• St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island, Mount's Bay, Cornwall, England, United Kingdom.
  • St Michael’s Mount tidal island,  Mount's Bay, Cornwall, England, United Kingdom.
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel - In Dawn Mist  - Brittany - France
  • Mont Saint-Michel Abbey - Brittany - France
  • Mont Saint-Michel - Panorama at kow tide - Brittany - France
  • Mont Saint-Michel at sunset - Brittany - France
  • Mont Saint-Michel - At night - Brittany - France
  • Mont Saint-Michel - Houses & Abbey - Brittany - France
  • Mont Saint-Michel - Houses & Abbey - Brittany - France
  • Mont Saint-Michel - Abbey Tower - Brittany - France
  • Mont Saint-Michel - Houses & Abbey - Brittany - France
  • Mont Saint-Michel - Houses & Abbey - Brittany - France
  • Mont Saint-Michel - Houses & Abbey - Brittany - France
  • Mont Saint-Michel - Main Street- Brittany - France
  • Mont Saint-Michel - Main Street- Brittany - France
  • Mont Saint-Michel - Town Wall and main Street - Brittany - France
  • Mont Saint-Michel - Town Wall and main Street - Brittany - France
  • Mont Saint-Michel - Post Office & Abbey - Brittany - France
  • Mont Saint-Michel Town Walls - Brittany - France
  • Mont Saint-Michel at low tide with Saint Auberts Chapel and Gabriel's Tower- Brittany - France
  • Saint Aubert's Chapel - Mont Saint-Michel - Brittany - France
  • Saint Aubert's Chapel - Mont Saint-Michel - Brittany - France
  • Saint Aubert's Chapel - Mont Saint-Michel - Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel wall and abbey - Brittany - France
  • Mont Saint-Michel at High Tide - Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel - Abbey Lift Winch Wheel - Brittany - France
  • Mont Saint-Michel - Panorama at low tide - Brittany - France
  • Mont Saint-Michel - Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Saint Aubert's Chapel - Mont Saint-Michel - Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel - In Dawn Mist  - Brittany - France
  • Mont Saint-Michel - Panorama at kow tide - Brittany - France
  • Mont Saint-Michel- Hatloft & Gabriel Fort - Brittany - France
  • Mont Saint-Michel - Brittany - France
  • Mont Saint-Michel - Brittany - France
  • Mont Saint-Michel - Houses & Abbey - Brittany - France
  • Mont Saint-Michel - Houses & Abbey - Brittany - France
  • Mont Saint-Michel - Town Wall and main Street - Brittany - France
  • Mont Saint-Michel -  EWood Tiled Roof - Brittany - France
  • Mont Saint-Michel- Town Walls- Brittany - France
  • Mont Saint-Michel Town Walls - Brittany - France
  • Mont Saint-Michel Town Walls - Brittany - France
  • Mont Saint-Michel - Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel at low tide- Brittany - France
  • Mont Saint-Michel wall at high tide - Gabriel Tower & Hayloft  - Brittany - France
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic altarpiece of Archangel Michael ( Sant Miguel Arcangel) by Blasco de Branen of Saragossa, circa 1435-1445 , tempera and gold leaf on for wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114741. Against a white background.
  • Gothic altarpiece of Archangel Michael ( Sant Miguel Arcangel) by Blasco de Branen of Saragossa, circa 1435-1445 , tempera and gold leaf on for wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114741.
  • Gothic altarpiece of Archangel Michael ( Sant Miguel Arcangel) by Blasco de Branen of Saragossa, circa 1435-1445 , tempera and gold leaf on for wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114741. Against a grey art background.
  • Gothic altar panel depicting St Michael sleighing the dragon. End of the 13th century, tempera on a spruce wooden panel  from  The Church of Sant Miguel de Soriguerola, Cerdanya, Huesca, Spain. Inv MNAC 43901. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic altarpiece of Archangel Michael ( Sant Miguel Arcangel) by Blasco de Branen of Saragossa, circa 1435-1445 , tempera and gold leaf on for wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114741. Against a black background.
  • Gothic altarpiece of Archangel Michael ( Sant Miguel Arcangel) by Blasco de Branen of Saragossa, circa 1435-1445 , tempera and gold leaf on for wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114741. Against a art background.
  • Gothic Altarpiece of Archangel Michael ( Sant Miguel Arcangel) by Blasco de Branen of Saragossa, circa 1435-1445 , tempera and gold leaf on for wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114741.
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic altar panel depicting St Michael sleighing the dragon. End of the 13th century, tempera on a spruce wooden panel  from  The Church of Sant Miguel de Soriguerola, Cerdanya, Huesca, Spain. Inv MNAC 43901. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Sculpture of St Michael killing a dragon on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Gothic altar panel depicting St Michael weighing the souls at the Last Judgement. End of the 13th century, tempera on a spruce wooden panel  from  The Church of Sant Miguel de Soriguerola, Cerdanya, Huesca, Spain. Inv MNAC 43901. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelius was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Original Roman bronze statue of Emperor Marcus Aurelius on horseback. 175 AD. Marcus Aurelus was the last of the Five Good Emperors, and is also considered one of the most important Stoic philosophers. In 1979 it was discovered that the the equestrian statue of Marcus Aurelius, in the courtyard of the Capitline Museum, had suffered badly from corrosion, particularly in its legs. The staue was removed from Michael Angelo’s plinth and was transferred to the National Instution for the Restoration of works of art for preservation. On the 11th of April 1990 the restored statue was returned to the Cpitaline courtyard and covered with a glass protective casing. The glass box ruined the design of Michael Angelo’s courtyard and it was decided to make a copy to display in the courted and move the original into the Capitoiline Musuem. This is a rare example of a bronze equestrian statue as it became common practice for the Romans in the late empire to melt down bronze statues to mint coins. The Capitoline Museums, Rome
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.   Against a grey background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a black background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia. Against a grey art background.
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows Archangel Michael fighting a dragon. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Gothic altar panel depicting St Michael weighing the souls at the Last Judgement. End of the 13th century, tempera on a spruce wooden panel  from  The Church of Sant Miguel de Soriguerola, Cerdanya, Huesca, Spain. Inv MNAC 43901. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows Archangel Michael fighting a dragon. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Romanesque frescoes depicting Archangel Michael Killing a dragon  from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Byzantine mosaic of the Virgin and Child was the first of the post-iconoclastic mosaics inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I.  Hagia Sophia, Istanbul, Turkey
  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
  • 6th-7th Century Eastern Roman Byzantine  Christian Terracotta tiles depicting two Peacocks - Produced in Byzacena -  present day Tunisia. <br />
<br />
<br />
The patterns of peacock tails contain round decorations. These were seen to be the symbolic eyes of omnipotence and often ascribed to the Archangel Michael. The peacock’s feather is sometimes associated with St. Barbara Also, The peacock, (due to an ancient myth that Peacock flesh did not decay), is seen as a symbol of immortality.<br />
<br />
These early Christian terracotta tiles were mass produced thanks to moulds. Their quadrangular, square or rectangular shape as well as the standardised sizes in use in the different regions were determined by their architectonic function and were designed to facilitate their assembly according to various combinations to decorate large flat surfaces of walls or ceilings. <br />
<br />
Byzacena stood out for its use of biblical and hagiographic themes and a richer variety of animals, birds and roses. Some deer and lions were obviously inspired from Zeugitana prototypes attesting to the pre-existence of this province's production with respect to that of Byzacena. The rules governing this art are similar to those that applied to late Roman and Christian art with, in the case of Byzacena, an obvious popular connotation. Its distinguishing features are flatness, a predilection for symmetrical compositions, frontal and lateral representations, the absence of tridimensional attitudes and the naivety of some details (large eyes, pointed chins). Mass production enabled this type of decoration to be widely used at little cost and it played a role as ideograms and for teaching catechism through pictures. Painting, now often faded, enhanced motifs in relief or enriched them with additional details to break their repetitive monotony.<br />
<br />
The Bardo National Museum Tunis, Tunisia.  Against a white background.
  • Romanesque frescoes depicting Archangel Michael Killing a dragon  from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting a Byzantine style angels with Archangel Michael, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting a Byzantine style angels with Archangel Michael, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows Archangel Michael fighting a dragon. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • Apse of Saint Peter de la Seu d'Urgell<br />
<br />
Second quarter of the twelfth century<br />
Fresco transferred to canvas<br />
From the church of St. Peter currently dedicated to St. Michael and St. Peter Cathedral group of Seu d'Urgell (Alt Urgell)<br />
<br />
Acquisition of the Museum Board Campaign 1919-1923<br />
MNAC 15867<br />
<br />
<br />
The apse is the most important part of the church as it was where the altar was located. The apse of La Seu d'Urgell like most Romanesque apses was decorated with frescoes of a Theophany (referring to images of the Incarnation of Jesus).High up in the semi circular cupola of the apse is a large image of Christ in Majesty, or Christ Pantocrator, in a mandorla, a pointed verticle oval shaped aureola which surrounds the figures of Christ and the Virgin Mary in traditional Christian art.  This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. In the middle register is are a series of  frescoes of the Apostles and the figure of Mary. The lower register, which has not been preserved, must have been painted curtains that imitated luxury fabrics.
  • The 11th century Roman Byzantine Church of the Holy Saviour in Chora and its mosaic of Michael Palialogos VIII. Endowed between 1315-1321  by the powerful Byzantine statesman and humanist Theodore Metochites. Kariye Museum, Istanbul
  • Byzantine mosaic of the Virgin and Child was the first of the post-iconoclastic mosaics inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I.  Hagia Sophia, Istanbul, Turkey
  • Byzantine mosaic of the Virgin and Child was the first of the post-iconoclastic mosaics inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I.  Hagia Sophia, Istanbul, Turkey
  • Byzantine mosaic of the Virgin and Child was the first of the post-iconoclastic mosaics inaugurated on 29 March 867 by Patriarch Photius and the emperors Michael III and Basil I.  Hagia Sophia, Istanbul, Turkey
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  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
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  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French
  • Cancale ; Oysters ; oyster ; Creuse ; Creuses ; Huitre ; Huitres ; Pleines ; Mer ; Brittany ; famous ; sea ; seafood ; food ; shell ; shell fish ; fresh ; produce ; production ; farm ; farms ; Mont Saint-Michel; Mont; Saint; Michel; Mount; St; Michael; France; Bay ;  travel; tourist; traveller; sight; tour; visitors; tide; French

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