• Meat stall with Salamis and sausages ; K?zponti Vásárcsarnok. Central Budapest Market - Hungary
  • Meat stall with Salamis and sausages ; K?zponti Vásárcsarnok. Central Budapest Market - Hungary
  • North Porch, Left Portal (Incarnation Portal), Tympanum- Gifts of the Magi and Dream of the Magi c 1194-1230, from the Cathedral of Chartres, France. At left is the Adoration of the Magi (Matthew 2:1)..Two Magi (crowned) stand at left, holding jars. One has a beard and the other is clean-shaven. The third Magus (bearded) kneels, handing a round object to the Christ Child, who sits on Mary's lap in the middle of the composition. Above them is the star of Bethlehem between two angels holding scrolls..At right is the Dream of the Magi. (Matthew 2:12).Two of the Magi (bearded, still crowned) lie sleeping on a bed at the lower right. The third Magus (beardless) appears behind them, with his eyes closed and his head propped up in his hand. Above is an angel with a scroll, one of the pair of angels who flank the star of Bethlehem at the top of the tympanum..Surrounding the central scene is the Inner archivolt. It contains angels holding candlesticks standing on clouds. Below The Virgin Mary (veiled) lies on a bed that is parallel to the panel plane. She raises one hand. The Christ Child (in swaddling clothes) is in a manger above the bed. Above him are the heads of the ox and the ass. They are probably a reference to Old Testament verses thought to be prophecies of the coming of the Messiah. Isaiah 1:3 says, "The ox knows his owner and the ass his maker's crib." There is a similar verse in Habakkuk. The apocryphal Protevangelium of James mentions only the ass. The Gospel of Pseudo-Matthew also says that an ox and an ass worshiped the Christ Child in the manger..Above are angels leaning out of a cloud and holding a long scroll.. A UNESCO World Heritage Site. .
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Eastern Roman Byzantine walk in baptismal font from the 6th century AD Parish Church of Demna near Kalibia, Cape Bon, Tunisia. <br />
<br />
The baptismal font was removed from the church and restored in the Bardo Museum Tunis in 1955. <br />
<br />
The mosaic iconographic decorations represent the salvation of the neophyte, newcomer, who by being baptised is admitted into the Church of Christ whilst being illuminated by faith, represented the mosaic lit candle illustrations.<br />
<br />
The P with a cross through it is the Chi Rho, a Christian symbol which represent the first two letters of Jesus Christ's name in Greek. The Christogram also has the Greek letters Alpha and Omega which represent the passage from the book of revelations: “I am the Alpha and Omega" Chapter 1 verse 8, which is clarified by "the beginning and the end" (Revelation 21:6, 22:13). <br />
<br />
In these type of baptismal fonts those being baptised would have been fully immersed in water as John the Baptist immersed Jesus. <br />
<br />
The font was paid for by donation by Iuliana and Aquinius who dedicated the font to St Cyprian, the martyed Bishop of Carthage, circa 258,  and the author of a treatise on baptism rites<br />
<br />
The Bardo Museum Tunis
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.
  • Altar of St. Maria de Taull<br />
<br />
1200s repainted in 1579. Tempera on wood with carvings from the church of Santa Maria in Snowshoe, Vall de Boi, High Ribagorca, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3904<br />
<br />
Thirteenth century Romanesque carved and painted altar front with Christ Pantocrator in a Mandorla flanked by the 12 Apostles.  Carved altar frontals were not rare in Romanesque. Generally the characters were sculpted separately and then added to the front surface. The high quality of carving indicates the presence of a sculptures hand. The sharpness of forms to make stereotypical costumes seem versed in the work of stone sculpture.

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