• 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”.
  • 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”.
  • 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 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”.
  • 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 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”.
  • 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”.
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • Matterhorn mountain peak - Swiss Alps - Switzerland
  • Matterhorn mountain peak - Swiss Alps - Switzerland
  • Matterhorn mountain peak - Swiss Alps - Switzerland
  • Paragliders over the Matterhorn mountain peak - Swiss Alps - Switzerland
  • Paragliders over the Gornergletscher  glacier above Zermatt Switzerland
  • Paragliders over the Gornergletscher  glacier above Zermatt Switzerland
  • Matterhorn Mountain - Swiss Alps
  • Matterhorn Mountain - Swiss Alps
  • the Matterhorn mountain peak - Swiss Alps - Switzerland
  • the Matterhorn mountain peak - Swiss Alps - Switzerland
  • the Matterhorn mountain peak - Swiss Alps - Switzerland
  • the Matterhorn mountain peak - Swiss Alps - Switzerland
  • Paragliders over the Matterhorn mountain peak - Swiss Alps - Switzerland
  • the Matterhorn mountain peak - Swiss Alps - Switzerland
  • Paragliders over the Matterhorn mountain peak - Swiss Alps - Switzerland
  • the Gornergletscher glacier viewed from Gornergrat. Zermatt .
  • Paragliders over the Matterhorn mountain peak - Swiss Alps - Switzerland
  • the Gornergletscher glacier viewed from Gornergrat. Zermatt .
  • The Matterhorn or Monte Cervino mountain peak, Zermatt, Switzerland
  • Paragliders over the Matterhorn mountain peak - Swiss Alps - Switzerland
  • the Matterhorn mountain peak - Swiss Alps - Switzerland
  • the Matterhorn mountain peak - Swiss Alps - Switzerland
  • Royal rock tombs of Pontus including Mithridates I, died 266 BC. Amasya, Turkey
  • Plazza Umberto,  Érice, Erice, Sicily stock photos.
  • Courtyard of a house in Érice, Erice, Sicily stock photos.
  • Royal rock tombs of Pontus including Mithridates I, died 266 BC. Amasya, Turkey
  • Royal rock tombs of Pontus including Mithridates I, died 266 BC. Amasya, Turkey
  • Royal rock tombs of Pontus including Mithridates I, died 266 BC. Amasya, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel at sunset, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel at sunrise, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel at sunrise, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel at sunrise, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel at sunrise, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel at sunrise, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Ottoman villas of Amasya along the banks of the river Yeşilırmak, below the Pontic Royal rock tombs and mountain top ancient citadel, Turkey
  • Toretta Popoli and the Castello di Vénere [ Venere ] Érice, Erice, Sicily stock photos.
  • Pottery drain pipes Érice, Erice, Sicily stock photos.
  • The Trinacria, Sicilian symbol, Érice, Erice, Sicily stock photos.
  • Pottery suns and  Trinacria in tourist shops and Sicilian pottery Érice, Erice, Sicily stock photos.
  • Pottery suns and  Trinacria in tourist shops and Sicilian pottery Érice, Erice, Sicily stock photos.
  • Tourist shops and Sicilian pottery plates  Érice, Erice, Sicily stock photos.
  • Tourist shops and Sicilian pottery Érice, Erice, Sicily stock photos.
  • Tourist shops and Sicilian pottery Érice, Erice, Sicily stock photos.
  • Roof top view of Érice, Erice, Sicily stock photos.
  • View of Trapani from  Érice, Erice, Sicily stock photos.
  • View of Trapani  and its salt pans with Favignanana Island in the distance from  Érice, Erice, Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Towers of the church of San Martimo, Érice, Erice, Sicily stock photos.
  • Towers of the church of San Martimo, Érice, Erice, Sicily stock photos.
  • View from  Érice, Erice, Sicily stock photos.
  • Church of San Dominica , Érice, Erice, Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Bell of Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Torre de Re Frederico 2nd, Érice Duomo [Erice cathedral], Sicily stock photos.
  • Church of San Martimo, Érice, Erice, Sicily stock photos.
  • Church of San Martimo, Érice, Erice, Sicily stock photos.
  • Small passage through the walls of Érice, Erice, Sicily stock photos.
  • Polished stones of the roads of Érice, Erice, Sicily stock photos.
  • Narrow lanes of Érice, Erice, Sicily stock photos.
  • Narrow lanes of Érice, Erice, Sicily stock photos.
  • Narrow lanes of Érice, Erice, Sicily stock photos.
  • Courtyard of a house in Érice, Erice, Sicily stock photos.
  • Courtyard of a house in Érice, Erice, Sicily stock photos.
  • Medieval stone work in Érice, Erice, Sicily stock photos.
  • Medieval stone work in Érice, Erice, Sicily stock photos.
  • Medieval stone work in Érice, Erice, Sicily stock photos.
  • Polished stones of the roads of Érice, Erice, Sicily stock photos.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Torretta Pepoli, picturesque castle, Erice, Sicily , colour photo.
  • Castello di Vénere [ Venere ] Érice, Erice, Sicily stock photos.
  • Toretta Popoli and the Castello di Vénere [ Venere ] Érice, Erice, Sicily stock photos.
  • Toretta Popoli and the Castello di Vénere [ Venere ] Érice, Erice, Sicily stock photos.
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined Chimney of a Cornish Tin Mine, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined Chimney of a Cornish Tin Mine, Cornwall
  • Ruined Chimney of a Cornish Tin Mine, Cornwall
  • Ruined Chimney of a Cornish Tin Mine, Cornwall
  • Ruins of Botallack Tin Mine, Near St Agnes, Cornwall
  • Engine houses of Levant Tin Mine, Cornwall
  • Engine houses of Levant Tin Mine, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • Ruined engine houses of Botallack Tin Mine, Near St Agnes, Cornwall
  • The Duomo & Bapistry of Pisa, Italy
  • The Leaning Tower Of Pisa, Italy
  • The Leaning Tower Of Pisa, Italy
  • Romanesque frescoes of the Apostles from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Twelfth century Romanesque frescoes of the Apse of Ginestarre depicting,The Virgin Mary and the Apostles, from the church of Santa Maria de Ginestarre, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15971
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Romanesque frescoes of a Griffen typical of Catalan Court painting from 1200. From the ancient monastery of San Pedro de Arlanza, Buros, Spain. Painted around 1210. National Art Museum of Catalonia, Barcelona. MNAC 40142
  • Twelfth Century Romanesque fresco of Christ Pentocrator (In Majesty) from the Apse of the church of Sant Vicenc *Vincent) de Cardona, Barges, Spain. Painted around 1200. National Art Museum of Catalonia, Barcelona. MNAC 200715
  • Second half of the twelfth Century Romanesque frescoes of the Apse d’Esterri de Cardos. The church of Sant Pau d’Estirri de Cardos, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15970
  • Twelfth Century Romanesque fresco from the church of Santa Maria de Taull, La Vall de Boi, Alta Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. MNAC 3915
  • Twelfth Century Romanesque fresco of Christ Pentocrator (In Majesty) from the Apse of the church of Sant Vicenc *Vincent) de Cardona, Barges, Spain. Painted around 1200. National Art Museum of Catalonia, Barcelona. MNAC 200715
  • Twelfth Century Romanesque fresco of the Madonna and Child from the church of Santa Maria de Taull, La Vall de Boi, Alta Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. MNAC 3915
  • Twelfth Century Romanesque fresco of the soldier spearing the side of Jesus on the cross of Calvary from the church of Santa Maria de Taull, La Vall de Boi, Alta Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. MNAC 3915
  • Second half of the twelfth Century Romanesque frescoes of the Apse d’Esterri de Cardos depicting Christ Pantocrator. The church of Sant Pau d’Estirri de Cardos, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15970
  • Twelfth Century Romanesque fresco of The Calling of St.. Andrew & St. Peter fishing from the church of Santa Maria de Taull, La Vall de Boi, Alta Ribagorca, Spain. National Art Museum of Catalonia, Barcelona. MNAC 3915
  • Second half of the twelfth Century Romanesque frescoes of the Apse d’Esterri de Cardos depicting Christ Pantocrator. The church of Sant Pau d’Estirri de Cardos, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15970
  • Second half of the twelfth Century Romanesque frescoes of the Apse d’Esterri de Cardos depicting Christ Pantocrator. The church of Sant Pau d’Estirri de Cardos, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15970
  • Second half of the twelfth Century Romanesque frescoes of the Apse d’Esterri de Cardos depicting a Byzantine style angel. The church of Sant Pau d’Estirri de Cardos, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15970
  • Second half of the twelfth Century Romanesque frescoes of the Apse d’Esterri de Cardos depicting Christ Pantocrator. The church of Sant Pau d’Estirri de Cardos, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15970
  • Second half of the twelfth Century Romanesque frescoes of the Apse d’Esterri de Cardos depicting Christ Pantocrator. The church of Sant Pau d’Estirri de Cardos, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15970
  • Romanesque painted altar front from Santa Maria Gia, Spain, showing the temptaion of Saint Martin.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 3902.
  • Twelfth Century Romanesque fresco from the Apse of the church of Santa Maria de Mur, Casrell de Mur, Pallars Jussa, Spain. Painted around 1150. National Art Museum of Catalonia, Barcelona. MNAC 68710
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain.  National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain.  National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain.  National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain.  National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Romanesque frescoes of St. Steven of Andorra (Sant Esteve) from the church of Sant Esteve d’Andorra, painted around 1200-1210,  Andorra la Vella. National Art Museum of Catalonia, Barcelona. MNAC 35706
  • 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.
  • Romanesque frescoes of Apse of St. Steven of Andorra (Sant Esteve) from the church of Sant Esteve d’Andorra, painted around 1200-1210,  Andorra la Vella. National Art Museum of Catalonia, Barcelona. MNAC 35711
  • Romanesque frescoes of Apse of St. Steven of Andorra (Sant Esteve) from the church of Sant Esteve d’Andorra, painted around 1200-1210,  Andorra la Vella. National Art Museum of Catalonia, Barcelona. MNAC 35711
  • Romanesque frescoes of the St. Paul from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of Apse of St. Steven of Andorra (Sant Esteve) from the church of Sant Esteve d’Andorra, painted around 1200-1210,  Andorra la Vella. National Art Museum of Catalonia, Barcelona. MNAC 35711
  • Romanesque frescoes of the Virgin Mary from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of the Virgin Mary and Peter from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of the Apostle Paul from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of St. Peter from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of the Apostles from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of the Apostles from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of the Apostles from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of the Apostles from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes depicting Christ Pantocrator from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Romanesque frescoes depicting the an Angel with the Eagle that symbolises the St John the Evangelist from the church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Romanesque frescoes depicting the Apostles from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Romanesque frescoes depicting the Apostles from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Romanesque frescoes depicting Christ Pantocrator and the Apostles from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Romanesque frescoes depicting Archangel Michael Killing a dragon  from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Romanesque frescoes depicting the Apostles from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Romanesque frescoes depicting Christ Pantocrator from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Romanesque frescoes  from the Church of Sant Miguel d’Engolasters, Les Escaldes, Andorra.. Painted around 1160. National Art Museum of Catalonia, Barcelona. MNAC 15972
  • Twelfth Century Romanesque frescoes of the Apse d’Estaon. The church of Santa Eulalia d’Estaon, Vall de Cardos, Pollars Sobira, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting scenes from the middle register showing the Baptism of Christ by John The Baptist,  from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting Christ Pantocrator ( In Majesty) surrounded by Byzantine style angels, and below scenes from the Baptism of Christ, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth Century Romanesque frescoes of the Apse d’Estaon. The church of Santa Eulalia d’Estaon, Vall de Cardos, Pollars Sobira, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting scenes from the middle register showing the Baptism of Christ by John The Baptist,  from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting a Byzantine style angels with Archangel Michael, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting a Byzantine style angels with Archangel Gabriel,  from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting Christ Pantocrator ( In Majesty) surrounded by Byzantine style angels, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • The Romanesque Apse of Sant Clement de Taull<br />
<br />
Around 1123, Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi,Alta Ribagorca, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15806, 15860, 15966, 15968, 22996<br />
<br />
<br />
Romanesque frescoes depicting Christ in Majesty *Pantocrator) in the upper Apse and the Virgin  Mary and the Apostles in the central register.
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123, The inorgaration plaque for the church. National Art Museum of Catalonia, Barcelona. MNAC 15806,
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting The virgin Mary and the Apostles.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123..  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting The virgin Mary and the Apostles.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting The virgin Mary and the Apostles.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting The virgin Mary and the Apostles.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • The Romanesque Apse of Sant Clement de Taull<br />
<br />
Around 1123, Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi,Alta Ribagorca, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15806, 15860, 15966, 15968, 22996<br />
<br />
<br />
Romanesque frescoes depicting Christ in Majesty *Pantocrator) in the upper Apse and the Virgin  Mary and the Apostles in the central register.
  • Eleventh Century Romanesque frescoes of the side Apse of Sant Quirze de Pedret showing the parabel of the Ten Virgins from the Gospel of St. Matthew. The church of Sant Quize de Padret, Cercs, Bergueda, Sapin. National Art Museum of Catalonia, Barcelona. MNAC 15973
  • Eleventh Century Romanesque frescoes of the side Apse of Sant Quirze de Pedret showing the parabel of the Ten Virgins from the Gospel of St. Matthew. The church of Sant Quize de Padret, Cercs, Bergueda, Sapin. National Art Museum of Catalonia, Barcelona. MNAC 15973
  • Eleventh Century Romanesque frescoes of the side Apse of Sant Quirze de Pedret showing the parabel of the Ten Virgins from the Gospel of St. Matthew. The church of Sant Quize de Padret, Cercs, Bergueda, Sapin. National Art Museum of Catalonia, Barcelona. MNAC 15973
  • Eleventh Century Romanesque frescoes of the side Apse of Sant Quirze de Pedret showing the parabel of the Ten Virgins from the Gospel of St. Matthew. The church of Sant Quize de Padret, Cercs, Bergueda, Sapin. National Art Museum of Catalonia, Barcelona. MNAC 15973
  • Eleventh Century Romanesque frescoes of the side Apse of Sant Quirze de Pedret showing the parabel of the Ten Virgins from the Gospel of St. Matthew. The church of Sant Quize de Padret, Cercs, Bergueda, Sapin. National Art Museum of Catalonia, Barcelona. MNAC 15973
  • Eleventh Century Romanesque frescoes of the side Apse of Sant Quirze de Pedret showing the parabel of the Ten Virgins from the Gospel of St. Matthew. The church of Sant Quize de Padret, Cercs, Bergueda, Sapin. National Art Museum of Catalonia, Barcelona. MNAC 15973
  • Eleventh Century Romanesque frescoes of the side Apse of Sant Quirze de Pedret showing the parabel of the Ten Virgins from the Gospel of St. Matthew. The church of Sant Quize de Padret, Cercs, Bergueda, Sapin. National Art Museum of Catalonia, Barcelona. MNAC 15973
  • Twelfth century Romanesque frescoes of the Apse of Ginestarre depicting,The Virgin Mary and the Apostles, from the church of Santa Maria de Ginestarre, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15971
  • Twelfth century Romanesque frescoes of the Apse of Ginestarre depicting, from right to left, The Virgin Mary, Peter and the Apostles, from the church of Santa Maria de Ginestarre, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15971
  • Twelfth century Romanesque frescoes of the Apse of Ginestarre, from the church of Santa Maria de Ginestarre, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15971
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting a scene from the Nativity with St. Joseph, Mary and the baby Christ, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting a scene from the Nativity with St. Joseph, Mary and the baby Christ, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting the Annociation of the Virgin and The Visitation with St. Elizabeth, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784

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