• Plutone or Neptune statue with a small dolphin in his hand , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Whale statue , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of a tortoise, a symbol of the feminine power of the waters and their godess Aphrodite or Venus, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • La Nuda Abbandonate, the abandoned nude sleeping nymph statue, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • sculpture of Orcus (l'orco) king of the underworld, with an incription"abondon all reason ye who enter here", a refernece from Dantes Inferno, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of a dragon, representing wisdom,  fighting a dog and wolf, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Sculture of an elephant with a castle on its back a popular Renaissance icon of power recalling Hanibals victories, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Plutone or Neptune statue with a small dolphin in his hand , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Wrestling Giants Staue, reprenting the battle of Hercules, good, and Caucus, evil, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Whale statue , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • sculpture of Orcus (l'orco) king of the underworld, with an incription"abondon all reason ye who enter here", a refernece from Dantes Inferno, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of a tortoise, a symbol of the feminine power of the waters and their godess Aphrodite or Venus, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • sculpture of Orcus (l'orco) king of the underworld, with an incription"abondon all reason ye who enter here", a refernece from Dantes Inferno, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of a dragon, representing wisdom,  fighting a dog and wolf, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of a dragon, representing wisdom,  fighting a dog and wolf, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Sculture of an elephant with a castle on its back a popular Renaissance icon of power recalling Hanibals victories, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Wrestling Giants Staue, reprenting the battle of Hercules, good, and Caucus, evil, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of Echidina, mother of the many enemies of Hercules, vainly in love with Glauco, the sea God, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Pegasus fountain, a tribute to the Farnese family, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Plutone or Neptune statue with a small dolphin in his hand , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Plutone or Neptune statue with a small dolphin in his hand , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Sculpture commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of Cabero the trhree haeded guardian of the underworld, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of Cabero the trhree haeded guardian of the underworld, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Sphinx, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Sphinx, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Wrestling Giants Staue, reprenting the battle of Hercules, good, and Caucus, evil, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Plutone or Neptune statue with a small dolphin in his hand , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Venus staue, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Pegasus fountain, a tribute to the Farnese family, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Wrestling Giants Staue, reprenting the battle of Hercules, good, and Caucus, evil, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • The Etruscan bench with the inscription "you who have travelled the world wishing to see great stupendous marvels, come here, where there are horrendous faces, elephants, lions, bears, orcs and dragons", commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • The Etruscan bench with the inscription "you who have travelled the world wishing to see great stupendous marvels, come here, where there are horrendous faces, elephants, lions, bears, orcs and dragons", commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • The Theatre, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • La Nuda Abbandonate, the abandoned nude sleeping nymph statue, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Furia Alta, Winged Fury, a greek and Etruscan deity that was important to the Romans as a guardian of national glory and fertility of the soil, hence the basket on her head, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of Ceres, Roman "nurse" godess, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Furia Alta, Winged Fury, a greek and Etruscan deity that was important to the Romans as a guardian of national glory and fertility of the soil, hence the basket on her head, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of Echidina, mother of the many enemies of Hercules, vainly in love with Glauco, the sea God, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of Echidina, mother of the many enemies of Hercules, vainly in love with Glauco, the sea God, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of Echidina, mother of the many enemies of Hercules, vainly in love with Glauco, the sea God, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of Echidina, mother of the many enemies of Hercules, vainly in love with Glauco, the sea God, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • sculpture of Orcus (l'orco) king of the underworld, with an incription"abondon all reason ye who enter here", a refernece from Dantes Inferno, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • sculpture of Orcus (l'orco) king of the underworld, with an incription"abondon all reason ye who enter here", a refernece from Dantes Inferno, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of Ceres, Roman "nurse" godess, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of a dragon, representing wisdom,  fighting a dog and wolf, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of a dragon, representing wisdom,  fighting a dog and wolf, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of a dragon, representing wisdom,  fighting a dog and wolf, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Sculture of an elephant with a castle on its back a popular Renaissance icon of power recalling Hanibals victories, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Temple built to the memory of Giulia Farnese by her husband Pier Francesco Orsini, Duke of Babarzo c. 1513-84, The Renaissance Mannerist style Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Temple built to the memory of Giulia Farnese by her husband Pier Francesco Orsini, Duke of Babarzo c. 1513-84, The Renaissance Mannerist style Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Temple built to the memory of Giulia Farnese by her husband Pier Francesco Orsini, Duke of Babarzo c. 1513-84, The Renaissance Mannerist style Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • La Nuda Abbandonate, the abandoned nude sleeping nymph statue, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • sculpture of Orcus (l'orco) king of the underworld, with an incription"abondon all reason ye who enter here", a refernece from Dantes Inferno, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • sculpture of Orcus (l'orco) king of the underworld, with an incription"abondon all reason ye who enter here", a refernece from Dantes Inferno, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Temple built to the memory of Giulia Farnese by her husband Pier Francesco Orsini, Duke of Babarzo c. 1513-84, The Renaissance Mannerist style Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • Urban textures - peeling paint on wood
  • Urban textures - peeling paint on wood
  • Natural texture of wood outside a swiss chalet - Grindelwald, Swiss Alps, Switzerland
  • Natural texture of wood outside a swiss chalet - Grindelwald, Swiss Alps, Switzerland
  • Wood natural textures
  • Close up of paint and wood  textures on old wooden fishing boats
  • Close up of paint and wood  textures on old wooden fishing boats
  • Close up of paint and wood  textures on old wooden fishing boat. Dunwich, Suffolk, England
  • Statue of a dragon, representing wisdom,  fighting a dog and wolf, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Temple built to the memory of Giulia Farnese by her husband Pier Francesco Orsini, Duke of Babarzo c. 1513-84, The Renaissance Mannerist style Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of Echidina, mother of the many enemies of Hercules, vainly in love with Glauco, the sea God, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Temple built to the memory of Giulia Farnese by her husband Pier Francesco Orsini, Duke of Babarzo c. 1513-84, The Renaissance Mannerist style Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • sculpture of Orcus (l'orco) king of the underworld, with an incription"abondon all reason ye who enter here", a refernece from Dantes Inferno, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Wrestling Giants Staue, reprenting the battle of Hercules, good, and Caucus, evil, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Wrestling Giants Staue, reprenting the battle of Hercules, good, and Caucus, evil, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • La Nuda Abbandonate, the abandoned nude sleeping nymph statue, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Whale statue , commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • statue of a tortoise, a symbol of the feminine power of the waters and their godess Aphrodite or Venus, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of Ceres, Roman "nurse" godess, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of a dragon, representing wisdom,  fighting a dog and wolf, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Casa Pendente, a leaning house  commissioned by Piaer Francesco Orsini c. 1513-84, in The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Statue of the head of Proteus, son of Neptune, the globe and castle on its head symolises the castle of Orsini and its rule over the world, commissioned by Piaer Francesco Orsini c. 1513-84, The Renaissance Mannerist statues of the Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Temple built to the memory of Giulia Farnese by her husband Pier Francesco Orsini, Duke of Babarzo c. 1513-84, The Renaissance Mannerist style Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • Temple built to the memory of Giulia Farnese by her husband Pier Francesco Orsini, Duke of Babarzo c. 1513-84, The Renaissance Mannerist style Park of Monsters or The Sacred Wood of Bamarzo, Italy
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • natural textures - old weathered wood texrure
  • Urban textures - peeling paint on wood
  • Urban textures - peeling paint on wood
  • Urban textures - peeling paint on wood
  • Urban textures - peeling paint on wood
  • Urban textures - peeling paint on wood
  • Natural texture of wood outside a swiss chalet - Grindelwald, Swiss Alps, Switzerland
  • Natural texture of wood outside a swiss chalet - Grindelwald, Swiss Alps, Switzerland
  • Natural texture of wood outside a swiss chalet - Grindelwald, Swiss Alps, Switzerland
  • Natural texture of wood outside a swiss chalet - Grindelwald, Swiss Alps, Switzerland
  • Wood natural textures
  • Wood natural textures
  • Wood natural textures
  • Wood natural textures
  • Wood natural textures
  • Close up of paint and wood  textures on old wooden fishing boat. Dunwich, Suffolk, England
  • Close up of paint and wood  textures on old wooden fishing boat. Dunwich, Suffolk, England
  • Close up of paint and wood  textures on old wooden fishing boats
  • Close up of paint and wood  textures on old wooden fishing boats
  • Close up of paint and wood  textures on old wooden fishing boats
  • Close up of paint and wood  textures on old wooden fishing boat. Dunwich, Suffolk, England
  • Wood natural textures
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. Bottom left is a painting of the Three Kings.
  • Medieval wood carving of Adam on the gate house of the  finest fortified medieval manor house in England built in the 1280s, Stokesay Castle, Shropshire, England
  • Berber arabesque wood painted  panel.The Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber arabesque wood painted  panel.The Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber Arabesque painted wood door and Zellige tile floor.The Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber arabesque painted wood ceiling.The Petite Court, Bahia Palace, Marrakesh, Morroco
  • Berber arabesque wood inlaid ceiling.The Petite Court, Bahia Palace, Marrakesh, Morroco
  • 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.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. Bottom left is a painting of the Three Kings.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. Top left depicts the nativity scene with Mary, Joseph, the Shepherds and Christ in a manger.
  • 16th century  Renaissance Gothic style stalls with wood sculptures & inlays ordered by cardinal Georges d'Ambrose of Rouen. The Gothic Cathedral Basilica of Saint Denis ( Basilique Saint-Denis ) Paris, France.  A UNESCO World Heritage Site.
  • Alpine Wood Cranesbill ( geranium sylvaticum ). Bernese Alps, Switzerland
  • Alpine Wood Cranesbill ( geranium sylvaticum ). Bernese Alps, Switzerland
  • Ornamental carved wood Szekely village farm gate. Transylvania, Romania.
  • Ornamental carved wood Szekely village farm gate. Transylvania, Romania.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting the Virgin Mary in the style of “Our Lady of the Way”. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • 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.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon

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