• Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of the Apostles in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of the Apostles in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of the Apostles in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco  in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of the Apostles in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of  St Mark in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of the Apostles in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of St Luke in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of an angel in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of an angel in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Aisle of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Aisle of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Exterior of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Exterior of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of Christ Pantocrator in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of the Apostles in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Romanesque fresco of an angel in the altar vault of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Painted arch of the Romanesque of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • Exterior of the Norman Church of St Mary's Kempley Gloucestershire, England, Europe
  • 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”.
  • 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
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Byzantine Deësis ( Entreaty) mosaic , 1261, in which John The Virgin Mary shown in three-quarters profile, are imploring the intercession of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • Byzantine Deësis ( Entreaty) mosaic , 1261, in which John The Virgin Mary shown in three-quarters profile, are imploring the intercession of Christ Pantocrator for humanity on Judgment Day.   Hagia Sophia, Istanbul, Turkey
  • 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 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”.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a white background.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a black background.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a art background.
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain. Against a grey art background.
  • 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”.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • 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
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • 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 thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Statues of the Virgin Mary flanked by the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Virgin Mary flanked by the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Virgin Mary flanked by the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Virgin Mary flanked by the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Virgin Mary flanked by the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Gothic Altarpiece of Madonna and Child enthroned with angels byPero di Giovanni known as "Lorenzo Monaco" of Sienna and Florence, circa 1415-1420, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212808.<br />
<br />
The Virgin Mary is seated with the child standing on her lap, in an attitude of blessing, accompanied by angels with incentives. The composition is very simple and fuses Sienese and Florentine pictorial traditions in the style of Lorenzo Monaco, monk of the convent of Santa Maria degli Angeli in Florence and the last representative of the style of Giotto before the Renaissance revival of Fra Angelico.
  • 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
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Statue of  of Saint Reparata on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Bronze doors of the Porta Maggiore, by Amalia Dupre.  Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Roase window and facade of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The right door mosaic and the fine Gothic architectural detail  of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The right door mosaic and the fine Gothic architectural detail and Rose window of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The main central door ( Porta Maggiore ) mosaic and the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statue of  of Saint Reparata on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Panoramic view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • View of the Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), and its campinale & Baptistry  from Piazza del Duomo.  Built between 1293 & 1436. Italy
  • View of the Dome of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), from the campinale.  Built between 1293 & 1436. Italy
  • Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • View of the Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), and its campinale & Baptistry  from Piazza del Duomo.  Built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Bronze doors of the Porta Maggiore, by Amalia Dupre.  Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Roase window and facade of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The main central door ( Porta Maggiore ) mosaic and the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The main central door ( Porta Maggiore ) mosaic and the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Sculpture of  Cardinal Pietro Valeriani (Valerianus Legatus), who blessed the Duomo's foundations in 1296.on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Bishop Agostino Tinacci (Tinaccius Episc.), who blessed the first pilaster in 1357  on  the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statue of Pope Eugene IV (1383 - 25 February 1447), born Gabriele Condulmer, was pope from 3 March 1431 until his death on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statue of  of Saint Reparata on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • View of the Dome of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), from the campinale.  Built between 1293 & 1436. Italy
  • Panoramic view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • View of the Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), and its campinale & Baptistry  from Piazza del Duomo.  Built between 1293 & 1436. Italy
  • View of the Dome of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), from the campinale.  Built between 1293 & 1436. Italy
  • View of the Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), and its campinale & Baptistry  from Piazza del Duomo.  Built between 1293 & 1436. Italy
  • Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Bronze doors of the Porta Maggiore, by Amalia Dupre.  Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Bronze doors of the Porta Maggiore, by Amalia Dupre.  Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Roase window and facade of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Roase window and facade of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • A detail crop of the lunette, pediment and tondo and the 14th c. sculptures. Note the file size. The lunette sculpture set is a ?Virgin and Child with Two Angels? by Lorenzo di Giovanni d'Ambroglio. In the tondo are two figures wrapping Christ in his shroud, supported by two angels in the lower spaces. The Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Theright door mosaic and the fine Gothic architectural detail and Rose window of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The main central door ( Porta Maggiore ) mosaic and the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Sculpture of  Cardinal Pietro Valeriani (Valerianus Legatus), who blessed the Duomo's foundations in 1296.on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Bishop Agostino Tinacci (Tinaccius Episc.), who blessed the first pilaster in 1357  on  the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statue of Pope Eugene IV (1383 - 25 February 1447), born Gabriele Condulmer, was pope from 3 March 1431 until his death on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statue of  of Saint Reparata on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statue of  of Saint Reparata on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Central doors  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • View of the Dome of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), from the campinale.  Built between 1293 & 1436. Italy
  • Panoramic view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • View of the Dome of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), from the campinale.  Built between 1293 & 1436. Italy
  • View of the Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), and its campinale & Baptistry  from Piazza del Duomo.  Built between 1293 & 1436. Italy
  • View of the Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ), and its campinale & Baptistry  from Piazza del Duomo.  Built between 1293 & 1436. Italy
  • Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Fresco of the Last Judgement on the inside of the Dome by Vasari, begun in 1568, and completed by Federico Zuccaro in 1579. Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Bronze doors of the Porta Maggiore, by Amalia Dupre.  Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Gothic windows and architectural detail  of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Gothic windows and architectural detail  of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The tondo relief of Christ with his hands tied on central door of the fine Gothic architectural detail  of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statues of the Apostles and the  the fine Gothic architectural detail of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The right door mosaic and the fine Gothic architectural detail and Rose window of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • The right door mosaic and the fine Gothic architectural detail and Rose window of  the  of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • close up of Gothic bas-relief sculptures on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • close up of Gothic bas-relief sculptures on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • close up of Gothic bas-relief sculptures on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • close up of Gothic bas-relief sculptures on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • close up of Gothic bas-relief sculptures on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Statue of  of Saint Reparata on the facade of  the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ).  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Campinale  of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) from the top of the Dome.  Built between 1293 & 1436. Italy
  • Facade of the the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Rooftop view of the Gothic-Renaissance Duomo of Florence,  Basilica of Saint Mary of the Flower; Firenza ( Basilica di Santa Maria del Fiore ) built between 1293 & 1436. Italy
  • Memorial plaques at the Shrine to the Virgin Mary in The Stone Gate entrance Kamenita Vrata) to Zagreb's Gornji Grad, Croatia
  • Memorial plaques at the Shrine to the Virgin Mary in The Stone Gate entrance Kamenita Vrata) to Zagreb's Gornji Grad, Croatia
  • Shrine to the Virgin Mary in The Stone Gate entrance Kamenita Vrata) to Zagreb's Gornji Grad, Croatia
  • Shrine to the Virgin Mary in The Stone Gate entrance Kamenita Vrata) to Zagreb's Gornji Grad, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • Romaesque facade of the church of St Mary - date from 1105 - Zadar, Croatia
  • St Mary's Koledata Church (1221) Kotor Montenegro
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Assumption of Mary Pilgrimage Church in the middle of  Lake Bled Slovenia.
  • Pantheon. the 2nd century Roman temple to all Roman Gods built by the Emperor Trajan. Now the Roman Catholic  church of St. Mary and the Martyrs. Rome
  • Pantheon. the 2nd century Roman temple to all Roman Gods built by the Emperor Trajan. Now the Roman Catholic  church of St. Mary and the Martyrs. Rome
  • Pantheon. the 2nd century Roman temple to all Roman Gods built by the Emperor Trajan. Now the Roman Catholic  church of St. Mary and the Martyrs. Rome
  • Pantheon. the 2nd century Roman temple to all Roman Gods built by the Emperor Trajan. Now the Roman Catholic  church of St. Mary and the Martyrs. Rome
  • Pantheon. the 2nd century Roman temple to all Roman Gods built by the Emperor Trajan. Now the Roman Catholic  church of St. Mary and the Martyrs. Rome
  • Pantheon. the 2nd century Roman temple to all Roman Gods built by the Emperor Trajan. Now the Roman Catholic  church of St. Mary and the Martyrs. Rome
  • Pantheon. the 2nd century Roman temple to all Roman Gods built by the Emperor Trajan. Now the Roman Catholic  church of St. Mary and the Martyrs. Rome
  • Pantheon. the 2nd century Roman temple to all Roman Gods built by the Emperor Trajan. Now the Roman Catholic  church of St. Mary and the Martyrs. Rome
  • religious monument to the virgin Mary shrine, Palermo, Sicily
  • wood panel with The Virgin Mary and Child - Amalfi Cathedral Museum, Italy
  • wood panel with The Virgin Mary and Child - Amalfi Cathedral Museum, Italy
  • 14th century fresco of the Virgin Mary and child, Amalfi Cathedral museum, Italy
  • 12th Century Byzantine mosaic of  The Madonna & Child,  Hagia Sophia, Istanbul, Turkey
  • 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
  • Gothic altarpiece of Madonna and Child possibly by Francesco del Cossa of Ferrara, circa 1460, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  64971.
  • Gothic altarpiece of Madonna and Child by Niccolo di Tommaso, circa 1362-1367, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212809. Against a art background.
  • Gothic wooden statue of Madonna and Child from Bohemia, circa 1530-1540, tempera and gold leaf on wood,.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  65506.
  • Gothic wooden statue of Madonna and Child from Bohemia, circa 1530-1540, tempera and gold leaf on wood,.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  65506. Against a art background.
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting the Magi or Three Kings from the Nativity, 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 Magi or Three Kings from the Nativity, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Paris - France - Notre Dame - Front with Sataues and Towers
  • Gothic altarpiece of Madonna and Child and the Saints, by Rossello di Jacopo Franchi, from Florence, 1st quarter of 15th century.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15932.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. Against a black background. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. Against a art background. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
<br />
SPANISH<br />
<br />
Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic painted panel of the Nativity scene by Taddeo Gabbi of Florence, circa 1325, tempera and gold leaf on wood. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 212807. Against a grey art background. <br />
Taddeo Gabbi, one of Giotto's most brilliant disciples, painted this Nativity when he was still part of Giotto's workshop. The painting has many of Giotto's hallmarks such as  spatial illusionism or the reality of figures that can be seen in the nativity of the Peruzzi Chapel.<br />
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SPANISH<br />
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Taddeo Gabbi, uno de los discipulos mas brillantes de Giotto, debio pintar esta Natividad cuando aun formaba parte del taller del maestro. En ella se ven las conquistas de la "revolucion giottesca", como el illusioismo espacial o el realismo de las figuras. Maria arropa a Jesus dentro del establo, mientras los sobrevuela un grupo de angeles. La posicion de uno de ellos y la presencia de una oveja indican que la composicion se completaba a la izquierda con el Anuncio a los pastores. En primer termino aparecen un pensativo Jose y las dos parteras que susurran, un recurso ya utilizado pr Giotto en los frescos de la Capilla Peruzzi.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806. Against a white background.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806. Against a black background.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806. Against a art background.
  • Gothic altarpiece of Madonna and Child by Bernardo Daddi, circa 1340-1345, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212806. Against a grey art background.
  • Gothic altarpiece of Madonna Of Humility With The Eternal Father In Glory, by Cenni di Francesco di Ser Cenni of Florence, circa 1375-80, tempera and gold leaf on wood. The Madonna and Child are depicted with the 12 apostles. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212805. Against a black background.
  • Gothic altarpiece of Madonna Of Humility With The Eternal Father In Glory, by Cenni di Francesco di Ser Cenni of Florence, circa 1375-80, tempera and gold leaf on wood. The Madonna and Child are depicted with the 12 apostles. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212805. Against a white background.

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