• Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • The Romanesque Altar Front of Baltarga<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Saint Andreu (Andrew) of Baltarga, Catalonia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15804<br />
<br />
The Romanesque paintings depict scenes from the life and the martyrdom of St. Andrew. At its centre is a theophany with Christ Pantocrator (Majesty) surrounded by a Mandorla around which is a tetramorph with the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.. Eastern influences are especially evident in this magnificent altar frontal, which has an elegant palette of colours, with sophisticated soft flesh tones. The work seems most  likely to have come from the workshop of  highly skilled Greek painters,  which was installed in the vicinity of the monastery of Sant Marti Canigo and signed at least one of their works (now defunct) as Magister Alexander.
  • Christ Pantocrator  Wooden Panel from the Church of St. Martin de Tost, Circa 1220<br />
<br />
Tempera with stucco metallic leaf reliefs and on a wood panel.<br />
Church of St. Martin de Tost. Robera of Urgellet, Alt Urgell, Spain<br />
<br />
National Art Museum of Catalonia, Barcelona. Ref: 3905 MNAC<br />
<br />
The wood panel comes from altar of St. Martin de Tost and shows Christ Pantocrator surrounded by the symbols of the four evangelists, St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The Tost panel is typical of the Catalan Romanesque painting.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting the Virgin Mary in the style of “Our Lady of the Way”. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting the Virgin Mary in the style of “Our Lady of the Way”. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting the Virgin Mary in the style of “Our Lady of the Way”. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • The Romanesque Altar Front of Avia<br />
<br />
Around 1200, Tempera on wood with metalic ornamention from the church of Santa Maria d'Avia, Spain.<br />
<br />
National Art Museum of Catalonia, Barcelona. MNAC 15784<br />
<br />
<br />
The altar front of Byzantine art d'Avia depicting scenes from the life of the Virgin Mary and the nativity. The artistic style of the Altar front relies heavily of Byzantine influences. The intensity and variety of colors and the systematic application of appliqué are typical of eastern Mediterranean and Byzantine art . This can also be seen in the style and hand positions of the Virgin Mary and child, at the centre of the altar piece, which copies a style known as “Our Lady of the Way” which in turn minics the orthodox icon “the Virgin Hodegetria”.
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being removed from the Cross. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this one shows Christ carrying the Cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, the whipping on the Road to Calvary, Crucifixion, Descent and Mourning of the Dead Body of Christ and the Mary discovering the empty tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being taken dwon fron the Cross and laid in a tomb. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • Romanesque painted Beam depicting The Passion and the Stations of the Cross<br />
<br />
Around 1192-1220, Tempera on wood from Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1907. MNAC 15833.<br />
<br />
It is not known what was the original location of the beam, but it might have been part of the structure of a canopy. In any case, it was reused in a ceiling, as evidenced by the cuts that are at the top. It is decorated with seven scenes from the Passion and Resurrection of Christ, this scene shows Christ being whipped and carrying the cross on the road to Calvary. The narrative character in the images and the predominance of yellow is typical of Catalan painting of the 1200’s,  specifically with illustrations of Liber Feudorum Maior, a late twelfth-century illuminated cartulary book style of the Crown of Aragon
  • 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.
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • The 12th century Romanesque Altar front from the church of the monastery of St. Sernin Tavèrnoles (Les Valls de Valira Alt Urgell). Tempera on wood. National Art Museum of Catalonia, Barcelona. MNAC 15786
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Painted wooden panel of the Altar of d'Ix showing the apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Painted wooden panel of the Altar of d'Ix showing the apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Altar of Esquius - Painted wooden panel<br />
<br />
Second quarter of the twelfth century<br />
<br />
Probably comes from the ancient Chapel of Santa Maria of Besora Castle <br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1958. Ref: 65502 MNAC.<br />
<br />
<br />
The use of valuable pigments (lapis lazuli, orpiment, cinabri) on the Altar panel, suggests that this front was painted in an important monastery scriptorium like Ripoll. The poetic inscription that runs around the mandorla surrounding Christ is very characteristic of the intellectual environment of Ripoll "This is the God of Alfa and Omega. Come, O merciful with Your mercy, and remove the chains of missery. Amen." This is flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle. The rest of the panel depicts the 12 apostles.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Altar of La Seu d'Urgell and the Apostles<br />
<br />
Second quarter of the twelfth century from a church in the diocese of Urgell, the whole poster espicopal of La Seu d'Urgell, Alt Urgell<br />
<br />
Aquired by the National Art Museum of Catalonia, Barcelona 1905. Ref: 15803 MNAC.<br />
<br />
<br />
La Seu d'Urgell was an important center of Romanesque panel painting. This altar front is one of the best examples, and is also one of the oldest preserved painted panels in Catalonia. At its centre is Christ Pantocrator surrounded by a Mandorla. Either side of this are the 12 Apostles arranged in two unusual pyramid shaped groups of six. This altar panel is a fine example from the workshop Urgell and demostrates a high standard of technical ability and creativity.
  • Painted wooden panel of the Altar of d'Ix showing the apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Painted wooden panel of the Altar of d'Ix showing Christ Patocrator flanked by the 12 apostles. From the Church of Sanit Matin d'Ix, La Guinguetta d'Ix, Alta Cerdanya, Spain.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 15802.
  • Twelfth century Romanesque frescoes of the Apse of Estaon depicting Christ Pantocrator ( In Majesty) surrounded by Byzantine style angels, from the church of Sant Eulalia d’Estaon, Vall de Cardos, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15969
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque Altar Front of Cardet<br />
<br />
Thirteenth century paint and metal relief on wood from a church of Santa Maria of Cardet, Vall de Boi, Alta Ribagorca, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1932. Ref: MNAC 3903.<br />
<br />
<br />
This Romanesque painted altar front is dedicated to the Nativity. At is centre is a painting of The Madonna and Child surrounded by a mandorla. Top left shows the Annunciation with the Virgin Mary, top left depicts the nativity scene, bottom left shows the Three Kings and bottom left shows The Flight to Egypt.
  • Twelfth century restored Romanesque Frescoes arounf the entrance to the church of Saint Joan of Boi, Val de Boi, Alta Ribagorca, Pyranese, Spain. A UNESCO World Heritage Site
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain.  National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting The virgin Mary and the Apostles.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Detail from the twelfth century Romanesque Altar Front of Avia depicting a scene from the Nativity with St. Joseph, Mary and the baby Christ, from the church of Santa Maria d'Avia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15784
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing The Virgin Mary flanked by two angels.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel  shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • 12th century Romanesque painted altar front from Saint Quirc de Durro, Val de Boi, Alta Ribagorca, Spain, showing The Madonna and Child and scenes depicting the martyrdom of saints.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15809.
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain.  National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Romanesque frescoes of the Virgin Mary and Peter from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Romanesque frescoes from the Church of Sant Clement de Taull, Vall de Boi, Alta Ribagorca, Spain. Painted around 1123 depicting Christ Pantocrator or In Majesty.  National Art Museum of Catalonia, Barcelona. MNAC 15806
  • Twelfth century Romanesque frescoes of the Apse of Ginestarre depicting,The Virgin Mary and the Apostles, from the church of Santa Maria de Ginestarre, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15971
  • Romanesque thirteenth century painted altar front from the church of Santa Maria de Mosoll, Das, Baixa Cedanya, Spain, showing scenes from the life of the Virgin Mary.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 15788.
  • Romanesque thirteenth century painted altar front of Saint Roma de Vila, Encamp, Andorra, showing Christ Paontocrator in a Mandorla flanked by Tetramorph showing the four evangelical symbols - St Matthew the man, St Mark the lion, St Luke the ox, and John the eagle.  National Art Museum of Catalonia, Barcelona 1922. Ref: MNAC 1587.
  • Romanesque painted altar front from the church of Saint Pau d’esterri de Cardos, Spain, Metal reliefs of Christ Pantocrator surrounded by the 12 Apostles.  National Art Museum of Catalonia, Barcelona 1919-23. Ref: MNAC 15970.
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • Mythical medieval animal. A 12th Century Romanesque fresco from the Church of Saint Joan Boi, al de Boi, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15953
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • The Stoning of St. Stephen<br />
<br />
Circa 1100s<br />
<br />
Fresco Transfer to canvas<br />
<br />
From the Church of Saint Joan Boi, Val de Boi, High Ribagorca, Pyranese, Spain.<br />
<br />
Acquired in 1919-1923 by the National Art Museum of Catalonia, Barcelona.<br />
MNAC 15953<br />
<br />
The 12th century fresco of the Stoning of St. Stephen is one of the best scenes in the mural decoration Boi. The interest in narrative and dynamism are characteristic of a pictorial style of the Poitiers region of France, which is also linked with the rich Limousin painting of the late eleventh century. From the iconographic point of view, the scene is an early example of the interest of Romanesque art to the lives of saints. St Joan de Boi is a UNESCO World Hertiage Site.
  • Romanesque painted Canopy of Tavèrnoles.<br />
<br />
Second quarter of the thirteenth century  from the ancient monastery of St. Sernin Tavèrnoles valleys Valira Alt Urgell, Spain<br />
<br />
Acquired by the National Art Museum of Catalonia, Barcelona 1906. Ref: 24060 MNAC.<br />
<br />
Romanesque canopy-type panel with its cut supporting beams still visible. The panel is decorated with a painted image of Christ in Majesty or Christ Pantocrator in a mandorla which is supported by four angelic figures that evoke the theme of the Ascension. The canopy was discovered in the early twentieth century in the monastery of St. Sernin Tavernoles, half hidden by a Gothic altarpiece.
  • Romanesque frescoes of the Apostles from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Twelfth century Romanesque frescoes of the Apse of Ginestarre depicting,The Virgin Mary and the Apostles, from the church of Santa Maria de Ginestarre, Catalonia, Spain. National Art Museum of Catalonia, Barcelona. MNAC 15971
  • Romanesque painted altar front from Santa Maria Gia, Spain, showing the temptaion of Saint Martin.  National Art Museum of Catalonia, Barcelona 1958. Ref: MNAC 3902.
  • Thirteenth century Romanesque carved and painted altar depicting the Apostles from St. Maria de Taull, Vall de Boi, High Ribagorca, Spain.  National Art Museum of Catalonia, Barcelona. Ref: MNAC 3904
  • Romanesque frescoes of the St. Paul from the church of Sant Roma de les Bons, painted around 1164, Encamp, Andorra. National Art Museum of Catalonia, Barcelona. MNAC 15783
  • Romanesque frescoes of Apse of St. Steven of Andorra (Sant Esteve) from the church of Sant Esteve d’Andorra, painted around 1200-1210,  Andorra la Vella. National Art Museum of Catalonia, Barcelona. MNAC 35711

FunkyStock Picture Library Resource

Picture The Past

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

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

COUNTRIES

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

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HISTORICAL

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

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MUSEUMS

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

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