• Gothic wood statue of a Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064015-000
  • Gothic wood statue of Saint Lucy by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064013-000
  • Gothic wood statue of Bishop Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064024-000
  • Gothic wood statue of Bishop Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064024-000
  • Gothic wood statue of Bishop Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064024-000
  • Virgin Mary  Gothic sculpture from a Calvery scene. Polychrome wood carving with remains of varnished metal plate. National Museum of Catalan Art, Barcelona, Spain, inv no: 004390-CJT.
  • Virgin Mary  Gothic sculpture from a Calvery scene. Polychrome wood carving with remains of varnished metal plate. National Museum of Catalan Art, Barcelona, Spain, inv no: 004390-CJT.
  • Virgin Mary  Gothic sculpture from a Calvery scene. Polychrome wood carving with remains of varnished metal plate. National Museum of Catalan Art, Barcelona, Spain, inv no: 004390-CJT.
  • St John the Evangelist Gothic sculpture from a Calvery scene. Polychrome wood carving with remains of varnished metal plate. National Museum of Catalan Art, Barcelona, Spain, inv no: 004390-CJT.
  • St John the Evangelist Gothic sculpture from a Calvery scene. Polychrome wood carving with remains of varnished metal plate. National Museum of Catalan Art, Barcelona, Spain, inv no: 004390-CJT.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic  painting "Pleurants" Circa 1295. National Museum of Catalan Art, Barcelona, Spain, inv no: 004372-005. <br />
Part of a set of eight panels. They come from the decoration on the tomb of the knight Sancho Sánchez Carrillo in the chapel of San Andrés de Mahamud (Burgos).
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Stained glass windows depicting scenes from the life of Saint Blaise, made in the first quarter of the 13th century from  Soissons, France .  Inv OAR 504,  The Louvre Museum, Paris.
  • Stained glass windows depicting scenes from the life of Saint Blaise, made in the first quarter of the 13th century from  Soissons, France .  Inv OAR 504,  The Louvre Museum, Paris.
  • Painted wood sculpture of Saint Roch, circa 1510-1515  from Carinthie, Austria. Inv RF  4514,  The Louvre Museum, Paris.
  • Painted wood sculpture of Saint Roch, circa 1510-1515  from Carinthie, Austria. Inv RF  4514,  The Louvre Museum, Paris.
  • Painted wood sculpture of Saint Roch, circa 1510-1515  from Carinthie, Austria. Inv RF  4514,  The Louvre Museum, Paris.
  • Painted alabaster statue of the Virgin of the annunciation, made around 1495 by Tilman Riemenschneider of Heiligenstadt im Eichsfeld, Germany The statue would have originally bee accompanied by another of the  Gabriel and both would have formed part of an altarpiece. Inv RF 1384,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted panels of the Martyrdom of Saint Catherine painted in 1524 by Hans Gieng of Fribourg.  From the church of Ependes near Fribourg, Switzerland. Inv RF 4721 The Louvre Museum, Paris.
  • Painted panels of the Martyrdom of Saint Catherine painted in 1524 by Hans Gieng of Fribourg.  From the church of Ependes near Fribourg, Switzerland. Inv RF 4721 The Louvre Museum, Paris.
  • Painted panels of the Martyrdom of Saint Catherine painted in 1524 by Hans Gieng of Fribourg.  From the church of Ependes near Fribourg, Switzerland. Inv RF 4721 The Louvre Museum, Paris.
  • Painted panels of the Martyrdom of Saint Catherine painted in 1524 by Hans Gieng of Fribourg.  From the church of Ependes near Fribourg, Switzerland. Inv RF 4721 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Painted relief panel of the Annonciation of the Virgin, made at the start of the 16th century possibly in the Tyrol, Austria.  Inv 2352 The Louvre Museum, Paris.
  • Painted relief panel of the Annonciation of the Virgin, made at the start of the 16th century possibly in the Tyrol, Austria.  Inv 2352 The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Ascension of Christ made around 1490 for the Cordoni chapel in the church of Saint Agostino in the Citta de Castello, Umbria, Italy by Andrea  della Robbia of Florence.  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with Cherubs by Andrea  della Robbia, Florence circa 1435-1525.  Inv  Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin’s adoration of the Child in the presence of the infant Jean the Baptist by Andrea and Giovanni della Robbia, Florence circa 1500.  Inv LP 3410,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of the Virgin and Child with two cherubs a copy of the “Madonna de l’Impuuneta” by Luca della Robbia, Florence 1399-1482).  Inv Campana 32,  The Louvre Museum, Paris.
  • Painted stucco bust of a female possibly the Virgin of the Annonciation or Saint Catherine of Sienna. made in Florence around 1429- 1484 from Papiano, Palagio Fiorentino.  Inv  The Louvre Museum, Paris.
  • Painted marble bust of Ferdinand of Aragon, King of Naples (1423-1494) from the “Porta Salvatore” Sulmona, Italy. Variously  attributed to Pietro do Milano (around 1435-1473) Francesco Laurana (circa 1430-1502) and Domenico Gagini (quote from 1448-492).  Inv RF 745, The Louvre Museum, Paris.
  • Painted marble bust of Ferdinand of Aragon, King of Naples (1423-1494) from the “Porta Salvatore” Sulmona, Italy. Variously  attributed to Pietro do Milano (around 1435-1473) Francesco Laurana (circa 1430-1502) and Domenico Gagini (quote from 1448-492).  Inv RF 745, The Louvre Museum, Paris.
  • Painted marble bust of Ferdinand of Aragon, King of Naples (1423-1494) from the “Porta Salvatore” Sulmona, Italy. Variously  attributed to Pietro do Milano (around 1435-1473) Francesco Laurana (circa 1430-1502) and Domenico Gagini (quote from 1448-492).  Inv RF 745, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 11520. Inv RF 3096, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 1520. Inv RF 3096, The Louvre Museum, Paris.
  • Painted terracotta relief panel depicting the Virgin and Child by Niccolo Bardi better known as Donatello. Made in Florence around 1386. Inv RF 353, The Louvre Museum, Paris.
  • Painted terracotta relief panel depicting the Virgin and Child by Niccolo Bardi better known as Donatello. Made in Florence around 1386. Inv RF 353, The Louvre Museum, Paris.
  • Painted terracotta relief panel depicting the Virgin and Child by Niccolo Bardi better known as Donatello. Made in Florence around 1386. Inv RF 353, The Louvre Museum, Paris.
  • Pottery glazed plaque depicting the Virgin and Child made in Faenza, Italy, around 1500. inv 3100, The Louvre Museum, Paris.
  • Pottery glazed plaque depicting the Virgin and Child made in Faenza, Italy, around 1500. inv 3100, The Louvre Museum, Paris.
  • Pottery glazed plaque depicting the Virgin and Child made in Faenza, Italy, around 1500. inv 3100, The Louvre Museum, Paris.
  • Pottery glazed plaque depicting the Virgin and Child made in Faenza, Italy, around 1500. inv 3100, The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Medieval ceramic jug made in  Orvieto or Sienna, Italy,  at the end of the 14th century. From Faience.  inv 7394, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child known as “a La Supplique” (supplication) made in Paris oat the beginning of the the 15th century.  inv 2745, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child known as “a La Supplique” (supplication) made in Paris oat the beginning of the the 15th century.  inv 2745, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child known as “a La Supplique” (supplication) made in Paris oat the beginning of the the 15th century.  inv 2745, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child known as “a La Supplique” (supplication) made in Paris oat the beginning of the the 15th century.  inv 2745, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Martin probably made in Avignon in the second quarter of the 14th century. From the church of Soudeilles, Correze, France.  inv 6459, The Louvre Museum, Paris.
  • Medieval ivory figure of Christ at the pillar made in Paris around 1300-1320.  inv 12380, The Louvre Museum, Paris.
  • Medieval Gothic ivory tabernacle depicting the Virgin and Child with scenes from the Annunciation, Nativity, the adoration of the Magi and the presentation at the Temple  made in Paris in second quarter of the 14th century and is a typical example of tabernacles made in Paris at that period.  inv 2587, The Louvre Museum, Paris.
  • Medieval Gothic ivory tabernacle depicting the Virgin and Child with scenes from the Annunciation, Nativity, the adoration of the Magi and the presentation at the Temple  made in Paris in second quarter of the 14th century and is a typical example of tabernacles made in Paris at that period.  inv 2587, The Louvre Museum, Paris.
  • Medieval Gothic ivory tabernacle depicting the Virgin and Child with scenes from the Annunciation, Nativity, the adoration of the Magi and the presentation at the Temple  made in Paris in second quarter of the 14th century and is a typical example of tabernacles made in Paris at that period.  inv 2587, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval elephant ivory plaque with traces of paint made in Italy in the 13th or start of the 14th century.  The crucifixion is a rare example of a Gothic piece being inspired by 11th century Romanesque works.  inv 7268, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Virgin and child,  made in Paris in the first quarter of the 14th century.  inv 11097, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Virgin and child,  made in Paris in the first quarter of the 14th century.  inv 11097, The Louvre Museum, Paris.
  • Medieval Gothic reliquary of Saint Francis of Assisi made in Limoges around 1228, enamel on gold. inv 4083, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child with traces of polychrome, third quarter of 13th century before 1279 made in Paris. From the treasury of the Saint Chapelle, Paris. inv 67, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child with traces of polychrome, third quarter of 13th century before 1279 made in Paris. From the treasury of the Saint Chapelle, Paris. inv 67, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child with traces of polychrome, third quarter of 13th century before 1279 made in Paris. From the treasury of the Saint Chapelle, Paris. inv 67, The Louvre Museum, Paris.
  • Medieval enamelled box depicting angels, circa12th century from Limoges, enamel on gold. AD.  The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box with scenes from the martyrdom of Saint Thomas Becket, end of the 12th beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 7745, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the martyrdom of Saint Thomas Becket, 12th century from Limoges, enamel on gold. AD. Inv OA 11333, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, circa end of 12th century from Limoges, enamel on gold. AD. Inv OA 2956, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval ivory plaque depicting the Crucifixion and the saints at the tomb, end of 11th cent from Salerne or Amalfi. AD. Inv OA 4085, The Louvre Museum, Paris.
  • Medieval ivory Triptych relief panel depicting the Ascension, end of 11th cent. AD. Inv OA 6340, The Louvre Museum, Paris.
  • Medieval ivory Triptych relief panel depicting the Ascension, end of 11th cent. AD. Inv OA 6340, The Louvre Museum, Paris.
  • Medieval Bouquetin goats horn ivory crosier with traces of paint, circa 12th century from the south of Italy. Inv OA 11150, The Louvre Museum, Paris.
  • Medieval Bouquetin goats horn ivory crosier with traces of paint, circa 12th century from the south of Italy. Inv OA 11150, The Louvre Museum, Paris.
  • Medieval Bouquetin goats horn ivory crosier with traces of paint, circa 12th century from the south of Italy. Inv OA 11150, The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval gilded manuscript cover depicting the Crucifixion. 11th century from the treasury of the Cathedral of Maastricht. AD.  <br />
This gilded with relief panel with inlaid stones was originally a manuscript cover. Since 1677, it contained the 'documents of the oath of the Dukes of Brabant'. The back of the panel is covered with precious fabrics. On the front, in the central part, is depicted a crucifixion the style of which is reminiscent of the works of the goldsmiths of the Emperor Henry II. On the borders are small icons and emblems including those of the Carolingians. The main interest of this work lies in the four enamelled on gold symbols of the evangelists in the four corners, two being 'Enforced’ on a background of gold, the others being painted.<br />
<br />
One of Latin inscriptions states that 'Beatrice  ordered the execution ( of this work) in honour of Almighty God and his saints“. It could be Beatrice wife of Hermann II of Swabia and daughter Emperor's sister-Conrad II or, more likely, Beatrice of Tuscany who in 1036 was wife of Boniface III, Marquis of Tuscany, and second wife of Geoffrey the Bearded, Duke of Lower Lorraine and Brabant.<br />
 The Louvre Museum, Paris.
  • Medieval elephant ivory relief panel depicting the Crucifixtion. From southern Germany or north of Italy, end of 10th or 11th cent. AD. Inv. OA 12231, The Louvre Museum, Paris.
  • Medieval ivory relief panel depicting the arrest of Christ.  From the workshop of Charles-le-Chauve circa 870 AD.. Inv. OA 9526, The Louvre Museum, Paris.
  • Medieval ivory relief panel depicting the arrest of Christ.  From the workshop of Charles-le-Chauve circa 870 AD.. Inv. OA 9526, The Louvre Museum, Paris.
  • Medieval ivory relief panel depicting the arrest of Christ.  From the workshop of Charles-le-Chauve circa 870 AD.. Inv. OA 9526, The Louvre Museum, Paris.
  • Medieval ivory comb with a central relief panel depicting David defeating a Lion. Third quarter of the 9th cent. AD from Metz. Inv. OA 354, The Louvre Museum, Paris.
  • Medieval ivory comb with a central relief panel depicting David defeating a Lion. Third quarter of the 9th cent. AD from Metz. Inv. OA 354, The Louvre Museum, Paris.
  • Medieval ivory relief panel from a diptych depicting a triumphant Byzantine Roman Emperor, probably Justinian. From Constantinople, 6th century. Inv. OA 9063, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Medieval Christian ivory diptych depicting the Nativity, the crucifixion and the Profits. Thirteenth century probably from Byzantine Roman Constantinople, present day Istanbul. Inv. OA 12442, The Louvre Museum, Paris.
  • Gothic altar panel depicting the Last Supper. End of the 13th century, tempera on a spruce wooden panel  from  The Church of Sant Miguel de Soriguerola, Cerdanya, Huesca, Spain. Inv MNAC 43901. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic panel depicting scenes from the Life of St Nicholas. End of the 13th century, fresco transferred to canvas from a mural on the north wall of  The Church of San Fructuoso, Nicholas and John the Evangelist, Huesca, Spain. Inv MNAC 45796. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic panel depicting scenes from the Life of St Nicholas. End of the 13th century, fresco transferred to canvas from a mural on the north wall of  The Church of San Fructuoso, Nicholas and John the Evangelist, Huesca, Spain. Inv MNAC 45796. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic decorative relief panel depicting the Virgin Mary and Saint Antony. circa 1378-1390 from the church of Salvador of Gerb, Noguera. inv MNAC 25071, National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic panel of the (Virgin Mary) Madonna of Humility. Polychrome and gold leaf on wood, circa 1433-1435. The Virgin is seated on a cushion on the floor holding the baby Jesus. She hand a jug with roses a symbol of motherhood and purity. Behind her a gold curtain is held by three angels, while two others are sitting on the floor are playing the organ and lute. The skill of the use of light and shade and the fine brushwork points to an artist of great skill using the Quattrocento style. The piece has been identified as that described by the writer on art Giorgia Vasari in 1568 which was owned Gondi family in Florence.. Inv MNAC 212817. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Painted Gothic panels from the Altarpiece of the Virgin of the Angels.<br />
From Left - San Peter, Santa Clara, Saint James the Greater, St. John the Evangelist. Tempera and gold leaf on wood, circa 1385 by by Pere Serra  from the Cathedral of Tortosa (Tarragona). Inv MNAC 3950, 3948, 3949. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • A Gothic stone carving of St. Andrew Bishop bring tempted by the devil. Second half of the fourteenth century by Bartomeu de Robio.From the church of Santa Maria de Castello Farfanya (Noguera). Inv MNAC 122485. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Late 13th or 14th century Gothic Bas-relief depicting the miracle performed by St Michael at Mont St Michael. limestone with traces of polcrome from the Church of San Miguel de Canet lo Roig (Castello), by the Master of Sant Mateu. Inv MNAC 45846-45845. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet or cup from Cerdanya, circa 1195-1200. Copper engraved with an application of Champlevé enamelling. From a church in Cerdanya, Pyrenese, Spain. Inv MNAC 12106. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic Christian thurible or incense burner, 13th century. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4550. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic goblet cup, circa 1220-1240. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4600. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges figure of Christ from a Gothic Crucifix, circa 1200-1220. Copper engraving embossing, laced with an application of Champlevé enamelling and glass beads. Origin Unknow. Inv MNAC 4100. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic statue of the Virgin Mary and Child. Polychrome and gold leaf on alabaster. Date - Second half of the 14th century. National Museum of Catalan Art, Barcelona, Spain inv no: 9874
  • Gothic wood statue of the Virgin Mary and Child. Polychrome wood carving with varnished metal-plating. Date - First quarter of the 13th century. National Museum of Catalan Art, Barcelona, Spain inv no: 3924
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted bas-relief of Life of St Peter by Joan Gasco. Polycchrome and gold leaf on wood. Date Circa 1516.  From the church of Santa Maria of Palautordera (Valles Oriental). National Museum of Catalan Art, Barcelona, Spain, inv no: 015934-000
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. Dimensions 66 x 25.8 x 2 cm. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Virgin of the "Consellers" by Lluis Dalmau. Tempera and gold leaf on wood. Date 1443-1445. Dimesions 316 x 312.5 x 32.5 cm. From the altar of the chapel of Barcelona City Hall. <br />
The prestige attached to Burgundian courtly culture and the painter Jan van Eyck explain why in 1431 King Alfons the Magnanimous sent his official painter, the Valencian Lluís Dalmau, to Flanders, to learn the new realist language at first hand. In 1443, Dalmau was commissioned to paint this altarpiece for the chapel of the City Hall. This work was a breakthrough in Catalonia on account of the format, the technique used, as it was painted in oil, and the skilful illusionism of a figurative space in which that year's five councillors, painted from life, are represented on the same scale as the Virgin and the Saints. National Museum of Catalan Art, Barcelona, Spain, inv no: 015938-000
  • Gothic painted Panel Altarpiece of the Virgin Suckling the Child, Saint Clare and Saint Anthony the Abbott by the Workshop of Llorenc Saragossa. Tempera and gold leaf on wood. Date Last quarter of 14th century. Dimesions 207 x 187.5 x 10 cm. From Xelva (Valencia). National Museum of Catalan Art, Barcelona, Spain, inv no: 064027-CJT
  • Gothic painted bas-relief of the Presentation of Jesus at the Templeby Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm. Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017343-000
  • Gothic painted bas-relief of the Nativity by Master of Albesa, Active in Lleida. Polychrome and gilded limestone bas-relief. Second half of 14th century. Dimesions 57 x 69 x 11 cm.Compartment of a sculptural altarpiece devoted to the Virgin. From the crypt of the collegiate church of Sant Pere d'Àger (Noguera). National Museum of Catalan Art, Barcelona, Spain, inv no: 017342-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic wood statue of Virgin and Child by tan anontmous Catalan Artist. Carved alabaster with remains of polychrome and gold leaf. Date Second half of 14th century. Dimensions 117.5 x 38.6 x 28.4 cm.  Probably comes from Sanaüja (Segarra). National Museum of Catalan Art, Barcelona, Spain inv no: 004359-000
  • Gothic painted Panel Virgin Suckling the Child by Llorenc Saragossa. Tempera, gold leaf and metal plate on wood. Last quarter of 14th century. Dimensions 196.7 x 148.4 x 9.5 cm.  It comes from Albarracín cathedral (Teruel).  National Museum of Catalan Art, Barcelona, Spain, inv no: 005080-000
  • Gothic painted Panel Virgin of the Angels by  Enrique de Estencop. Tempera, stucco reliefs and gold leaf on wood. 1391-1392. Dimensions 142.2 x 99 x 8 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 064025-000
  • Gothic painted Panel Virgin of the Angels by  Enrique de Estencop. Tempera, stucco reliefs and gold leaf on wood. 1391-1392. Dimensions 142.2 x 99 x 8 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 064025-000
  • Gothic painted Panel Virgin of the Angels by  Enrique de Estencop. Tempera, stucco reliefs and gold leaf on wood. 1391-1392. Dimensions 142.2 x 99 x 8 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 064025-000
  • Gothic painted Panel Virgin of the Angels by  Enrique de Estencop. Tempera, stucco reliefs and gold leaf on wood. 1391-1392. Dimensions 142.2 x 99 x 8 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 064025-000
  • Gothic painted Panel Altarpiece of Saint Stephen by  Jaume Serra. Tempera, gold leaf and metal plate on wood. Circa 1385. Dimesions 185.7 x 186.5 x 11 cm. From the monastery of Santa Maria de Gualter (Noguera).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003947-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Altarpiece of Saint Anthony the Abbot by Master of Rubio. Tempera and gold leaf on wood. Circa 1360-1375. Dimensions 173.5 x 176.3 x 11.5 cm.  National Museum of Catalan Art, Barcelona, Spain, inv no: 045854-CJT
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Virgin of the Angels by Pere Serra. Tempera and gold leaf on wood. Circa 1385. 195.8 x 131 x 11 cm. Comes from Tortosa cathedral (Baix Ebre). <br />
This splendid central panel and the two sections of the predella with saints (which must once have flanked a tabernacle) are all that remains of an altarpiece. It was dedicated to the Virgin Mary and was painted for one of the chapels in the ambulatory of Tortosa cathedral, probably towards the 1380s. The compartment with the Virgin and Child surrounded by angels playing music is a very graceful and refined version of an iconographic type that was extremely popular at the time. Pere Serra, author of the altarpiece, came from a family of painters who grew to head the Catalan painting of the second half of the fourteenth century. National Museum of Catalan Art, Barcelona, Spain, inv no: 003950-000
  • Gothic painted Panel Altarpiece of Saint Vincent by  Master of Estopanya. Tempera and gold leaf on wood. Circa 1350-1370. 199 x 255 x 10 cm. Comes from Estopanyà (Baixa Ribagorça, Huesca).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003940-CJT
  • Gothic painted Panel Altarpiece of Saint Vincent by  Master of Estopanya. Tempera and gold leaf on wood. Circa 1350-1370. 199 x 255 x 10 cm. Comes from Estopanyà (Baixa Ribagorça, Huesca).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003940-CJT
  • Gothic painted Panel Altarpiece of Saint Vincent by  Master of Estopanya. Tempera and gold leaf on wood. Circa 1350-1370. 199 x 255 x 10 cm. Comes from Estopanyà (Baixa Ribagorça, Huesca).. National Museum of Catalan Art, Barcelona, Spain, inv no: 003940-CJT
  • Gothic statue of Saint Peter by Joan Gasco. Tempera, oil, and stucco reliefs in gold leaf on wood. Date circa 1516. From the church of Santa Maria of Palautordera (Valles Oriental).  National Museum of Catalan Art, Barcelona, Spain inv no: 15934
  • Gothic painted Panel Altarpiece of the Annunciation and Three Kings of the Epiphany by the Circle of Ferrer and Arnau Bassa. Tempera and gold leaf on wood. Circa 1347-1360. 282.9 x 151 x 11 cm. The origin of this panel has traditionally been associated with the collegiate church of Sant Vicenç de Cardona (Bages). National Museum of Catalan Art, Barcelona, Spain, inv no: 015855-000
  • Gothic painted Panel Altarpiece of the Annunciation and Three Kings of the Epiphany by the Circle of Ferrer and Arnau Bassa. Tempera and gold leaf on wood. Circa 1347-1360. 282.9 x 151 x 11 cm. The origin of this panel has traditionally been associated with the collegiate church of Sant Vicenç de Cardona (Bages). National Museum of Catalan Art, Barcelona, Spain, inv no: 015855-000
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel Altarpiece of the Saints John by  Master of Santa Coloma de Queralt. Tempera and gold leaf on wood. Circa 1356. 220.5 x 209.8 x 11.5 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, Barcelona, Spain, inv no: 004351-CJT
  • Gothic painted Panel of the Announcement to the Shepherds and Annunciation by anonymous artist from Navarra. Tempera and varnished metal leaf on wood and applied carving. Circa 1335-1350. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic wood statue of the Head of Christ by  Jaume Cascalls. Carved alabaster with polychrome and gilt remains.  This head must have belonged to a Recumbent Christ which could have formed part of a sculptural group of the Holy Sepulchre. It probably came from the chapel of Corpus Christi of the convent of Sant Agustí Vell, Barcelona.<br />
Jaume Cascalls is one of the most important sculptors of the fourteenth century in Catalonia. This is borne out by his involvement over almost thirty years with the project of the royal pantheon in Poblet for King Peter the Ceremonious and with other large undertakings of the time. Today, on stylistic grounds, he is credited with this 'Head of Christ', which must have formed part of a sculptural group of the Holy Sepulchre, presumably from the church of the convent of Sant Agustí Vell in Barcelona. The break in the neck suggests it belonged to a full-length recumbent Christ, like the one kept at Sant Feliu in Girona and also attributed to Cascalls. National Museum of Catalan Art, inv no: 034879-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Panel Altar frontal of Jesus' childhood by anonymous artist from Navarra. Tempera and gold leaf on wood. Second quarter of 14th century. 90.8 x 171.2 x 5.8 cm. From the parish church of Arteta (Navarra).. National Museum of Catalan Art, inv no: 004368-000
  • Gothic painted Altar frontal of the Corpus Christi by Master of Vallbona de les Monges possibly Guillem Seguer. Tempera, stucco reliefs, gold leaf and varnished metal plate on wood. Circa 1335-1345. 106.5 x 223.2 x 9.3 cm. From the chapel of Corpus Christi in the church of the monastery of Santa Maria de Vallbona de les Monges (Urgell).  National Museum of Catalan Art, inv no: 009919-000
  • Gothic painted Altarpiece of the Corpus Christi by Master of Vallbona de les Monges possibly Guillem Seguer. Tempera, stucco reliefs, gold leaf and varnished metal plate on wood. Circa 1335-1345. 108.8 x 222 x 8.7 cm. From the chapel of Corpus Christi in the church of the monastery of Santa Maria de Vallbona de les Monges (Urgell).  National Museum of Catalan Art, inv no: 009920-000
  • Gothic painted Altarpiece of the Corpus Christi by Master of Vallbona de les Monges possibly Guillem Seguer. Tempera, stucco reliefs, gold leaf and varnished metal plate on wood. Circa 1335-1345. 108.8 x 222 x 8.7 cm. From the chapel of Corpus Christi in the church of the monastery of Santa Maria de Vallbona de les Monges (Urgell).  National Museum of Catalan Art, inv no: 009920-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Gothic statue of the Virgin Mary and child by an anonymous Catalan artist. Carved alabaster with remains of polychrome and gold leaf. Circa 1330-1340. 112 x 42.5 x 22.7 cm. From the parish church of Navata (Alt Empordà).. National Museum of Catalan Art, inv no: 004356-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Altarpiece of Saint Peter Martyr by an anonymous Aragon artist. Tempera and varnished metal plate on wood. First third of 14th century. 196.5 x 121.5 x 10 cm. From Barbastre or the monastery of Santa María de Sigena (Villanueva de Sigena, Huesca).. National Museum of Catalan Art, inv no: 015820-000
  • Gothic painted Panel of the life of Saint Dominic, anonymous artist from Aragon. Tempera and varnished metal plate on wood. First quarter of 14th century. 134 x 193 x 8.3 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, inv no: 015825-000
  • Gothic painted Panel of the life of Saint Dominic, anonymous artist from Aragon. Tempera and varnished metal plate on wood. First quarter of 14th century. 134 x 193 x 8.3 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, inv no: 015825-000
  • Gothic painted Panel of the life of Saint Dominic, anonymous artist from Aragon. Tempera and varnished metal plate on wood. First quarter of 14th century. 134 x 193 x 8.3 cm. From the church of Sant Miquel de Tamarit de Llitera (Huesca). National Museum of Catalan Art, inv no: 015825-000
  • Gothic painted Altar frontal of Saint Christopher by Master of Soriguerola. Tempera and varnished metal plate on wood. Beginning of 14th century. 134 x 193 x 8.3 cm. The traditional hypothesis is that it could have come from the parish church of Sant Cristòfol de Toses (Ripollès), as the titular saint coincides with the church's dedication.. National Museum of Catalan Art, inv no: 015825-000
  • Gothic wood statue of Bishop Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064024-000
  • Gothic wood statue of Bishop Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064024-000
  • Gothic wood statue of Bishop Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064024-000
  • Gothic painted Panel of the life of Saint Ursula. Tempera and varnished metal plate on wood. National Museum of Catalan Art, inv no: 004377-000
  • Altarpiece of the Virgin by JAUME SERRA Circa 1367-1381. Tempera, gold leaf and metal plate on wood (346.3 x 321 x 26 cm) MNAC - National Museum of Catalan art, Barcelona, Spain Inv No: 015916-CJT
  • Gothic wood statue of a Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064015-000
  • Gothic wood statue of a Saint by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064015-000
  • Gothic wood statue of Saint Lucy by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064013-000
  • Gothic wood statue of Saint Lucy by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064013-000
  • Gothic wood statue of Saint Lucy by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064013-000
  • Gothic wood statue of Saint Lucy by the St Bertrand de Cominges Group of artists. Polychrome wood carving with varnished metal-plating.  National Museum of Catalan Art, inv no: 064013-000
  • Virgin Mary  Gothic sculpture from a Calvery scene. Polychrome wood carving with remains of varnished metal plate. National Museum of Catalan Art, Barcelona, Spain, inv no: 004390-CJT.
  • Virgin Mary  Gothic sculpture from a Calvery scene. Polychrome wood carving with remains of varnished metal plate. National Museum of Catalan Art, Barcelona, Spain, inv no: 004390-CJT.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic  painting "Pleurants" Circa 1295. National Museum of Catalan Art, Barcelona, Spain, inv no: 004372-005. <br />
Part of a set of eight panels. They come from the decoration on the tomb of the knight Sancho Sánchez Carrillo in the chapel of San Andrés de Mahamud (Burgos).
  • Gothic altarpiece of Madonna Of Humility With The Eternal Father In Glory, by Cenni di Francesco di Ser Cenni of Florence, circa 1375-80, tempera and gold leaf on wood. The Madonna and Child are depicted with the 12 apostles. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  212805. Against a art background.
  • Gothic altarpiece of Madonna and Child and 4 angels, by Pere Garcia de Benavarri, circa 1445-1485, tempera and gold leaf on wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15817.
  • Gothic Catalan altarpiece of the martydom of Sant Vicenc (Saint Vincent), by Jaume Huguet of Barcelona, circa 1455-1460, tempera and gold leaf on wood, from the church of San Vicenc de Sarria, Barcelona..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 15866.
  • Gothic altarpiece tableau of the Archangel Gabriel  by Joan Mates of Vlafranca de Penedes, circa 1410-1430, tempera and gold leaf on for wood from the church of Santa Maria de Penafel, Alt Penedes, Spain.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  214533.
  • Gothic altarpiece ofthe Nativity from the workshop of Taller de Pere Garcia de Benavarri, circa 1475, tempera and gold leaf on for wood, from the church of Nostra Senyora de Baldos de Montanyana, Osca.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114750-1. Against a white background.
  • Gothic altarpiece ofthe Nativity from the workshop of Taller de Pere Garcia de Benavarri, circa 1475, tempera and gold leaf on for wood, from the church of Nostra Senyora de Baldos de Montanyana, Osca.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114750-1. Against a grey art background.
  • Gothic altarpiece of Saint Catarina (Catherine), 3rd quarter of the 15th century, tempera and gold leaf on for wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114746-7. Against a black background.
  • Gothic altarpiece of Saint Catarina (Catherine), 3rd quarter of the 15th century, tempera and gold leaf on for wood.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC   114746-7.
  • Gothic Catalan altarpiece depicting the Madonna of Mercy by Bonant Zaortiga, circa 1430-1440, tempera and gold leaf on wood, from the church of Mare de Dieu de Carrasca , Blancas, Terol, Spain. Against a black background. <br />
Bonnat Zaortiga was one of the most prominent representatives of the international Gothic. The Mother of God of Mercy  protects humans with her cape, symbolizing one of the most feared evils of the European Middle Ages, plague, often understood as a punishment for the sins of mankind. This was the central panel of the altarpiece of the church of the Mother of God. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 3945.
  • Gothic Altarpiece of the Madonna Nursing or Madonna Lactans, by Ramon de Mur, active around Tarrega and Montblanc circa 1412-1435, tempera and gold leaf on for wood, from the parish church of Santa Maria de Cervera (Segarra),  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  15818. Against a black background.
  • Gothic wooden statue of Madonna and Child from Bohemia, circa 1530-1540, tempera and gold leaf on wood,.  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  65506. Against a grey art background.
  • Gothic wooden statue of Madonna and Child by Seguidor de Diego de Siloe of Burgos, circa 1530-1540, tempera and gold leaf on wood, from the church of San Miguel de Medina del Campo, Valladolid..  National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC  131050. Against a grey art background.
  • Gothic embossed Brass on wood box, circa 1370-1450, possibly made in Barcelona, Catalunya. National Museum of Catalan Art, Barcelona, Spain, inv no: MNAC 5361.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Gothic fresco mural painting "THE CONQUEST OF MAJORCA" 1285-1290. National Museum of Catalan Art, Barcelona, Spain, inv no: 071447-CJT. <br />
The mural paintings of the Conquest of Majorca come from the former ancestral home of the Caldes family in Carrer Montcada in Barcelona, a building later known as Palau Aguilar. Discovered and removed in 1961, these paintings are one of the most important examples of early or Linear Gothic Catalan painting. This magnificent example of painting on historical subject matter narrates the conquest of the island of Majorca by James I the Conqueror in 1229. Like a painted chronicle, the episodes follow the detailed narrative of Catalan medieval accounts such as King James I's 'Llibre dels Feits' and Bernat Desclot's 'Crònica'.
  • Painted Gothic wooden Fourteen Intercessors altarpiece made at the end of the 15th century in Franconia.  The panel depict 14 saints in total. Inv RF 2531,  The Louvre Museum, Paris.
  • Enamelled terracotta panel depicting Saint Anne, the Virgin Mary and Child with Saint Anthony made in the 2nd half of the 16th century by Santi Bugloni of Florence. This is a typical Tuscan theme of the period. Saint Anne was particularly venerated during the expulsion of the tyrant Gaultier de Brienne, Duke of Athens. .  Inv Camp 38,  The Louvre Museum, Paris.
  • Painted marble bust of Ferdinand of Aragon, King of Naples (1423-1494) from the “Porta Salvatore” Sulmona, Italy. Variously  attributed to Pietro do Milano (around 1435-1473) Francesco Laurana (circa 1430-1502) and Domenico Gagini (quote from 1448-492).  Inv RF 745, The Louvre Museum, Paris.
  • Enamelled terracotta relief panel of Saint George sleighing the Dragon. Made in Florence around 11520. Inv RF 3096, The Louvre Museum, Paris.
  • Medieval case known as “of Saint Louis”,  made in Limoges around 1236. Given by Philip the Fair to the Abbey of Notre Dame du Lis with relics of Saint Louis inside., Paris. inv 253, The Louvre Museum, Paris.
  • Medieval enamelled box depicting the entombment of a Saint, beginning of the 13th century from Limoges, enamel on gold. AD. Inv OA 949, The Louvre Museum, Paris.
  • Painted wood sculpture of Saint Roch, circa 1510-1515  from Carinthie, Austria. Inv RF  4514,  The Louvre Museum, Paris.
  • Painted plaster statue of Saint Mary Magdalene, circa 1515-1520, suspended from the vault of the church of St. Mary Magdalene Dominican convent of Augsburg. Inspired by an engraving of Albrecht Durer which depicted Mary Magdalene nude. Inv RF 1338,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Painted Gothic gilded wooden statue altarpiece of Saint Catherine, circa 1520-1525 by Niklaus Weckmann from Ulm, Germany. The young Christian martyr is represented with his usual attributes, crown, book, wheel, sword, which make reference to her legendary life and her martyrdom. The bas-relief of Saint Catherine was originally part of an altarpiece. The treatment  and refined painted facial highlights executed the prettiness of the saint. The style is typical of  Niklaus Weckmann, one great masters of late Gothic Swabian art . Inv RF 2207.6,  The Louvre Museum, Paris.
  • Wooden Gothic sculpture of the Virgin and Child attributeed to Martin Hoffman from the city of Basle, 1507, Switzerland. From the Commandry of Isenheim, Haut Rhin. This sculpture is probably the "big and ancient wooden statue of the Virgin” cited in 1793 in the inventory of the property of the Commandry of Isenheim.  The vervatious deep folds in the Virgins dress, the laughing child Jesus  and the style of Mary were repeatedly imitated in Basel at the beginning of the sixteenth century. This masterpiece of the German late Gothic sculpture was executed in a Basel workshop and can be attributed to Martin Hoffman. Expressive and enigmatic, the style of this masterpiece is the heir of the sculpture schools of Stragbourg and Veit Stoss Franconian art.  Inv RF 1833 The Louvre Museum, Paris.
  • Painted terracotta relief panel depicting the Virgin and Child by Niccolo Bardi better known as Donatello. Made in Florence around 1386. Inv RF 353, The Louvre Museum, Paris.
  • Pottery glazed plaque depicting the Virgin and Child made in Faenza, Italy, around 1500. inv 3100, The Louvre Museum, Paris.
  • Hispano-Moresque ware dish with an eagle motif. Faience lustre ware, an islamic pottery style produced in Manises, Al Andalus, present day Spain in the second half of the 14th century.  inv 1438, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child known as “a La Supplique” (supplication) made in Paris oat the beginning of the the 15th century.  inv 2745, The Louvre Museum, Paris.
  • Medieval Gothic ivory diptych depicting the Virgin and child,  made in Paris in the first quarter of the 14th century.  inv 11097, The Louvre Museum, Paris.
  • Medieval Gothic ivory statuette of the Virgin and Child with traces of polychrome, third quarter of 13th century before 1279 made in Paris. From the treasury of the Saint Chapelle, Paris. inv 67, The Louvre Museum, Paris.
  • Medieval Gothic gold leaf funerary mask, end of 13th century made in Limoges. AD. From the Priory of Papillaye, Maine et Loire, the death mask came from the tomb of Herbert Lasnier who died in 1290. inv 6485, The Louvre Museum, Paris.
  • Medieval enamelled crosier with palm leaf flower, beginning of the 13th century from Limoges, enamel on gold. Nieul-sur-L’Autise. AD. Inv OA 8105, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, circa end of 12th century from Limoges, enamel on gold. AD. Inv OA 2956, The Louvre Museum, Paris.
  • Medieval enamelled crucifix, circa end of 12th century from Limoges, enamel on gold. AD. Inv OA 2956, The Louvre Museum, Paris.
  • Medieval ivory comb with a central relief panel depicting David defeating a Lion. Third quarter of the 9th cent. AD from Metz. Inv. OA 354, The Louvre Museum, Paris.
  • Medieval Christian relief Icon depicting scenes from the Nativity, A central ivory panel surrounded by beaten silver border. From Constantinople, 11th or 12th century. Inv. OA 11399, The Louvre Museum, Paris.
  • Medieval Christian relief Icon depicting scenes from the Nativity, A central ivory panel surrounded by beaten silver border. From Constantinople, 11th or 12th century. Inv. OA 11399, The Louvre Museum, Paris.
  • Gothic decorative painted beam panels with doves, hares and a carved syalise tree, Tempera on wood. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic panel depicting scenes from the Life of St Nicholas. End of the 13th century, fresco transferred to canvas from a mural on the north wall of  The Church of San Fructuoso, Nicholas and John the Evangelist, Huesca, Spain. Inv MNAC 45796. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic panel depicting scenes from the Life of St Nicholas. End of the 13th century, fresco transferred to canvas from a mural on the north wall of  The Church of San Fructuoso, Nicholas and John the Evangelist, Huesca, Spain. Inv MNAC 45796. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic decorative relief panel depicting the Virgin Mary and Saint Antony. circa 1378-1390 from the church of Salvador of Gerb, Noguera. inv MNAC 25071, National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic statue of The Virgin Mary (Madonna) holding the baby Jesus. Polychrome and gold leaf on wood by the Circle of Gil de Siloe around 1500, probably from Castella. Inv MNAC 64028. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Painted Gothic panels from the Altarpiece of the Virgin of the Angels.<br />
From Left - San Peter, Santa Clara, Saint James the Greater, St. John the Evangelist. Tempera and gold leaf on wood, circa 1385 by by Pere Serra  from the Cathedral of Tortosa (Tarragona). Inv MNAC 3950, 3948, 3949. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Limoges Gothic chest with scenes from the Crucifixtion, circa 1210-1220. Copper engraved with an application of Champlevé enamelling. Origin Unknown. Inv MNAC 4573. National Museum of Catalan Art (MNAC), Barcelona, Spain
  • Gothic cast bronze statue of Christ. Date circa 1180 probably comes from Cerdanya.  National Museum of Catalan Art, Barcelona, Spain inv no: MNAC 4553
  • Gothic painted wood panels with scenes of the Martyrdom of Saint Lucy<br />
Circa 1300. Tempera on wood. Date Circa 1300. From the parish church of Santa Llúcia de Mur (Guàrdia de Noguera, Pallars Jussà). National Museum of Catalan Art, Barcelona, Spain, inv no: 035703-CJT

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