athens Archaeological Museum.
  • 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
  • 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
  • St Marks Basilica - Mosaic of Christ - Venice - Italy
  • Paris - France - Pont Alexadre 111 - Column
  • - ( Gy?r )  Gyor Hungary
  • - ( Gy?r )  Gyor Hungary
  • - ( Gy?r )  Gyor Hungary
  • - ( Gy?r )  Gyor Hungary
  • Colouful spainted leaf
  • 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 carving and marble column on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carving and marble column on the facade of Saint Marks Basilica Venice
  • Detailed carving of 2 peacocks on the facade of Saint Marks Basilica Venice
  • Front of Saint Marks Basilica - Venice - Italy
  • Front of Saint Marks Basilica - Venice - Italy
  • Mosaic on Saint Marks Basilica - Venerating St Marks's Body - Venice - Italy
  • Translation Of The Body Of St Mark Mosaic into Saint Marks  Basilica - Venice
  • Front of Saint Marks Basilica -Ascension  of Christ Mosaic- Venice - Italy
  • Front of Saint Marks Basilica Resurection of Christ Mosaic-  - Venice - Italy
  • Christ Being Removed From Cross  Mosaic - St Marks 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
  • Front of Saint Marks Basilica - Venice - Italy
  • Translation Of The Body Of St Mark Mosaic into Saint Marks  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
  • Paris - France - Pont Alexadre 111 - Column
  • - ( Gy?r )  Gyor Hungary
  • - ( Gy?r )  Gyor Hungary
  • - ( Gy?r )  Gyor Hungary
  • - ( Gy?r )  Gyor Hungary
  • Old court shoes
  • Translation Of The Body Of St Mark Mosaic - Basilica - Venice
  • Mosaic on Saint Marks Basilica -Ascension of Christ -  Venice - Italy
  • 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 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 carvings on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detailed carving and marble column on the facade of Saint Marks Basilica Venice
  • Detailed carvings on the facade of Saint Marks Basilica Venice
  • Detail of sixth Century Pillars From Acre - St Marks - Venice - Italy
  • Detail of sixth Century Pillars From Acre - St Marks - Venice - Italy
  • 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
  • Resurection of Christ Mosaic- St Marks Basilica - Venice - Italy
  • Paris - France - Pont Alexadre 111 - Column
  • golden ripple water reflections
  • golden ripple water reflections
  • golden ripple water reflections
  • Ushabti. Ptolemaic Dynasty  Egyptian textile & gold mummy mask depicting various gods, 306-30 BC. Neues Reiche Museum, Berlin. Cat No AM813
  • Ushabti. Ptolemaic Dynasty  Egyptian textile & gold mummy mask depicting various gods, 306-30 BC. Neues Reiche Museum, Berlin. Cat No AM813
  • Ushabti. Ptolemaic Dynasty  Egyptian textile & gold mummy mask depicting various gods, 306-30 BC. Neues Reiche Museum, Berlin. Cat No AM813
  • Ushabti. Ptolemaic Dynasty  Egyptian textile & gold mummy mask depicting various gods, 306-30 BC. Neues Reiche Museum, Berlin. Cat No AM813
  • Phrygian Gold bowl with deeply beated design from Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian Gold bowl with deeply beated design from Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a black background
  • Phrygian Gold bowl with deeply beated design from Gordion. Phrygian Collection, 8th-7th century BC - Museum of Anatolian Civilisations Ankara. Turkey.
  • Roman gold decorative jewellery head band, 1st century AD from Hierapolis Gumusler Necropolis. Hierapolis Archaeology Museum, Turkey. Against an white background
  • Roman gold decorative jewellery head band, 1st century AD from Hierapolis Gumusler Necropolis. Hierapolis Archaeology Museum, Turkey . Against an black background
  • Roman gold decorative jewellery head band, 1st century AD from Hierapolis Gumusler Necropolis. Hierapolis Archaeology Museum, Turkey
  • Roman gold decorative jewellery head band, 1st century AD from Hierapolis Gumusler Necropolis. Hierapolis Archaeology Museum, Turkey
  • Gothic box made from poplar wood with stucco reliefs, gold leaf gold decorations and traces of polychrome iron and brass 2nd quarter 15th century, possibly from Barcelona, Catalunya, Spain. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 12120. Against a white background.
  • Gothic box made from poplar wood with stucco reliefs, gold leaf gold decorations and traces of polychrome iron and brass 2nd quarter 15th century, possibly from Barcelona, Catalunya, Spain. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 12120. Against a black background.
  • Gothic box made from poplar wood with stucco reliefs, gold leaf gold decorations and traces of polychrome iron and brass 2nd quarter 15th century, possibly from Barcelona, Catalunya, Spain. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 12120. Against a light grey background.
  • Gothic box made from poplar wood with stucco reliefs, gold leaf gold decorations and traces of polychrome iron and brass 2nd quarter 15th century, possibly from Barcelona, Catalunya, Spain. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 12120. Against a grey textured background.
  • Gothic box made from poplar wood with stucco reliefs, gold leaf gold decorations and traces of polychrome iron and brass 2nd quarter 15th century, possibly from Barcelona, Catalunya, Spain. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 12120.
  • Roman bust of Alexander the Great, 2nd cent B.C bronze with gold leaf. The head is from a smaller than life size statue. The elongated curls, the parted locks and the diadem that fastens the hair at the back, are clear indications that the head is a portrait of the Macedonian King Alexander the Great (356-323 B.C.). Inv 66177, The National Roman Museum, Rome, Italy
  • Roman bust of Alexander the Great, 2nd cent B.C bronze with gold leaf. The head is from a smaller than life size statue. The elongated curls, the parted locks and the diadem that fastens the hair at the back, are clear indications that the head is a portrait of the Macedonian King Alexander the Great (356-323 B.C.). Inv 66177, The National Roman Museum, Rome, Italy
  • Roman bust of Alexander the Great, 2nd cent B.C bronze with gold leaf. The head is from a smaller than life size statue. The elongated curls, the parted locks and the diadem that fastens the hair at the back, are clear indications that the head is a portrait of the Macedonian King Alexander the Great (356-323 B.C.). Inv 66177, The National Roman Museum, Rome, Italy
  • Medieval Gothic gold leaf funerary mask, end of 13th century made in Limoges. AD. From the Priory of Papillaye, Maine et Loire, the death mask came from the tomb of Herbert Lasnier who died in 1290. inv 6485, 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.
  • Gothic panel of the (Virgin Mary) Madonna of Humility. Polychrome and gold leaf on wood, circa 1433-1435. The Virgin is seated on a cushion on the floor holding the baby Jesus. She hand a jug with roses a symbol of motherhood and purity. Behind her a gold curtain is held by three angels, while two others are sitting on the floor are playing the organ and lute. The skill of the use of light and shade and the fine brushwork points to an artist of great skill using the Quattrocento style. The piece has been identified as that described by the writer on art Giorgia Vasari in 1568 which was owned Gondi family in Florence.. Inv MNAC 212817. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Painted Gothic panels from the Altarpiece of the Virgin of the Angels.<br />
From Left - San John the Baptist, Santa Mary Magdele, St. James the Less, St. Paul.Tempera and gold leaf on wood, circa 1385 by by Pere Serra  from the Cathedral of Tortosa (Tarragona). Inv MNAC 3950, 3948, 3949. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Painted Gothic panels from the Altarpiece of the Virgin of the Angels.<br />
From Left - San John the Baptist, Santa Mary Magdele, St. James the Less, St. Paul.Tempera and gold leaf on wood, circa 1385 by by Pere Serra  from the Cathedral of Tortosa (Tarragona). Inv MNAC 3950, 3948, 3949. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Painted Gothic panels from the Altarpiece of the Virgin of the Angels.<br />
From Left - San Peter, Santa Clara, Saint James the Greater, St. John the Evangelist. Tempera and gold leaf on wood, circa 1385 by by Pere Serra  from the Cathedral of Tortosa (Tarragona). Inv MNAC 3950, 3948, 3949. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Painted Gothic panels from the Altarpiece of the Virgin of the Angels.<br />
From Left - San Peter, Santa Clara, Saint James the Greater, St. John the Evangelist. Tempera and gold leaf on wood, circa 1385 by by Pere Serra  from the Cathedral of Tortosa (Tarragona). Inv MNAC 3950, 3948, 3949. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Painted Gothic panels from the Altarpiece of the Virgin of the Angels.<br />
From Left - San Peter, Santa Clara, Saint James the Greater, St. John the Evangelist. Tempera and gold leaf on wood, circa 1385 by by Pere Serra  from the Cathedral of Tortosa (Tarragona). Inv MNAC 3950, 3948, 3949. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Painted Gothic panels from the Altarpiece of the Virgin of the Angels.<br />
From Left - San Peter, Santa Clara, Saint James the Greater, St. John the Evangelist. Tempera and gold leaf on wood, circa 1385 by by Pere Serra  from the Cathedral of Tortosa (Tarragona). Inv MNAC 3950, 3948, 3949. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of Saint Barbara by Goncal Peris Sarria. Tempera and gold leaf on wood. Date Circa 1410-1425. Dimesions 278 x 207.7 x 17 cm. At the beginning of the 20th century, the altarpiece was kept in the parish church of Puertomingalvo (Teruel), but it could originally have come from the chapel of Santa Bárbara near this town. This altarpiece is attributed to the painter Gonçal Peris Sarrià, one of the chief representatives of Valencian International Gothic. His style is marked by expressive and picturesque elements, the flowing line and the charm of the colour. The main compartment of the altarpiece represents the titular saint with her distinctive attributes –the tower, in allusion to her imprisonment, and the palm, as she is considered a martyr-- and above her the Calvary. On either side are depicted various episodes from the life of Saint Barbara, who was called on to keep away lightning and storms. . National Museum of Catalan Art, Barcelona, Spain, inv no: 035672-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Virgin of the Angels by  Enrique de Estencop. Tempera, stucco reliefs and gold leaf on wood. 1391-1392. Dimensions 142.2 x 99 x 8 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 064025-000
  • Gothic painted Panel Virgin of the Angels by  Enrique de Estencop. Tempera, stucco reliefs and gold leaf on wood. 1391-1392. Dimensions 142.2 x 99 x 8 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 064025-000
  • Gothic painted Panel Virgin of the Angels by  Enrique de Estencop. Tempera, stucco reliefs and gold leaf on wood. 1391-1392. Dimensions 142.2 x 99 x 8 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 064025-000
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Altarpiece of Saint Vincent by  Master of Estopanya. Tempera and gold leaf on wood. Circa 1350-1370. 199 x 255 x 10 cm. Comes from Estopanyà (Baixa Ribagorça, Huesca).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003940-CJT
  • Gothic painted Panel Altarpiece of the Annunciation  by the Circle of Ferrer and Arnau Bassa. Tempera and gold leaf on wood. Circa 1347-1360. 282.9 x 151 x 11 cm. The origin of this panel has traditionally been associated with the collegiate church of Sant Vicenç de Cardona (Bages). National Museum of Catalan Art, Barcelona, Spain, inv no: 015855-000
  • Gothic painted Panel Altarpiece of Saint Vincent by  Master of Estopanya. Tempera and gold leaf on wood. Circa 1350-1370. 199 x 255 x 10 cm. Comes from Estopanyà (Baixa Ribagorça, Huesca).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003940-CJT
  • Gothic painted Panel Altarpiece of the Annunciation  by the Circle of Ferrer and Arnau Bassa. Tempera and gold leaf on wood. Circa 1347-1360. 282.9 x 151 x 11 cm. The origin of this panel has traditionally been associated with the collegiate church of Sant Vicenç de Cardona (Bages). National Museum of Catalan Art, Barcelona, Spain, inv no: 015855-000
  • Gothic painted Panel Altarpiece of the Annunciation and Three Kings of the Epiphany by the Circle of Ferrer and Arnau Bassa. Tempera and gold leaf on wood. Circa 1347-1360. 282.9 x 151 x 11 cm. The origin of this panel has traditionally been associated with the collegiate church of Sant Vicenç de Cardona (Bages). National Museum of Catalan Art, Barcelona, Spain, inv no: 015855-000
  • Gothic painted Panel Altarpiece of the Annunciation and Three Kings of the Epiphany by the Circle of Ferrer and Arnau Bassa. Tempera and gold leaf on wood. Circa 1347-1360. 282.9 x 151 x 11 cm. The origin of this panel has traditionally been associated with the collegiate church of Sant Vicenç de Cardona (Bages). National Museum of Catalan Art, Barcelona, Spain, inv no: 015855-000

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