manuel cohen

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  • Gothic doorway, from the Chateau at La Roche-Gencay, Poitou, France, c. 1520–30, in late medieval Flamboyant Gothic design, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC102.jpg
  • Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The chapel contains a mid 13th century tomb effigy of crusader Jean d'Alluye and 14th century Catalan tombs of the counts of Urgell. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC175.jpg
  • Tomb of Ermengol VII, Count of Urgell<br />
c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The tomb was originally from the monastery of Santa Maria de Bellpuig de les Avellanes, Catalonia, Spain, founded by Ermengol VII, who died in 1184. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC128.jpg
  • Late Gothic Hall, housing German, Spanish and Italian paintings and sculpture of the late 15th and early 16th centuries, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. In the foreground is a German Palmesel, 15th century, a wooden wheeled statue of Jesus on a donkey used in Palm Sunday processions. Behind is the Retable with Scenes from the Life of St Andrew, Spanish, c. 1420–30, attributed to the Master of Roussillon. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC107.jpg
  • Late Gothic Hall, housing German, Spanish and Italian paintings and sculpture of the late 15th and early 16th centuries, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. In the foreground is a German Palmesel, 15th century, a wooden wheeled statue of Jesus on a donkey used in Palm Sunday processions. Behind is the Retable with Scenes from the Life of St Andrew, Spanish, c. 1420–30, attributed to the Master of Roussillon. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC106.jpg
  • Dog, from the sepulchral monument of Ermengol X, Count of Urgell, c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The effigy was originally in the monastery chapel of Santa Maria de Bellpuig de les Avellanes, near Lleida in Catalonia Spain, and the sarcophagus is 18th century. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC072.jpg
  • Tomb effigy of a boy, probably Ermengol IX, Count of Urgell, early 14th century, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The painted limestone tomb was in Church of Santa Maria, Castello de Farfanya, Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC071.jpg
  • Tomb effigy of a boy, probably Ermengol IX, Count of Urgell, detail of hands, early 14th century, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The painted limestone tomb was in Church of Santa Maria, Castello de Farfanya, Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC069.jpg
  • Tomb effigy of a boy, probably Ermengol IX, Count of Urgell, early 14th century, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The painted limestone tomb was in Church of Santa Maria, Castello de Farfanya, Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC068.jpg
  • Tomb effigy of a boy, probably Ermengol IX, Count of Urgell, early 14th century, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The painted limestone tomb was in Church of Santa Maria, Castello de Farfanya, Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC067.jpg
  • Double tomb of Don Alvar Rodrigo de Cabrera, Count of Urgell and his wife Cecilia of Foix, c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. This tomb of the parents of Ermengol X was originally from the Monastery of Bellpuig de les Avellanes in Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC064.jpg
  • Tomb effigy of a lady, probably Margaret of Gloucester, wife of Robert II, mid 13th century, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The effigy, French, in limestone, wears aristocratic costume with a purse or aumoniere, a needle case and a knife in a sheath. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC065.jpg
  • Tomb of a knight of the d'Aluye family, c. 1248-67, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The tomb was originally in the Cistercian abbey of La Clarte-Dieu, near Tours, France. Three generations of the d'Alene family went on Crusade to the Holy Land, and this knight is depicted in armour and at prayer. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC063.jpg
  • Tomb of Ermengol VII, Count of Urgell<br />
c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The tomb was originally from the monastery of Santa Maria de Bellpuig de les Avellanes, Catalonia, Spain, founded by Ermengol VII, who died in 1184. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC060.jpg
  • Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The chapel contains a mid 13th century tomb effigy of crusader Jean d'Alluye and 14th century Catalan tombs of the counts of Urgell. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC053.jpg
  • Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The stained glass windows, 14th century, are from the Church of Saint Leonhard in Carinthia and the castle chapel at Ebreichsdorf near Vienna, Austria. The chapel contains a mid 13th century tomb effigy of crusader Jean d'Alluye and 14th century Catalan tombs of the counts of Urgell. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC052.JPG
  • Tomb of a knight of the d'Aluye family, c. 1248-67, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The tomb was originally in the Cistercian abbey of La Clarte-Dieu, near Tours, France. Three generations of the d'Alene family went on Crusade to the Holy Land, and this knight is depicted in armour and at prayer. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC061.jpg
  • Tomb of Ermengol VII, Count of Urgell<br />
c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The tomb was originally from the monastery of Santa Maria de Bellpuig de les Avellanes, Catalonia, Spain, founded by Ermengol VII, who died in 1184. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC059.jpg
  • Double tomb of Don Alvar Rodrigo de Cabrera, Count of Urgell and his wife Cecilia of Foix, c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. This tomb of parents of Ermengol X was originally from the Monastery of Bellpuig de les Avellanes in Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC049.jpg
  • Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The chapel contains a mid 13th century tomb effigy of crusader Jean d'Alluye and 14th century Catalan tombs of the counts of Urgell. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC176.jpg
  • Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The stained glass windows, 14th century, are from the Church of Saint Leonhard in Carinthia and the castle chapel at Ebreichsdorf near Vienna, Austria. The chapel contains a mid 13th century tomb effigy of crusader Jean d'Alluye and 14th century Catalan tombs of the counts of Urgell. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC127.JPG
  • Late Gothic Hall, housing German, Spanish and Italian paintings and sculpture of the late 15th and early 16th centuries, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. In the centre is a German Palmesel, 15th century, a wooden wheeled statue of Jesus on a donkey used in Palm Sunday processions. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC105.JPG
  • Late Gothic Hall, housing German, Spanish and Italian paintings and sculpture of the late 15th and early 16th centuries, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. In the foreground is a German Palmesel, 15th century, a wooden wheeled statue of Jesus on a donkey used in Palm Sunday processions. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC104.jpg
  • Sepulchral Monument of Ermengol X, Count of Urgell, c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The effigy was originally in the monastery chapel of Santa Maria de Bellpuig de les Avellanes, near Lleida in Catalonia Spain, and the sarcophagus is 18th century. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC074.jpg
  • Sepulchral Monument of Ermengol X, Count of Urgell, c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The effigy was originally in the monastery chapel of Santa Maria de Bellpuig de les Avellanes, near Lleida in Catalonia Spain, and the sarcophagus beneath is 18th century. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC073.jpg
  • Tomb effigy of a boy, probably Ermengol IX, Count of Urgell, early 14th century, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The painted limestone tomb was in Church of Santa Maria, Castello de Farfanya, Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC066.jpg
  • Tomb of a knight of the d'Aluye family, c. 1248-67, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The tomb was originally in the Cistercian abbey of La Clarte-Dieu, near Tours, France. Three generations of the d'Alene family went on Crusade to the Holy Land, and this knight is depicted in armour and at prayer. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC062.jpg
  • Tomb of Ermengol VII, Count of Urgell<br />
c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The tomb was originally from the monastery of Santa Maria de Bellpuig de les Avellanes, Catalonia, Spain, founded by Ermengol VII, who died in 1184. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC058.jpg
  • Don Alvar Rodrigo de Cabrera, Count of Urgell, from his double tomb with his wife Cecilia of Foix, c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. This tomb of parents of Ermengol X was originally from the Monastery of Bellpuig de les Avellanes in Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC057.jpg
  • Cecilia of Foix, from the double tomb of Don Alvar Rodrigo de Cabrera, Count of Urgell and his wife Cecilia of Foix, c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. This tomb of parents of Ermengol X was originally from the Monastery of Bellpuig de les Avellanes in Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC056.jpg
  • Cecilia of Foix, from the double tomb of Don Alvar Rodrigo de Cabrera, Count of Urgell and his wife Cecilia of Foix, c. 1300–50, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. This tomb of parents of Ermengol X was originally from the Monastery of Bellpuig de les Avellanes in Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC055.jpg
  • Tomb of a knight of the d'Aluye family, c. 1248-67, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The tomb was originally in the Cistercian abbey of La Clarte-Dieu, near Tours, France. Three generations of the d'Alene family went on Crusade to the Holy Land, and this knight is depicted in armour and at prayer. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC054.jpg
  • Late Gothic Hall, housing German, Spanish and Italian paintings and sculpture of the late 15th and early 16th centuries, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. In the foreground is a German Palmesel, 15th century, a wooden wheeled statue of Jesus on a donkey used in Palm Sunday processions. Behind is the Retable with Scenes from the Life of St Andrew, Spanish, c. 1420–30, attributed to the Master of Roussillon. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC108.jpg
  • Dog sculpture from the foot of the tomb effigy of a boy, probably Ermengol IX, Count of Urgell, early 14th century, in the Gothic Chapel, a 13th century chapel in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The painted limestone tomb was in Church of Santa Maria, Castello de Farfanya, Catalonia, Spain. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC070.jpg
  • Gothic sculptures above the windows, on the facade of the Casa Xanxo, a Gothic mansion built 1506 for Bernat Xanxo, a cloth merchant, on the Rue de la Main de Fer, in the Saint-Jean district of Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The pinnacles are populated with many figures, including animals, angels and cherubs. The building is listed as a historic monument. Picture by Manuel Cohen
    DRN_LC20_FRANCE_MC_1079.jpg
  • Gothic Chapel, 13th century, at The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. The building was designed by Charles Collens and encompasses 4 original cloisters, Cuxa, Saint-Guilhem, Bonnefont and Trie, which were dismantled in Europe and reassembled here. Picture by Manuel Cohen
    LC20_NYC_USA_MC111.jpg
  • Gothic cloister of the convent of Santa Clara, 1283, Tortosa, Tarragona, Spain
    LCSPAIN11_MC173.jpg
  • Ceiling of the ambulatory surrounding the apse, Gothic cathedral of Tortosa dedicated to Santa Maria, Tortosa, Tarragona, Spain. The Coronation of the Virgin, carved key of the central vault of the apse is visible in between the pillars of the ambulatory. Construction of the cathedral begun in 1347 and it was still uncomplete in 1597 when it was consecrated. Picture by Manuel Cohen
    LCSPAIN11_MC128.jpg
  • Gothic cathedral of Tortosa dedicated to Santa Maria, Tortosa, Tarragona, Spain. Construction begun in 1347 and it was still uncomplete in 1597 when the cathedral was consecrated. Picture by Manuel Cohen
    LCSPAIN11_MC117.jpg
  • Gothic tower of the former San Juan hospital in the Palau de Maricel, now the Maricel Museum, reopened in 2015, in Sitges, Catalonia, Spain. The complex was built 1910-18 by Miquel Utrillo for Charles Deering, converted from a hospital to a residence and gallery to house Deering's collection. Picture by Manuel Cohen
    LC21_SPAIN_MC_1004.jpg
  • Ceiling of the nave, Gothic cathedral of Tortosa dedicated to Santa Maria, Tortosa, Tarragona, Spain. Construction begun in 1347 and it was still uncomplete in 1597 when the cathedral was consecrated. Picture by Manuel Cohen
    LCSPAIN11_MC127.jpg
  • Ceiling of the nave and the semicircular apse, Gothic cathedral of Tortosa dedicated to Santa Maria, Tortosa, Tarragona, Spain. Construction begun in 1347 and it was still uncomplete in 1597 when the cathedral was consecrated. Picture by Manuel Cohen
    LCSPAIN11_MC126.jpg
  • Ceiling of the nave and the semicircular apse, Gothic cathedral of Tortosa dedicated to Santa Maria, Tortosa, Tarragona, Spain. Construction begun in 1347 and it was still uncomplete in 1597 when the cathedral was consecrated. Picture by Manuel Cohen
    LCSPAIN11_MC125.jpg
  • Gothic cathedral of Tortosa dedicated to Santa Maria, Tortosa, Tarragona, Spain. Construction begun in 1347 and it was still uncomplete in 1597 when the cathedral was consecrated. Picture by Manuel Cohen
    LCSPAIN11_MC118.jpg
  • Main facade, built in Gothic Revival style by Emilio De Fabris, 19th century, of the Duomo, or Cattedrale di Santa Maria del Fiore, built 1296-1436 by architects Arnolfo di Cambio, Filippo Brunelleschi and Emilio De Fabris, in Italian Gothic, Renaissance and Gothic Revival style, on the Piazza del Duomo in Florence, Tuscany, Italy. The historic centre of Florence is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC20_ITALY_MC_351.jpg
  • Column meets Ceiling, Gothic choir, 15th century, Segovia Cathedral, (Catedral de Segovia, Catedral de Santa Maria), 1525-77, by Juan Gil de Hontanon (1480-1526), and continued by his son Rodrigo Gil de Hontanon (1500-1577), Segovia, Castile and Leon, Spain. Last Gothic Cathedral in Spain, commissioned by Carlos V (1500-58), after an earlier cathedral was damaged in the Revolt of the Comuneros, 1520. Cathedral consecrated, 1768. Ground plan has three naves surrounded by chapels. The interior is lit by Flemish windows, 16th-17th century, and centres on Gothic choir (15th century). Picture by Manuel Cohen
    LCSPAIN11_MC238.jpg
  • Ceiling of Gothic choir, 15th century, with tracery and high columns, and High Altarpiece, 18th century, by Sabatini, with statue of the Virgen de la Paz, 12th century, in the centre, Segovia Cathedral, (Catedral de Segovia, Catedral de Santa Maria), 1525-77, by Juan Gil de Hontanon (1480-1526), and continued by his son Rodrigo Gil de Hontanon (1500-1577), Segovia, Castile and Leon, Spain. Last Gothic Cathedral in Spain, commissioned by Carlos V (1500-58), after an earlier cathedral was damaged in the Revolt of the Comuneros, 1520. Cathedral consecrated, 1768. Ground plan has three naves surrounded by chapels. The interior is lit by Flemish windows, 16th-17th century, and centres on Gothic choir (15th century). Picture by Manuel Cohen
    LCSPAIN11_MC234.jpg
  • Ceiling of Gothic choir, 15th century, with tracery and high columns, and High Altarpiece, 18th century, by Sabatini, with statue of the Virgen de la Paz, 12th century, in the centre, Segovia Cathedral, (Catedral de Segovia, Catedral de Santa Maria), 1525-77, by Juan Gil de Hontanon (1480-1526), and continued by his son Rodrigo Gil de Hontanon (1500-1577), Segovia, Castile and Leon, Spain. Last Gothic Cathedral in Spain, commissioned by Carlos V (1500-58), after an earlier cathedral was damaged in the Revolt of the Comuneros, 1520. Cathedral consecrated, 1768. Ground plan has three naves surrounded by chapels. The interior is lit by Flemish windows, 16th-17th century, and centres on Gothic choir (15th century). Picture by Manuel Cohen
    LCSPAIN11_MC233.jpg
  • Ceiling of Gothic choir, 15th century, with tracery and high columns, Segovia Cathedral, (Catedral de Segovia, Catedral de Santa Maria), 1525-77, by Juan Gil de Hontanon (1480-1526), and continued by his son Rodrigo Gil de Hontanon (1500-1577), Segovia, Castile and Leon, Spain. Last Gothic Cathedral in Spain, commissioned by Carlos V (1500-58), after an earlier cathedral was damaged in the Revolt of the Comuneros, 1520. Cathedral consecrated, 1768. Ground plan has three naves surrounded by chapels. The interior is lit by Flemish windows, 16th-17th century, and centres on Gothic choir (15th century). Picture by Manuel Cohen
    LCSPAIN11_MC232.jpg
  • Ceiling of Gothic choir, 15th century, with tracery and high columns, Segovia Cathedral, (Catedral de Segovia, Catedral de Santa Maria), 1525-77, by Juan Gil de Hontanon (1480-1526), and continued by his son Rodrigo Gil de Hontanon (1500-1577), Segovia, Castile and Leon, Spain. Last Gothic Cathedral in Spain, commissioned by Carlos V (1500-58), after an earlier cathedral was damaged in the Revolt of the Comuneros, 1520. Cathedral consecrated, 1768. Ground plan has three naves surrounded by chapels. The interior is lit by Flemish windows, 16th-17th century, and centres on Gothic choir (15th century). Picture by Manuel Cohen
    LCSPAIN11_MC226.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0510.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0511.jpg
  • Column meets Ceiling, Gothic choir, 15th century, Segovia Cathedral, (Catedral de Segovia, Catedral de Santa Maria), 1525-77, by Juan Gil de Hontanon (1480-1526), and continued by his son Rodrigo Gil de Hontanon (1500-1577), Segovia, Castile and Leon, Spain. Last Gothic Cathedral in Spain, commissioned by Carlos V (1500-58), after an earlier cathedral was damaged in the Revolt of the Comuneros, 1520. Cathedral consecrated, 1768. Ground plan has three naves surrounded by chapels. The interior is lit by Flemish windows, 16th-17th century, and centres on Gothic choir (15th century). Picture by Manuel Cohen
    LCSPAIN11_MC239.jpg
  • Ceiling of Gothic choir, 15th century, with tracery and high columns, Segovia Cathedral, (Catedral de Segovia, Catedral de Santa Maria), 1525-77, by Juan Gil de Hontanon (1480-1526), and continued by his son Rodrigo Gil de Hontanon (1500-1577), Segovia, Castile and Leon, Spain. Last Gothic Cathedral in Spain, commissioned by Carlos V (1500-58), after an earlier cathedral was damaged in the Revolt of the Comuneros, 1520. Cathedral consecrated, 1768. Ground plan has three naves surrounded by chapels. The interior is lit by Flemish windows, 16th-17th century, and centres on Gothic choir (15th century). Picture by Manuel Cohen
    LCSPAIN11_MC228.jpg
  • Retaule del Conestable, altarpiece of the Epiphany, 1465, by Jaume Huguet, 1412-92, commissioned by catalan king Pere IV, in catalan Gothic style, in the Capella de Santa Agueda or Chapel of Santa Agata, a catalan Gothic chapel in the Palau Reial Major, built as residence for the counts of Barcelona and kings of Aragon and now the Muhba Placa del Rei, a history museum covering Roman to medieval periods, in Barcelona, Catalonia, Spain. The chapel was built in catalan Gothic style in 1302, with a rectangular nave, polygonal apse and polychrome wooden coffered ceiling. The chapel was built by Bertran Riquer, Jaume del Rei and Pere d'Olivera for King James II of Aragon and his wife Blanca of Naples. The palace complex includes the Salo del Tinell built 1359–62, the Palatine Chapel of St Agatha built 1302 and the Palau del Lloctinent built 1549. The museum is part of the Museu de Historia de Barcelona. Picture by Manuel Cohen
    LC20_SPAIN_MC_447.jpg
  • Crucifixion, from the Retaule del Conestable, altarpiece of the Epiphany, 1465, by Jaume Huguet, 1412-92, commissioned by catalan king Pere IV, in catalan Gothic style, in the Capella de Santa Agueda or Chapel of Santa Agata, a catalan Gothic chapel in the Palau Reial Major, built as residence for the counts of Barcelona and kings of Aragon and now the Muhba Placa del Rei, a history museum covering Roman to medieval periods, in Barcelona, Catalonia, Spain. The chapel was built in catalan Gothic style in 1302, with a rectangular nave, polygonal apse and polychrome wooden coffered ceiling. The chapel was built by Bertran Riquer, Jaume del Rei and Pere d'Olivera for King James II of Aragon and his wife Blanca of Naples. The palace complex includes the Salo del Tinell built 1359–62, the Palatine Chapel of St Agatha built 1302 and the Palau del Lloctinent built 1549. The museum is part of the Museu de Historia de Barcelona. Picture by Manuel Cohen
    LC20_SPAIN_MC_446.jpg
  • St Sebastian with bow and arrow, from the Retaule del Conestable, altarpiece of the Epiphany, 1465, by Jaume Huguet, 1412-92, commissioned by catalan king Pere IV, in catalan Gothic style, in the Capella de Santa Agueda or Chapel of Santa Agata, a catalan Gothic chapel in the Palau Reial Major, built as residence for the counts of Barcelona and kings of Aragon and now the Muhba Placa del Rei, a history museum covering Roman to medieval periods, in Barcelona, Catalonia, Spain. The chapel was built in catalan Gothic style in 1302, with a rectangular nave, polygonal apse and polychrome wooden coffered ceiling. The chapel was built by Bertran Riquer, Jaume del Rei and Pere d'Olivera for King James II of Aragon and his wife Blanca of Naples. The palace complex includes the Salo del Tinell built 1359–62, the Palatine Chapel of St Agatha built 1302 and the Palau del Lloctinent built 1549. The museum is part of the Museu de Historia de Barcelona. Picture by Manuel Cohen
    LC20_SPAIN_MC_445.jpg
  • St Catherine of Alexandria with crown, sword, book and wheel, from the Retaule del Conestable, altarpiece of the Epiphany, 1465, by Jaume Huguet, 1412-92, commissioned by catalan king Pere IV, in catalan Gothic style, in the Capella de Santa Agueda or Chapel of Santa Agata, a catalan Gothic chapel in the Palau Reial Major, built as residence for the counts of Barcelona and kings of Aragon and now the Muhba Placa del Rei, a history museum covering Roman to medieval periods, in Barcelona, Catalonia, Spain. The chapel was built in catalan Gothic style in 1302, with a rectangular nave, polygonal apse and polychrome wooden coffered ceiling. The chapel was built by Bertran Riquer, Jaume del Rei and Pere d'Olivera for King James II of Aragon and his wife Blanca of Naples. The palace complex includes the Salo del Tinell built 1359–62, the Palatine Chapel of St Agatha built 1302 and the Palau del Lloctinent built 1549. The museum is part of the Museu de Historia de Barcelona. Picture by Manuel Cohen
    LC20_SPAIN_MC_444.jpg
  • St George with spear and sword trampling the dragon, from the Retaule del Conestable, altarpiece of the Epiphany, 1465, by Jaume Huguet, 1412-92, commissioned by catalan king Pere IV, in catalan Gothic style, in the Capella de Santa Agueda or Chapel of Santa Agata, a catalan Gothic chapel in the Palau Reial Major, built as residence for the counts of Barcelona and kings of Aragon and now the Muhba Placa del Rei, a history museum covering Roman to medieval periods, in Barcelona, Catalonia, Spain. The chapel was built in catalan Gothic style in 1302, with a rectangular nave, polygonal apse and polychrome wooden coffered ceiling. The chapel was built by Bertran Riquer, Jaume del Rei and Pere d'Olivera for King James II of Aragon and his wife Blanca of Naples. The palace complex includes the Salo del Tinell built 1359–62, the Palatine Chapel of St Agatha built 1302 and the Palau del Lloctinent built 1549. The museum is part of the Museu de Historia de Barcelona. Picture by Manuel Cohen
    LC20_SPAIN_MC_443.jpg
  • Adoration of the Magi, detail, from the Retaule del Conestable, altarpiece of the Epiphany, 1465, by Jaume Huguet, 1412-92, commissioned by catalan king Pere IV, in catalan Gothic style, in the Capella de Santa Agueda or Chapel of Santa Agata, a catalan Gothic chapel in the Palau Reial Major, built as residence for the counts of Barcelona and kings of Aragon and now the Muhba Placa del Rei, a history museum covering Roman to medieval periods, in Barcelona, Catalonia, Spain. The chapel was built in catalan Gothic style in 1302, with a rectangular nave, polygonal apse and polychrome wooden coffered ceiling. The chapel was built by Bertran Riquer, Jaume del Rei and Pere d'Olivera for King James II of Aragon and his wife Blanca of Naples. The palace complex includes the Salo del Tinell built 1359–62, the Palatine Chapel of St Agatha built 1302 and the Palau del Lloctinent built 1549. The museum is part of the Museu de Historia de Barcelona. Picture by Manuel Cohen
    LC20_SPAIN_MC_442.jpg
  • Adoration of the Magi, from the Retaule del Conestable, altarpiece of the Epiphany, 1465, by Jaume Huguet, 1412-92, commissioned by catalan king Pere IV, in catalan Gothic style, in the Capella de Santa Agueda or Chapel of Santa Agata, a catalan Gothic chapel in the Palau Reial Major, built as residence for the counts of Barcelona and kings of Aragon and now the Muhba Placa del Rei, a history museum covering Roman to medieval periods, in Barcelona, Catalonia, Spain. The chapel was built in catalan Gothic style in 1302, with a rectangular nave, polygonal apse and polychrome wooden coffered ceiling. The chapel was built by Bertran Riquer, Jaume del Rei and Pere d'Olivera for King James II of Aragon and his wife Blanca of Naples. The palace complex includes the Salo del Tinell built 1359–62, the Palatine Chapel of St Agatha built 1302 and the Palau del Lloctinent built 1549. The museum is part of the Museu de Historia de Barcelona. Picture by Manuel Cohen
    LC20_SPAIN_MC_441.jpg
  • Nativity of the Virgin, c. 1480, painted German wooden sculpture of St Anne with a swaddled baby Virgin, in the Late Gothic Hall of The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The sculpture is thought to be the predella of the late Gothic altarpiece dedicated to St Anne in the parish church at Ebern, Germany. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC109.JPG
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0516.jpg
  • Sculptures of weepers including a bishop, under Gothic canopies, by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0518.jpg
  • Statues of weepers under Gothic canopy from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0525.jpg
  • Statues of hooded weeper under Gothic canopy from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0524.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0508.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0509.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0500.jpg
  • Duomo, or Cattedrale di Santa Maria del Fiore, built 1296-1436, with its dome built 1420-36 designed by Filippo Brunelleschi, 1377–1446, and nave with Neo Gothic facade, designed 1871 by Emilio De Fabris, 1808–83 and built 1876-87, in the evening, in Florence, Tuscany, Italy. On the right is Giotto's campanile, a freestanding bell tower in Florentine Gothic style designed by Giotto di Bondone, c. 1267-1337, on the Piazza del Duomo. The historic centre of Florence is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_344.jpg
  • Gothic nave looking towards the Romanesque choir with its fresco of Christ in Glory, in Nevers Cathedral, or Cathedral of Saint Cyricus and Saint Julitta of Nevers, Nevers, Bourgogne-Franche-Comte, France. The nave has 5 bays with Gothic arches and a cross-vaulted ceiling. The apse and transept at the West end of the church are Romanesque, while the nave and Eastern apse are 14th century Gothic. The building is listed as a national monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_1341.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0523.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0514.jpg
  • Sculptures of hooded weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0512.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0513.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0515.jpg
  • Statues of weepers under Gothic canopies under effigy of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0507.jpg
  • Rose window of the Upper chapel of La Sainte-Chapelle (The Holy Chapel), 1248, Paris, France. The gothic 16th century rose window shows the Apocalypse around an enthroned Christ in the central oculus. La Sainte-Chapelle was commissioned by King Louis IX of France to house his collection of Passion Relics, including the Crown of Thorns, and is considered among the highest achievements of the Rayonnant period of Gothic architecture. Picture by Manuel Cohen
    LC_PARIS_11_MC021.jpg
  • Duomo, or Cattedrale di Santa Maria del Fiore, built 1296-1436, with its dome built 1420-36 designed by Filippo Brunelleschi, 1377–1446, and nave with Neo Gothic facade, designed 1871 by Emilio De Fabris, 1808–83 and built 1876-87, in Florence, Tuscany, Italy. On the right is Giotto's campanile, a freestanding bell tower in Florentine Gothic style designed by Giotto di Bondone, c. 1267-1337, on the Piazza del Duomo. The historic centre of Florence is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_343.jpg
  • Duomo, or Cattedrale di Santa Maria del Fiore, built 1296-1436, with its dome built 1420-36 designed by Filippo Brunelleschi, 1377–1446, and nave with Neo Gothic facade, designed 1871 by Emilio De Fabris, 1808–83 and built 1876-87, in Florence, Tuscany, Italy. On the right is Giotto's campanile, a freestanding bell tower in Florentine Gothic style designed by Giotto di Bondone, c. 1267-1337, on the Piazza del Duomo. The historic centre of Florence is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_341.jpg
  • Duomo, or Cattedrale di Santa Maria del Fiore, built 1296-1436, with its dome built 1420-36 designed by Filippo Brunelleschi, 1377–1446, and nave with Neo Gothic facade, designed 1871 by Emilio De Fabris, 1808–83 and built 1876-87, in Florence, Tuscany, Italy. To the right is Giotto's campanile, a freestanding bell tower in Florentine Gothic style designed by Giotto di Bondone, c. 1267-1337, on the Piazza del Duomo. The historic centre of Florence is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_340.jpg
  • Rose window of the Upper chapel of La Sainte-Chapelle (The Holy Chapel), 1248, Paris, France. The gothic 16th century rose window shows the Apocalypse around an enthroned Christ in the central oculus. La Sainte-Chapelle was commissioned by King Louis IX of France to house his collection of Passion Relics, including the Crown of Thorns. The Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture, the most famous features are the great stained glass windows. Picture by Manuel Cohen
    LC_PARIS_11_MC070.jpg
  • Rose window of the Upper chapel of La Sainte-Chapelle (The Holy Chapel), 1248, Paris, France. The gothic 16th century rose window shows the Apocalypse around an enthroned Christ in the central oculus. La Sainte-Chapelle was commissioned by King Louis IX of France to house his collection of Passion Relics, including the Crown of Thorns. The Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture, the most famous features are the great stained glass windows. Picture by Manuel Cohen
    LC_PARIS_11_MC069.jpg
  • Real Monasterio de Sant Jeroni de Cotalba, aerial view, a monastery founded in 1388 by the duke of Gandia, Alfons de Vell, and built 14th - 18th centuries in Valencian Gothic, mudejar, Renaissance, Baroque and Neoclassical styles, in Alfauir, Valencia, Spain. Here the cloister is seen, the lower level built 14th - 15th century, in Gothic mudejar style, and the upper level built by Pere Compte in the 16th century for the duchess of Gandia, Maria Enriquez de Luna, in late Gothic style. Picture by Manuel Cohen
    DRN_LC21_SPAIN_MC_0256.jpg
  • Retable de la Trinite or Trinity altarpiece, 1489, paintings on wood, by Maitre de la Loge de Mer, in the Gothic Perpignan exhibition in the Musee d'Art Hyacinthe Rigaud, an art gallery housed in the Hotel de Lazerme, a private mansion built in the 18th century by the marquis Etienne de Blanes and bought in 1827 by Joseph de Lazerme, and the Hotel de Mailly, on the Rue de l'Age, Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The altarpiece was originally from the Chapelle de la Loge de Mer in Perpignan. The painting represents the commercial power of the city, with the Trinity in a dazzling mandorla surrounded by 12 biblical characters with phylacteries praising justice rendered by the sea consuls. The museum was renovated and reopened in 2017 and houses 3 exhibitions: Gothic Perpignan, Baroque Perpignan and Modern Perpignan, including works by local artists Hyacinthe Rigaud and Aristide Maillol. Picture by Manuel Cohen
    LC20_FRANCE_MC_1341.jpg
  • Cathedrale Saint-Maurice d'Angers, a Roman catholic church consecrated in 1096 and built 11th - 16th centuries, in Romanesque, Gothic and Angevin Gothic styles, in Angers, Maine-et-Loire, France. The cathedral houses stained glass windows by Andre Robin from 1451, and is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_0480.jpg
  • Virgin and child statue, c. 1340-50, French, in the Early Gothic Hall of The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC050.jpg
  • 3 kings bearing gifts, from the Adoration of the Magi, stained glass window, c. 1290–1300, German, from the convent church at Altenberg-an-der-Lahn, near Wetzlar, Germany, in the Early Gothic Hall, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC147.jpg
  • Expulsion of Adam and Eve, detail from the Guimera altarpiece, 1402-12, by Ramon de Mur, Gothic tempera painting on wood, from the Church of Santa Maria de Guimera, Urgell, in the Museu Episcopal de Vic, specialising in medieval liturgical catalan art, in Vic, Catalonia, Spain. The altarpiece measures 7x5m and is in International Gothic style, with highly contrasting colours. Picture by Manuel Cohen
    LC20_SPAIN_MC_250.jpg
  • Cloister, with a 12th and 13th century Gothic arcade and courtyard garden, and bell tower behind, in the Royal Abbey of Santa Maria de Poblet, a Cistercian monastery founded in 1151, built by Arnau Bargues in Catalan Gothic style, in Conca de Barbera, Tarragona, Catalonia, Spain. Poblet formed part of the Cistercian Triangle in Catalonia, along with Vallbona de les Monges and Santes Creus, and was the royal burial place of the Aragon dynasty. The monastery is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC19_SPAIN_MC104.jpg
  • Church and Convent of the Dominicans, built 1510, the first catholic building in the New World, in the Colonial Zone of Santo Domingo, capital of the Dominican Republic, in the Caribbean. It was inaugurated in 1532 and became the University Santo Tomas de Aquino in 1538, the first university in the Americas. The facade displays Gothic, Baroque and Elizabethan Gothic styles, and was restored in Baroque style in 1746. Santo Domingo's Colonial Zone is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC18_DominicanRepublic_MC_244.jpg
  • Allegory of temptation, with a bird blowing into the ear of a figure's head, sculptural detail from <br />
the Gothic crypt, c. 1200, in Bourges Cathedral or the Cathedrale Saint-Etienne de Bourges, built 1195-1230 in French Gothic style and consecrated in 1324, in Bourges, Centre-Val de Loire, France. The cathedral is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_FRANCE_MC_0171.jpg
  • Lion at the feet of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0479.JPG
  • Effigy of Margaret of Bavaria with angels holding coat of arms, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0482.jpg
  • Effigy of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0467.jpg
  • Effigy of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0469.jpg
  • Tombs of Jean sans Peur, or John the Fearless, 1371-1419, Duke of Burgundy, and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta and Antoine le Moiturier, and behind, tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, Duke of Burgundy, 1381-1410, by Jean de Marville, Claus Sluter et Claus de Werve, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tombs consist of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The Guardroom, a large ceremonial and banquet hall, was built 1450-55 by Philippe le Bon, or Philip the Good, 1396-1467, Duke of Burgundy, in Flamboyant Gothic style. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0455.jpg
  • Effigy of John the Fearless with angels holding helmet, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0457.jpg
  • Effigy of Margaret of Bavaria with angels holding coat of arms, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0459.jpg
  • Lion at the feet of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0463.jpg
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