• Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • The Gökmedrese or Gök Medrese built in 1271 by Vizier Ata Faahreddin Ali. close up of the corner seljuk stone work. Sivas, Turkey
  • The Gökmedrese or Gök Medrese built in 1271 by Vizier Ata Faahreddin Ali. close up of the corner seljuk stone work. Sivas, Turkey
  • Bas relief sculpture decoration on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Round window  of  the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of St Peter on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Griffin sculpture on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of Christ  on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of the Last Judgement, doom day,  on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture St. Peter on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Bas relief sculpture decoration on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of the Last Judgement, doom day,  on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Round window  of  the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Round window  of  the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of a lion and a griffen on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of a man with two cows on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculpture of a man with two cows on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Sculptures on the 12th century Romanesque facade of the Chiesa di San Pietro extra moenia (St Peters), Spoletto, Italy
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Anglo Saxon cross shaft fragment - 800-899. The sculptures in the sandstone cross are geomentric patterns known as interlace or knot-work. Lindisfarne Abbey Museum, Holy Island, Northumberland, England
  • Limestone Sculpted relief Stele with inscription to King Sennacherib. The relief shows Assyrian King Sennacherib  praying in front of divine symbols. 705 - 681 B.C Nineveh ( Kuyunjik ) . The inscription tells of King Sennacherib's great feats of war and the building works in Nineveh. It starts " Sennacheribs, the great king, mighty king, king of the universe, king of the Assyria, king of the four regions of the wold, favourite of the great gods". It continues " I led my armies from one end of the earth to the other and brought in submission at my feet all princes, dwelling in palaces, of the four quarters of the world". of his great worked " I enlarged the site of Nineveh, my royal city, I made its market streets wider". further " The wall and outer wall I caused skilfully constructed and raised them mountain high. I widened them to 100 cubits ( 50m )". Istanbul Archaeological Exhibit no. 1.
  • South Porch, left Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. The tympanum, lintel and lower archivolts contain depictions of episodes in the martyrdom of Stephen. Christ between two kneeling angels. This is usually identified as the vision that Stephen saw during his martyrdom. Stephen saw Christ "standing at the right hand of God", and in this depiction, Christ is standing. .Lintel: Stephen led to his martyrdom (left) and the Stoning of Stephen (right). Archivolts: .Lowest register - More incidents in the Martyrdom of Stephen. A UNESCO World Heritage Site. ..
  • 16th century flamboyant gothic Astrological Clock in the choir screen  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. The chancel screen includes, on the south side, an impressive astrological clock dating from the 16th century. It told not only the time but the day of the week, the month of the year, the time of sunrise and sunset, the phase of the moon and the current sign of the zodiac. Its inner works were partially destroyed in 1793.
  • 16th century flamboyant gothic Astrological Clock in the choir screen  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. The chancel screen includes, on the south side, an impressive astrological clock dating from the 16th century. It told not only the time but the day of the week, the month of the year, the time of sunrise and sunset, the phase of the moon and the current sign of the zodiac. Its inner works were partially destroyed in 1793.
  • 16th century flamboyant gothic Astrological Clock in the choir screen  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. The chancel screen includes, on the south side, an impressive astrological clock dating from the 16th century. It told not only the time but the day of the week, the month of the year, the time of sunrise and sunset, the phase of the moon and the current sign of the zodiac. Its inner works were partially destroyed in 1793.
  • 16th century flamboyant gothic Astrological Clock in the choir screen  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. The chancel screen includes, on the south side, an impressive astrological clock dating from the 16th century. It told not only the time but the day of the week, the month of the year, the time of sunrise and sunset, the phase of the moon and the current sign of the zodiac. Its inner works were partially destroyed in 1793.
  • 16th century flamboyant gothic Astrological Clock in the choir screen  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. The chancel screen includes, on the south side, an impressive astrological clock dating from the 16th century. It told not only the time but the day of the week, the month of the year, the time of sunrise and sunset, the phase of the moon and the current sign of the zodiac. Its inner works were partially destroyed in 1793.
  • 16th century flamboyant gothic Astrological Clock in the choir screen  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. The chancel screen includes, on the south side, an impressive astrological clock dating from the 16th century. It told not only the time but the day of the week, the month of the year, the time of sunrise and sunset, the phase of the moon and the current sign of the zodiac. Its inner works were partially destroyed in 1793.
  • Pictures & images of the Church of the Assumption exterior close up of bas relief Georgian stone work around the doorway,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. It main portal has intricate geometric Georgian relief stone work and in its triangular tympanum are intricate stone carvings with Christ in a mondorla at its centre, and carvings of angels amongst  intricate foliage stone carvings.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work around the doorway,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. It main portal has intricate geometric Georgian relief stone work and in its triangular tympanum are intricate stone carvings with Christ in a mondorla at its centre, and carvings of angels amongst  intricate foliage stone carvings.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work around the doorway,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. It main portal has intricate geometric Georgian relief stone work and in its triangular tympanum are intricate stone carvings with Christ in a mondorla at its centre, and carvings of angels amongst  intricate foliage stone carvings.
  • Pictures & images of the Church of the Assumption exterior close up of bas relief Georgian stone work around the doorway,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. It main portal has intricate geometric Georgian relief stone work and in its triangular tympanum are intricate stone carvings with Christ in a mondorla at its centre, and carvings of angels amongst  intricate foliage stone carvings.
  • Pictures & images of the Church of the Assumption exterior close up of bas relief Georgian stone work,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list. <br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. It main portal has intricate geometric Georgian relief stone work
  • Pictures & images of the Church of the Assumption exterior close up of bas relief Georgian stone work,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list. <br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. It main portal has intricate geometric Georgian relief stone work
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of a crucifix and angel figures,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. Above the main door is a geometric stone relief of a crucifix which is the whole height of the facade. Either side of the crucifix are reliefs of the tree of life below which are reliefs of naive style angels.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of a crucifix and angel figures,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. Above the main door is a geometric stone relief of a crucifix which is the whole height of the facade. Either side of the crucifix are reliefs of the tree of life below which are reliefs of naive style angels.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of a crucifix and angel figures,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. Above the main door is a geometric stone relief of a crucifix which is the whole height of the facade. Either side of the crucifix are reliefs of the tree of life below which are reliefs of naive style angels.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of a crucifix and angel figures,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture. Above the main door is a geometric stone relief of a crucifix which is the whole height of the facade. Either side of the crucifix are reliefs of the tree of life below which are reliefs of naive style angels.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • Close up picture & image medieval Georgian architectural stone work of the medieval Khobi Monastery and Khobi Georgian Orthodox Cathedral, 10th -13th century, Khobi, Georgia.
  • picture & image of geometric stone work around a window of Samtavisi Georgian Orthodox Cathedral, 11th century, Shida Karti Region, Georgia (country)<br />
<br />
Built during the so called 10-11th century “Georgian Golden Era” Samtavisi cathedral is a built in classical Georgian style of the period. Layout on a cruciform ground plan with a high central cylindrical central cupola.
  • picture & image of exterior stone work decorations of the Samtavisi Georgian Orthodox Cathedral, 11th century, Shida Karti Region, Georgia (country)<br />
<br />
Built during the so called 10-11th century “Georgian Golden Era” Samtavisi cathedral is a built in classical Georgian style of the period. Layout on a cruciform ground plan with a high central cylindrical central cupola.
  • picture & image of exterior stone work decorations of the Samtavisi Georgian Orthodox Cathedral, 11th century, Shida Karti Region, Georgia (country)<br />
<br />
Built during the so called 10-11th century “Georgian Golden Era” Samtavisi cathedral is a built in classical Georgian style of the period. Layout on a cruciform ground plan with a high central cylindrical central cupola.
  • picture & image of exterior stone work decorations of the Samtavisi Georgian Orthodox Cathedral, 11th century, Shida Karti Region, Georgia (country)<br />
<br />
Built during the so called 10-11th century “Georgian Golden Era” Samtavisi cathedral is a built in classical Georgian style of the period. Layout on a cruciform ground plan with a high central cylindrical central cupola.
  • picture & image of extrior stone work decorations of the Samtavisi Georgian Orthodox Cathedral, 11th century, Shida Karti Region, Georgia (country)<br />
<br />
Built during the so called 10-11th century “Georgian Golden Era” Samtavisi cathedral is a built in classical Georgian style of the period. Layout on a cruciform ground plan with a high central cylindrical central cupola.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of angels,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.<br />
<br />
The exterior of The Church of the Assumption is highly decorated with Georgian bas relief sculpture.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work of the tree of life,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.
  • Pictures & images of the Church of the Assumption exterior bas relief Georgian stone work around the doorway,1689, Ananuri castle complex & Georgian Orthodox churches, 17th century, Georgia (country).<br />
<br />
Ananuri castle is situated next to the Military Road overlooking the Aragvi River in Georgia, about 45 miles (72 kilometres) from Tbilisi. It was the castle of the eristavis (Dukes) of Aragvi from the 13th century and was the scene of numerous battles. In 2007 Ananuri castle was enscribed on the   UNESCO World Heritage Site tentative list.
  • Medieval stone work in Érice, Erice, Sicily stock photos.
  • Medieval stone work in Érice, Erice, Sicily stock photos.
  • Medieval stone work in Érice, Erice, Sicily stock photos.
  • Detail of stone work - The Doge's Palace - Venice Italy.
  • Detail of stone work - The Doge's Palace - Venice Italy.
  • Detail of stone work - The Doge's Palace - Venice Italy.
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Gothic statues  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the North porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the North porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the North porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the North porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the North porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic statues  from the South Porch of Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • .West Facade, right Portal, left jam c. 1145,  Cathedral of Notre Dame, Chartres, France. Gothic statues of four elongated human figures. A UNESCO World Heritage Site. .
  • .West Facade, central Portal c. 1145,  Cathedral of Notre Dame, Chartres, France. Gothic statues of four elongated human figures with halos. The leftmost is a bearded man holding a book. The next is a crowned man with long hair and a beard also holding a book. The next is a crowned female with elaborate garments. The rightmost is a bearded, crowned man holding a scroll. Some scholars believe that the jamb figures are the ancestors of Christ.. A UNESCO World Heritage Site. .
  • .West Facade, Left Portal c. 1145,  Cathedral of Notre Dame, Chartres, France. Gothic statues of three elongated jamb statues are on the left side of the left portal. All have canopies and stand on figural bases. All hold books or scrolls. Their height increases from left to right. Note the figured columns between them.. A UNESCO World Heritage Site. .
  • South Porch, central Portal c. 1194-1230,  Cathedral of Notre Dame, Chartres, France. Gothic statues of from left to right they are .Paul, John, James Major and James Minor. A UNESCO World Heritage Site. .
  • South Porch, central Portal c. 1194-1230,  Cathedral of Notre Dame, Chartres, France. Gothic statues of from left to right they are .Paul, John and James Major A UNESCO World Heritage Site.
  • .South Porch, Right Portal c. 1194-1230,  Cathedral of Notre Dame, Chartres, France. Gothic statues of from left to right they are .Statues- Martin, Jerome and Gregory. A UNESCO World Heritage Site.
  • .South Porch, Right Portal, Left Jambs c. 1194-1230,  Cathedral of Notre Dame, Chartres, France. From left to right they are .1) Laumer (also called Lomer or Laudomarus), a local saint who was founder and Abbot of the nearby monastery of Corbion in the 6th century..2) Pope Leo I, an influential early Pope.3) a figure that is either Ambrose or Thomas Becket . A UNESCO World Heritage Site. .
  • .South Porch, Right Portal c. 1194-1230,  Cathedral of Notre Dame, Chartres, France. Gothic statues of from left to right they are .Statues- Martin, Jerome , Gregory and Avit . A UNESCO World Heritage Site.
  • Gothic statues holding a sundial from the Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Gothic sculpted columns from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • Gothic sculpted illustrated column capitals  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site. .
  • North Porch, Left Portal (Incarnation Portal), Tympanum- Gifts of the Magi and Dream of the Magi c 1194-1230, from the Cathedral of Chartres, France. At left is the Adoration of the Magi (Matthew 2:1)..Two Magi (crowned) stand at left, holding jars. One has a beard and the other is clean-shaven. The third Magus (bearded) kneels, handing a round object to the Christ Child, who sits on Mary's lap in the middle of the composition. Above them is the star of Bethlehem between two angels holding scrolls..At right is the Dream of the Magi. (Matthew 2:12).Two of the Magi (bearded, still crowned) lie sleeping on a bed at the lower right. The third Magus (beardless) appears behind them, with his eyes closed and his head propped up in his hand. Above is an angel with a scroll, one of the pair of angels who flank the star of Bethlehem at the top of the tympanum..Surrounding the central scene is the Inner archivolt. It contains angels holding candlesticks standing on clouds. Below The Virgin Mary (veiled) lies on a bed that is parallel to the panel plane. She raises one hand. The Christ Child (in swaddling clothes) is in a manger above the bed. Above him are the heads of the ox and the ass. They are probably a reference to Old Testament verses thought to be prophecies of the coming of the Messiah. Isaiah 1:3 says, "The ox knows his owner and the ass his maker's crib." There is a similar verse in Habakkuk. The apocryphal Protevangelium of James mentions only the ass. The Gospel of Pseudo-Matthew also says that an ox and an ass worshiped the Christ Child in the manger..Above are angels leaning out of a cloud and holding a long scroll.. A UNESCO World Heritage Site. .
  • .South Porch, Right Portal archivolts c. 1145. Cathedral of Chartres, France. Gothic statues of the archivolts on the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.. A UNESCO World Heritage Site. .
  • Gothic Archivolts from the Cathedral of Chartres, France.. A UNESCO World Heritage Site. .
  • West Facade, Left Portal archivolts c. 1145. Cathedral of Chartres, France. Gothic sculpture of the archivolts on which are the Signs of the Zodiac, this one is Scorpio the crab . See Fassler, pp 507-10.. A UNESCO World Heritage Site.
  • .South Porch, Right Portal archivolts c. 1145. Cathedral of Chartres, France. Gothic statues of the archivolts on the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.. A UNESCO World Heritage Site. .
  • West Facade, Left Portal archivolts c. 1145. Cathedral of Chartres, France. Gothic statues of the archivolts on which are the Signs of the Zodiac and the Labors of the Months. See Fassler, pp 507-10.. A UNESCO World Heritage Site. .
  • West Facade, Left Portal archivolts c. 1145. Cathedral of Chartres, France. Gothic statues of the archivolts on which are the Signs of the Zodiac and the Labors of the Months. See Fassler, pp 507-10.. A UNESCO World Heritage Site. .
  • North Porch, Central Portal, Right Archivolts c. 1194-1230. Cathedral of Chartres, France. The Jesse Tree shows the genealogy of Christ, based on the words of Isaiah's prophecy (Isaiah 11:1 " And there shall come forth a rod out of the root of Jesse, and a flower shall rise up out of his root.") The Innermost archivolt contains angels. The second and fifth archivolts from the centre contains Old Testament prophets, many nimbed and holding scrolls. The third and fourth archivolts contain seated figures of the royal ancestors of Christ, surrounded by foliage of the Jesse Tree. A UNESCO World Heritage Site. .
  • North Porch, Central Portal, left Archivolts c. 1194-1230. Cathedral of Chartres, France. The Jesse Tree shows the genealogy of Christ, based on the words of Isaiah's prophecy (Isaiah 11:1 " And there shall come forth a rod out of the root of Jesse, and a flower shall rise up out of his root.") The Innermost archivolt contains angels. The second and fifth archivolts from the centre contains Old Testament prophets, many nimbed and holding scrolls. The third and fourth archivolts contain seated figures of the royal ancestors of Christ, surrounded by foliage of the Jesse Tree. A UNESCO World Heritage Site.
  • North Porch, Central Portal, Right Archivolts c. 1194-1230. Cathedral of Chartres, France. The Jesse Tree shows the genealogy of Christ, based on the words of Isaiah's prophecy (Isaiah 11:1 " And there shall come forth a rod out of the root of Jesse, and a flower shall rise up out of his root.") The Innermost archivolt contains angels. The second and fifth archivolts from the centre contains Old Testament prophets, many nimbed and holding scrolls. The third and fourth archivolts contain seated figures of the royal ancestors of Christ, surrounded by foliage of the Jesse Tree. A UNESCO World Heritage Site. .
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • West Facade, Central Portal, Archivolts- Right c. 1145. Cathedral of Chartres, France . Gothic statues of figures, from  the center the inner archivolt contains figures of angels standing on clouds. They hold round objects. (Perhaps these are wheels- the symbol for the Thrones, one of the choirs of angels described in Old Testament Book of Ezekiel 1:13-19. - JV) .The outer archivolts (right) contain figures of the Elders of the Apocalypse (Apocalypse, Chapter 4). They are depicted as bearded, haloed men wearing crowns seated on thrones. Each holds a musical instrument (Apocalypse, 5:8). A UNESCO World Heritage Site.
  • North Porch, Central Portal, right Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from left,  of Isaiah. A UNESCO World Heritage Site.
  • North Porch, Central Portal, right Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from left,  of  Simeon holding the Christ Child. A UNESCO World Heritage Site.
  • North Porch, Central Portal, right Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from left,  of  John the Baptist holding the Agnus Dei. A UNESCO World Heritage Site.
  • North Porch, Central Portal, right Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from left,  of  John the Baptist holding the Agnus Dei. A UNESCO World Heritage Site.
  • North Porch, Central Portal, right Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from left,  of Simeon holding the Christ Child and  John the Baptist holding the Agnus Dei. A UNESCO World Heritage Site.
  • North Porch, Central Portal, right Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures of Jeremiah. A UNESCO World Heritage Site. .
  • North Porch, Central Portal, right Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures of, from left Isaiah and Jeremiah. A UNESCO World Heritage Site.
  • North Porch, Central Portal, right Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures of, from left 1) Isaiah 2) Jeremiah 3) Simeon holding the Christ Child. A UNESCO World Heritage Site.
  • North Porch, Central Portal, left Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from  the Old-Testament Priest/King Melchisedech holding a cup. A UNESCO World Heritage Site.
  • North Porch, Central Portal, Left Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures of, from left 1) the Old-Testament Priest/King Melchisedech holding a cup and Moses with the brazen serpent and the tablets of the Law. A UNESCO World Heritage Site. .
  • North Porch, Central Portal, left Jambs- General View c. 1194-1230. Cathedral of Chartres, France . Gothic statues of figures, from the left.1) the Old-Testament Priest/King Melchisedech holding a cup..2) Abraham sacrificing Isaac.3) Moses with the brazen serpent and the tablets of the Law.4) Samuel, sacrificing a lamb.5) King David.This portal was cleaned in the 1990's. The cleaning uncovered the yellowish sizing material that at one time served as a base for the paint and gilding which once decorated the figures.. A UNESCO World Heritage Site. .
  • West Facade, Central Portal - Right Jamb Figures- General View c. 1145. Cathedral of Chartres, France . Gothic statues of figures. The group to the left some scholars believe that the jamb figures are the ancestors of Christ.. A UNESCO World Heritage Site.
  • West Facade, Central Portal - Right Jamb Figures- General View c. 1145. Cathedral of Chartres, France . Gothic statues of figures. The group to the left some scholars believe that the jamb figures are the ancestors of Christ.. A UNESCO World Heritage Site.
  • West Facade, Central Portal - Right Jamb Figures- General View c. 1145. Cathedral of Chartres, France . Gothic statues of figures. The group to the left some scholars believe that the jamb figures are the ancestors of Christ.. A UNESCO World Heritage Site.
  • West Facade, Central Portal - Right Jamb Figures- General View c. 1145. Cathedral of Chartres, France . Gothic statues of figures. The group to the left some scholars believe that the jamb figures are the ancestors of Christ.. A UNESCO World Heritage Site.
  • West Facade, Central Portal - Right Jamb Figures- General View c. 1145. Cathedral of Chartres, France . Gothic statues of figures. The group to the left some scholars believe that the jamb figures are the ancestors of Christ.. A UNESCO World Heritage Site.
  • West Facade, Central Portal - Right Jamb Figures- General View c. 1145. Cathedral of Chartres, France . Gothic statues of figures that some scholars believe that the jamb figures are the ancestors of Christ.. A UNESCO World Heritage Site.
  • West Facade, Central Portal - Right Jamb Figures- General View c. 1145. Cathedral of Chartres, France . Gothic statues of figures that some scholars believe that the jamb figures are the ancestors of Christ.. A UNESCO World Heritage Site.
  • West Facade, Central Portal - Left Jamb Figures c. 1145. Cathedral of Chartres, France . Gothic statues on the left jamb of the central portal. All have haloes. The leftmost is a crowned woman whose hair is in long plaits; she holds a book. The central figure is a bearded man in a cap that resembles the ones worn by other jamb figures and by figures in the tympanum of the right portal. He holds an unidentified object. The figure nearest the portal is a bearded man holding a scroll and raising one hand- palm outwards- towards the viewer. A UNESCO World Heritage Site. .
  • West Facade, right Royal Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . Tympanum - Virgin and Child enthroned, flanked by angels..Upper Lintel - the Presentation at the Temple.Lower Lintel - Nativity Scenes (The Annunciation to the Virgin, the Visitation, the Nativity, Annunciation to the Shepherds).Inner archivolt - angels..Outer archivolts - Liberal Arts and their associated scribes. (See discussion in Katzenellenbogen, pp. 15-21 and in Kidson, pp. 20-1). On the bottom left are the Zodiac signs of Pisces and Gemini . A UNESCO World Heritage Site. .
  • West Facade, right Royal Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . Tympanum - Virgin and Child enthroned, flanked by angels..Upper Lintel - the Presentation at the Temple.Lower Lintel - Nativity Scenes (The Annunciation to the Virgin, the Visitation, the Nativity, Annunciation to the Shepherds).Inner archivolt - angels..Outer archivolts - Liberal Arts and their associated scribes. (See discussion in Katzenellenbogen, pp. 15-21 and in Kidson, pp. 20-1). On the bottom left are the Zodiac signs of Pisces and Gemini . A UNESCO World Heritage Site. .
  • West Facade, right Royal Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . Tympanum - Virgin and Child enthroned, flanked by angels..Upper Lintel - the Presentation at the Temple.Lower Lintel - Nativity Scenes (The Annunciation to the Virgin, the Visitation, the Nativity, Annunciation to the Shepherds).Inner archivolt - angels..Outer archivolts - Liberal Arts and their associated scribes. (See discussion in Katzenellenbogen, pp. 15-21 and in Kidson, pp. 20-1). On the bottom left are the Zodiac signs of Pisces and Gemini . A UNESCO World Heritage Site. .
  • West Facade, right Royal Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . Tympanum - Virgin and Child enthroned, flanked by angels..Upper Lintel - the Presentation at the Temple.Lower Lintel - Nativity Scenes (The Annunciation to the Virgin, the Visitation, the Nativity, Annunciation to the Shepherds).Inner archivolt - angels..Outer archivolts - Liberal Arts and their associated scribes. (See discussion in Katzenellenbogen, pp. 15-21 and in Kidson, pp. 20-1). On the bottom left are the Zodiac signs of Pisces and Gemini . A UNESCO World Heritage Site. .
  • West Facade, Left Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . The tympanum of the left door shows the Ascension or the Second Coming. Christ (crossed halo) stands on a cloud, supported by two angels. Below are four angels (descending from the clouds?) Some of them have their mouths open (singing?). On the lintel below are ten seated men holding books or scrolls and looking upward (apostles?). On the archivolts are the Signs of the Zodiac and the Labors of the Months.. A UNESCO World Heritage Site.
  • West Facade, Left Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . The tympanum of the left door shows the Ascension or the Second Coming. Christ (crossed halo) stands on a cloud, supported by two angels. Below are four angels (descending from the clouds?) Some of them have their mouths open (singing?). On the lintel below are ten seated men holding books or scrolls and looking upward (apostles?). On the archivolts are the Signs of the Zodiac and the Labors of the Months.. A UNESCO World Heritage Site.
  • West Facade, Left Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . The tympanum of the left door shows the Ascension or the Second Coming. Christ (crossed halo) stands on a cloud, supported by two angels. Below are four angels (descending from the clouds?) Some of them have their mouths open (singing?). On the lintel below are ten seated men holding books or scrolls and looking upward (apostles?). On the archivolts are the Signs of the Zodiac and the Labors of the Months.. A UNESCO World Heritage Site.
  • West Facade, Left Portal - General View of Tympanum c. 1145. Cathedral of Chartres, France . The tympanum of the left door shows the Ascension or the Second Coming. Christ (crossed halo) stands on a cloud, supported by two angels. Below are four angels (descending from the clouds?) Some of them have their mouths open (singing?). On the lintel below are ten seated men holding books or scrolls and looking upward (apostles?). On the archivolts are the Signs of the Zodiac and the Labors of the Months.. A UNESCO World Heritage Site.
  • West Facade, Central Portal Lintel - General View c. 1145. Cathedral of Chartres, France . The lintel shows gothic sculptures of the twelve apostles. A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Jesus Christ in Majesty surrounded by the four Evangelist Symbols. A UNESCO World Heritage Site.
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Jesus Christ in Majesty surrounded by the four Evangelist Symbols. A UNESCO World Heritage Site.
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • West Facade, Central Portal Tympanum - General View c. 1145. Cathedral of Chartres, France . The tympanum shows gothic sculptures of Christ in Majesty surrounded by the four Evangelist Symbols. The inner archivolt contains angels. On the two outer archivolts are the twenty-four elders of the Apocalypse. On the lintel are the twelve Apostles flanked by two other figures holding scrolls (Elisha and Enoch?). A UNESCO World Heritage Site. .
  • South Porch, Right Portal, Left Jambs. Cathedral of Chartres, France. Gothic statue of the four ?Confessors? important intellectual and spiritual leaders, most of whom lived during the early centuries of the Church. They stand on historiated socles- there are canopies offer their heads with architectural motifs. From left to right they are .1) Laumer (also called Lomer or Laudomarus), a local saint who was founder and Abbot of the nearby monastery of Corbion in the 6th century..2) Pope Leo I, an influential early Pope.3) a figure that is either Ambrose or Thomas Becket .4) Nicholas, bishop of Myra (two of his miracles appear in the tympanum).The figure of Laumer was added after the rest of the portal was created. . A UNESCO World Heritage Site.
  • South Porch, Right Portal, Left Jambs. Cathedral of Chartres, France. Gothic statue of the four ?Confessors? important intellectual and spiritual leaders, most of whom lived during the early centuries of the Church. They stand on historiated socles- there are canopies offer their heads with architectural motifs. From left to right they are .1) Laumer (also called Lomer or Laudomarus), a local saint who was founder and Abbot of the nearby monastery of Corbion in the 6th century..2) Pope Leo I, an influential early Pope.3) a figure that is either Ambrose or Thomas Becket .4) Nicholas, bishop of Myra (two of his miracles appear in the tympanum).The figure of Laumer was added after the rest of the portal was created. . A UNESCO World Heritage Site.
  • South Porch, Right Portal, Left Jambs. Cathedral of Chartres, France. Gothic statue of the four ?Confessors? important intellectual and spiritual leaders, most of whom lived during the early centuries of the Church. They stand on historiated socles- there are canopies offer their heads with architectural motifs. From left to right they are .1) Laumer (also called Lomer or Laudomarus), a local saint who was founder and Abbot of the nearby monastery of Corbion in the 6th century..2) Pope Leo I, an influential early Pope.3) a figure that is either Ambrose or Thomas Becket .4) Nicholas, bishop of Myra (two of his miracles appear in the tympanum).The figure of Laumer was added after the rest of the portal was created. . A UNESCO World Heritage Site.
  • South Porch right jam. Cathedral of Chartres, France. Gothic statue of the Apostles (haloed, carrying the instruments of their deaths). From left to right they are Paul (characteristic facial features, carrying a sword) , John (beardless, carrying a book and what Houvet says is part of a palm frond) , James Major (carrying a sword and a pilgrim's pouch) , James Minor (carrying a club) , Bartholomew. On the socles on which they stand are their persecutors, mostly crowned figures holding scrolls and looking upward. A UNESCO World Heritage Site.
  • South Porch right jam. Cathedral of Chartres, France. Gothic statue of the Apostles (haloed, carrying the instruments of their deaths). From left to right they are Paul (characteristic facial features, carrying a sword) , John (beardless, carrying a book and what Houvet says is part of a palm frond) , James Major (carrying a sword and a pilgrim's pouch) , James Minor (carrying a club) , Bartholomew. On the socles on which they stand are their persecutors, mostly crowned figures holding scrolls and looking upward. A UNESCO World Heritage Site.
  • South Porch left jam. Cathedral of Chartres, France. Gothic statue of from left to right, they are Matthew , Thomas, Philip (with sword), Andrew (with cross) and Peter (with cross and keys),  A UNESCO World Heritage Site.
  • South Porch right jam. Cathedral of Chartres, France. Gothic statue of the Apostles (haloed, carrying the instruments of their deaths). From left to right they are Paul (characteristic facial features, carrying a sword) , John (beardless, carrying a book and what Houvet says is part of a palm frond) , James Major (carrying a sword and a pilgrim's pouch) , James Minor (carrying a club) , Bartholomew. On the socles on which they stand are their persecutors, mostly crowned figures holding scrolls and looking upward. A UNESCO World Heritage Site.
  • South Porch left jam. Gothic statue of (left) Andrew and Peter with cross and keys. Cathedral of Chartres, France.  A UNESCO World Heritage Site.
  • South Porch left jam. Gothic statue of Philip with sword. Cathedral of Chartres, France.  A UNESCO World Heritage Site. .
  • South Porch left jam. Gothic statue of Philip with sword. Cathedral of Chartres, France.  A UNESCO World Heritage Site. .
  • South Porch left jam. Gothic statue of Philip with sword. Cathedral of Chartres, France.  A UNESCO World Heritage Site. .
  • South Porch, Left Portal (Martyrs). Archivolts - Stephen Disputes with the Jews (Acts 6:9). Cathedral of Chartres, France.  A UNESCO World Heritage Site. .
  • South Porch, Right Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. Tympanum and Lintel: Miracles by two very popular saints, Martin and Nicholas, are shown on the tympanum and lintel. Both saints have figures on the jambs below and several windows in the interior lower level and clerestory..On the left is the Miracle of Martin's cloak. In the lower left panel, Martin, a young Roman stationed in Amiens, met a beggar at the city gate one cold day. Moved by the man's suffering, Martin cut his cloak in half and gave him one of the pieces. In the upper left panel, Martin is shown sleeping. His dream is shown on the tympanum; Christ appears wearing the piece of the cloak he gave to the beggar, who had really been Christ..On the right are miracles of Nicholas. In the bottom panel, Nicholas anonymously gives dowries to three indigent girls. On the upper right, pilgrims at Nicholas's tomb, which supposedly gave off a miraculous healing fluid. .Archivolts: .On the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.A UNESCO World Heritage Site.
  • South Porch, Right Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. Tympanum and Lintel: Miracles by two very popular saints, Martin and Nicholas, are shown on the tympanum and lintel. Both saints have figures on the jambs below and several windows in the interior lower level and clerestory..On the left is the Miracle of Martin's cloak. In the lower left panel, Martin, a young Roman stationed in Amiens, met a beggar at the city gate one cold day. Moved by the man's suffering, Martin cut his cloak in half and gave him one of the pieces. In the upper left panel, Martin is shown sleeping. His dream is shown on the tympanum; Christ appears wearing the piece of the cloak he gave to the beggar, who had really been Christ..On the right are miracles of Nicholas. In the bottom panel, Nicholas anonymously gives dowries to three indigent girls. On the upper right, pilgrims at Nicholas's tomb, which supposedly gave off a miraculous healing fluid. .Archivolts: .On the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.A UNESCO World Heritage Site.
  • South Porch, Right Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. Tympanum and Lintel: Miracles by two very popular saints, Martin and Nicholas, are shown on the tympanum and lintel. Both saints have figures on the jambs below and several windows in the interior lower level and clerestory..On the left is the Miracle of Martin's cloak. In the lower left panel, Martin, a young Roman stationed in Amiens, met a beggar at the city gate one cold day. Moved by the man's suffering, Martin cut his cloak in half and gave him one of the pieces. In the upper left panel, Martin is shown sleeping. His dream is shown on the tympanum; Christ appears wearing the piece of the cloak he gave to the beggar, who had really been Christ..On the right are miracles of Nicholas. In the bottom panel, Nicholas anonymously gives dowries to three indigent girls. On the upper right, pilgrims at Nicholas's tomb, which supposedly gave off a miraculous healing fluid. .Archivolts: .On the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.A UNESCO World Heritage Site.
  • South Porch, Right Portal, Tympanum- General View.This portal is dedicated to the Confessors. Cathedral of Chartres, France. Tympanum and Lintel: Miracles by two very popular saints, Martin and Nicholas, are shown on the tympanum and lintel. Both saints have figures on the jambs below and several windows in the interior lower level and clerestory..On the left is the Miracle of Martin's cloak. In the lower left panel, Martin, a young Roman stationed in Amiens, met a beggar at the city gate one cold day. Moved by the man's suffering, Martin cut his cloak in half and gave him one of the pieces. In the upper left panel, Martin is shown sleeping. His dream is shown on the tympanum; Christ appears wearing the piece of the cloak he gave to the beggar, who had really been Christ..On the right are miracles of Nicholas. In the bottom panel, Nicholas anonymously gives dowries to three indigent girls. On the upper right, pilgrims at Nicholas's tomb, which supposedly gave off a miraculous healing fluid. .Archivolts: .On the lower register of archivolts are miracles of Gilles, including the Mass of St. Gilles (right). The other archivolts show various Confessors.A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  Tympanum and lintel depicting Christ and the Last Judgement. Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  lintel depicting The Damned of  the Last Judgement. Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  Tympanum and lintel depicting Christ and the Last Judgement. Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The Damned". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. .
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. .
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. .
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. .
  • The astronomical clock (1528)  of the Cathedral of Chartres, France. A UNESCO World Heritage Site. .
  • Medieval Gothic Sculptures of the South portal  of the Cathedral of Chartres, France. The portal shaows the Last Judgement and the small figures represent "The blessed". A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century Choir screen and ambulatory of the Gothic Cathedral of Chartres, France. Depicting the Three Wise Men visiting the Baby Jesus Christ and Mary. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site. Depicting Christ being baptised by John The Baptist.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site. Depicting Christ being baptised by John The Baptist.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site. Depicting Christ being baptised by John The Baptist.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • 16th century flamboyant gothic Choir screen and ambulatory of the Cathedral of Chartres, France. A UNESCO World Heritage Site.
  • Gothic statues  from the Cathedral of Chartres, France. . A UNESCO World Heritage Site.
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the stone sculpture of a women on the tomb of ship builder Giovanni Battista Piaggio by  Sculptor G. Benetti 1873. Giovanni Battista Piaggio, who is buried here, was a rich ship-owner, whose important role in society is expressed by the professional symbols -the anchor, the ropes, the sand-glass, the globe, the chart that the sculptor Giuseppe Benetti put on the sides of the deceased's bust hosted in the lunette, which surmounts the architecture in Renaissance style of the monument. As a representative of the upper middle class he couldn't die without leaving memories of his social role: Benetti, in order to meet this requirement, represented the widow coming out of the chapel with a prayer-book in her hand. Bringing the mourning in an everyday-life dimension Benetti created a work in accordance with the dictates of the Realism bourgeois. Section A, no 47, The monumental tombs of the Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Pictures of the stone sculptured monumental tomb for the Celesia Family by sculptor D. Paernio 1899. At the top back of the monument is a sculpture of the deceased. In front is an impressive male figure with a heavy club, which is an allegory of the Work, and an adolescent angel with delicate features, which is examining some sheets while sitting, representing so the Study.  Sculpted in the bourgeois Realism style this gigantic statue of the worker follows Michelangelo’s heroic style, which was an obsession to many European and Italian sculptors between the end of the 19th century and the beginning of the 20th century,  Section A, no 51, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image  of the Realistic young grieving girl stone funary monument sculpture  commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Realistic blind man stone funary monument sculpture commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Picture and image of the Realistic blind man stone funary monument sculpture commissioned by Enrico Amerigo for his sisters memory. beside the pedestal on which the sculptor set the deceased’s bust he placed, on the left, the figure of an old blind man, kneeling down and leaning on a stick; on the right he placed the figure of a young orphan girl, recognizable as such by her kindergarten uniform, portrayed in the act of making the sign of the cross. This work belongs to the Realism, a trend which was typical during the 1880s and 1890s, according to which the orphans, the poor, the sick and all those who benefited from somebody’s generosity had to be portrayed in a concrete fashion. Sculptor G Moreno 1890. Section A, no 53, The Staglieno Monumental Cemetery, Genoa, Italy
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Picture & image of Vardzia medieval relief carved architectural panels from the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval relief carved architectural panels from the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval relief carved architectural panels from the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval relief carved architectural panels from the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Picture & image of Vardzia medieval relief carved architectural panels from the cave city and monastery of Vardzia, Erusheti Mountain, southern Georgia (country)<br />
<br />
Inhabited from the 5th century BC, the first identifiable phase of building took place at  Vardzia in the reign of Giorgi III (1156-1184) to be continued by his successor, Queen Tamar 1186, when the Church of the Dormition was carved out of the rock and decorated with frescoes
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.

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