• The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • The Italian Chapel constructed of 2 nissen huts in 1942 at Italian prisoner of war Camp 60 next to Sapa Flow. The Italian inmates under the direction of their priests Father Giacobazzi and Domenico Chiocchetti decorated the interior with Trompe-l’œil stonework and murals to resemble the interior of a Roman Catholic painted church. Lamb Holm, Orkney, Scotland
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.<br />
After Christ is a Pope also pierced by a spear, as are all the human figures in the mural.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Crucifiction fresco on the Church of San Vigilio in Pinzolo, part of its mural painting “the Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Reconstruction of a geometric wall painting of building 77 of the north area, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontruction of a wall painting found in building no 2 of the north area. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day.  The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows Archangel Michael fighting a dragon. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel  shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows Archangel Michael fighting a dragon. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day.  The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel  shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day.  The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel shows Archangel Michael fighting a dragon. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel  shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The men are hunting a boar. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk. The hunters are believed by scholors to be wearing leopard skin costumes, Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The men are hunting an animal. Reconstructed houses, Painted by Mutlu Gundiler. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The men are hunting a deer and pulling on its tounge to disable it. The hunters are believed by scholors to be wearing leopard skin costumes, Reconstructed houses, Painted by Mutlu Gundiler. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Close up of a recontructed fresco of an original found at Catalhoyuk. The depicted men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original found at Catalhoyuk depicting two animals being hunted. The men are wearing what scolars believe were leopard skin costumes. Painted by Mutlu Gundiler. Reconstructed houses, 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a black background
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a gray mottled background
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a black background
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • painted leopard relief. The people of Catalhoyuk had a special religious meaning with leopards. These platered reliefs have many coats of plater indicating their long term importance. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a gray mottled background
  • Recontructed fresco of what are possibly two leopards found at Catalhoyuk. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Recontructed fresco of an original hunting scene found at Catalhoyuk. Reconstructed houses, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Aurochs skulls covered in lime plaster to make waht appear to be seats. On the wall are frescoes of hand prints will a platererd bulls skull. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A close up of a clay oven in a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A clay oven below a ladder which led to the main entrance via the roof, which also allowed smoke out. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • An exposed skeleton which were found in pits under the floors of some houses. On the wall are frescoes of what look like vultures, Scholars belive that dead bodies were subject to excarnation which means that their flesh was stripped from the body to leave the skeleton. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A clay oven below a ladder which led to the main entrance via the roof, which also allowed smoke out. A reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Reconstruction of 4 Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. The leopard frescoes on the wall were not found in this room reconstruction. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Reconstruction of 4 Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. The leopard frescoes on the wall were not found in this room reconstruction. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • A plastered bull skull and frescoes of a reconstruction of one of four Catalhoyuk houses to help archaeologists understand the finished structure of excavated ruins. 7500 BC to 5700 BC, Catalyhoyuk Archaeological Site, Çumra, Konya, Turkey
  • Fresco depicting a scematic arial view of the square houses of Catalhoyuk with the volcanic mout Hasan behind. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara.
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara.
  • Hunting scene. A deer and wild boar are depicted being hunted with people using bows and arrows. One person is depcted trying to net the boar. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a black background
  • Hunting scene. A deer and wild boar are depicted being hunted with people using bows and arrows. One person is depcted trying to net the boar. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • Detail of wall fresco depicting figure moving. 6000 BC. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara.
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara.
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara.
  • Hunting scene. A deer and wild boar are depicted being hunted with people using bows and arrows. One person is depcted trying to net the boar. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • Hunting scene. A deer and wild boar are depicted being hunted with people using bows and arrows. One person is depcted trying to net the boar. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • Hunting scene. A deer and wild boar are depicted being hunted with people using bows and arrows. One person is depcted trying to net the boar. 6000 BC,  Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a gray mottled background
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a black background
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara.
  • Fresco of human figures around a deer. None of the figures carry weapons and some a dressed in leopard costumes. The figures seem to be trying to hold on or touch the deer amd one figure appears to be holding its tongue. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a gray mottled background
  • Fresco of a scene in which a pair of Cranes stand opposite two wild deer. The head of one of the birds is missing. 6000 BC, Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Detail of wall fresco depicting figure moving. 6000 BC. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Detail of wall fresco depicting figure moving wearing a leopard costume. 6000 BC. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Detail of wall fresco depicting figure moving wearing a leopard costume. 6000 BC. Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a white background
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a black background
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a grey background
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara
  • Wall fresco of geometric red and black triangles which appears to be a rug pattern copy. 6000 BC. . Catalhoyuk Collections. Museum of Anatolian Civilisations, Ankara. Against a gray mottled background
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Nobility, Knights and a beggar pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Noble Women pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” ( Danza macabra)  painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Next to the pope is a cardinal, a cleric and a monk all of whom have succumbed to the arrows of the skeletons. This tableau is a reminder to the hierarchy of the church that even they are not immune from death.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The procession continues with a depiction of a king then nobility followed by knights and soldiers and a beggar man with no legs. Between each figure are skeletons holding bows and arrows, banners with writings on them or a shovel to dig a grave.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The Mural depicts the living who have been pierced with arrows from skeletons waiting to see if they will go to heaven or to Purgatory of Hell
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy<br />
<br />
The Mural depicts the living who have been pierced with arrows from skeletons waiting to see if they will go to heaven or to Purgatory of Hell
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.<br />
<br />
 To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will.
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
Nobility, Knights and a beggar pierced with an arrow from the skeletons that are either side of him and represent dead.
  • Exterior of the Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy,<br />
<br />
An archbishop pierced with an arrow from the skeletons that are either side of him and represent dead.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth. <br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. To the right of the skeletons playing music is a depiction of the crucification. Christ is depicted on the cross with an arrow in him that has been fired by a skeleton with a bow. This suggests that because Christ was a man he suffered the fate of death as we all will. After Christ is a Pope also pierced by a spear, as are all the human figures in the mural. Next to the pope is a cardinal, a cleric and a monk all of whom have succumbed to the arrows of the skeletons. This tableau is a reminder to the hierarchy of the church that even they are not immune from death. The procession continues with a depiction of a king then nobility followed by knights and soldiers and a beggar man with no legs. Between each figure are skeletons holding bows and arrows, banners with writings on them or a shovel to dig a grave. After the beggar mad there are figures of women ending with a small skeleton and a cherub. To the far right a skeleton on a horse is riding into the procession holding a bow and arrow ready to far. To procession ends with the Angel Gabriel and the devil discussing the fates of the those in the procession as to whether they go to Heaven or to Purgatory and Hell.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy.<br />
<br />
The mural continues for another 21 meters with a long procession with 40 figures. The Mural opens on its left with a skeleton on the throne, bearing a sceptre and the crown and playing a bagpipe. These skeletons are playing the music which is the backdrop to “Dance of Death” ( Danza macabra ) and suggests that they are playing with our fate on earth.
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • The Church of San Vigilio in Pinzolo and its fresco paintings “Dance of Death” painted by Simone Baschenis of Averaria in1539, Pinzolo, Trentino, Italy
  • Religious murals depicting the Crucifiction painted by the  Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Assyrian wall painting fragments depicting a winged bull and a procession of priests from Til Barsip, called 'Kar Salmansar' by King Shalmaneser III in the 9th century BC, now Tell Ahmar, located on the Euphrates in north Syria. From the rule of Telgat-pileser III (774-727 BC) and Ashurbanipal (662-627BC).  Louvre Museum , Paris
  • Assyrian wall painting fragments depicting the king and a Genie from Til Barsip, called 'Kar Salmansar' by King Shalmaneser III in the 9th century BC, now Tell Ahmar, located on the Euphrates in north Syria. From the rule of Telgat-pileser III (774-727 BC) and Ashurbanipal (662-627BC).  Louvre Museum , Paris
  • Assyrian wall painting fragments depicting Assyrian Charits from Til Barsip, called 'Kar Salmansar' by King Shalmaneser III in the 9th century BC, now Tell Ahmar, located on the Euphrates in north Syria. From the rule of Telgat-pileser III (774-727 BC) and Ashurbanipal (662-627BC).  Louvre Museum , Paris
  • Assyrian wall painting fragments depicting Assyrian Charits from Til Barsip, called 'Kar Salmansar' by King Shalmaneser III in the 9th century BC, now Tell Ahmar, located on the Euphrates in north Syria. From the rule of Telgat-pileser III (774-727 BC) and Ashurbanipal (662-627BC).  Louvre Museum , Paris
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals of Madonna with Child attributed to Antonio Baschenis (C. 1474 -1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of Saint Antonio Abate an a throne above with the canonical symbols of a bell and piglet, above the main portal, Sined by Cristoforo I Baschenis, 1474, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of Saint Antonio Abate an a throne above with the canonical symbols of a bell and piglet, above the main portal, Sined by Cristoforo I Baschenis, 1474, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of St Christopher with Christ on his shoulders by Dionislo Baschenis, dated 1493, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of St Christopher with Christ on his shoulders by Dionislo Baschenis, dated 1493, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of St Christopher with Christ on his shoulders by Dionislo Baschenis, dated 1493, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious mural of St Christopher with Christ on his shoulders by Dionislo Baschenis, dated 1493, on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals by Baschenis family ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy
  • Religious murals depicting the Life of St Antonio Abate by Dionisio Baschenis ( circa 1493) on the exterior of the Gothic Church of San Antonio Abate,  Pelugo, Province of Trento, Italy

FunkyStock Picture Library Resource

Picture The Past

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FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

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COUNTRIES

Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

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Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

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Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

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