• Light Brown refined cane sugar
  • White refined Sugar cubes
  • White refined Sugar cubes
  • Granulated white Sugar against a white background
  • Rough cut white sugar cubes
  • Granulated white Sugar against a white background
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Pictures of the stone sculptured monumental tomb erected in memory of the Marquis Gio.Carlo Di Negro, one of the most famous personalities of nineteenth-century Genoa, refined man of the world, friend and protector of writers and artists, cosmopolitan intellectual and poet. On the sarcophagus, decorated with the emblem and emblems of intellectual and poetic activity (zither, books, laurel crowns), a bas-relief depicts a biblical episode of Genesis, the welcome offered by Abraham to the three angels, probable allusion to the virtue of hospitality, practiced in life by the deceased. Sculptor Carlo Rubatto 1861. Section A, no 5, The Staglieno Monumental Cemetery, Genoa, Italy
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Rough cut white refined sugar cubes
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.
  • Ager Apostles: James and Thaddeus<br />
<br />
Late XI - XII century<br />
Fresco transferred to canvas from the Church of St. Peter Anger, Noguera, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1958. MNAC 65467<br />
<br />
Romanesque fresco ascribed to the so-called Pedret Painters of Ager.  Typical of this school is the composition or refinement in the modeling of faces with characteristic forehead, cheeks and neck, which show the quality of Painters. San Ager was one of the main centers of religious and political centres in the south of Urgell.

FunkyStock Picture Library Resource

Picture The Past

ABOUT

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.

Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

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

VIEW COUNTRIES INDEX....

HISTORICAL

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.

EXPLORE HISTORICAL PLACES...

MUSEUMS

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.

SEE MUESEUM ANTIQUITIES....