• Wooden door with metal decoration- old town - Prague - Czech Republic
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel  shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  This panel  shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  Three of the four compartments of the small altar front are dedicated to San Michael.  Top right shows Michael fighting a dragon, bottom left shows the psychostasia, where souls are weighed to determine whether they should go to heaven or hell on judgement day, bottom right shows a detail of the story of the miracle of Mont Gargano. Top left shows Grabriel and Rafael with the baby Jesus. The style of the painting is the similar to the mural decoration of St. Paul Casserres.
  • Altar of Archangels<br />
<br />
Second quarter of the thirteenth century<br />
Temple, stucco reliefs in metal on wood from the church of Catalonia, Spain.<br />
<br />
Acquisition of Museums Board's campaign in 1932. MNAC 3913<br />
<br />
Archangels were prominent in Romanesque iconography, acting as intermediaries between God and Man or as agents of divine will.  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.
  • 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. Top left depicts the nativity scene with Mary, Joseph, the Shepherds and Christ in a manger.
  • 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. Top left depicts the nativity scene with Mary, Joseph, the Shepherds and Christ in a manger.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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. Top left depicts the nativity scene with Mary, Joseph, the Shepherds and Christ in a manger.
  • 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.
  • 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.
  • 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.
  • 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.
  • 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 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”.
  • 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 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 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”.
  • 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”.
  • 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 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 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 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 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 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”.
  • Phrygian bronze couldron with decorated winged figure handles . From Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey.
  • Phrygian bronze couldron with decorated winged figure handles . From Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a white background
  • Phrygian bronze couldron with decorated winged figure handles . From Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a black background
  • Phrygian bronze couldron with decorated winged figure handles . From Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against an art background
  • Phrygian bronze couldron with decorated winged figure handles . From Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey.
  • Phrygian bronze couldron with decorated winged figure handles . From Gordion. Phrygian Collection, 8th century BC - Museum of Anatolian Civilisations Ankara. Turkey. Against a grey background
  • 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.
  • 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.

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