manuel cohen

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  • Original panoramic wallpaper painted by Jean Zuber et Cie in Rixheim, Alsace, France, in 1834, entitled The Wars of Independence, in the Independence Room (used as a private dining room) of the Palace Arms restaurant, in the Brown Palace Hotel, Denver, Colorado, USA. This is 1 of only 2 existing original painted wallpapers in America (the other in the Diplomatic Reception Room of the White House in Washington DC). The restaurant retains its historical ambience with leather seating and antique memorabilia and is one of the best fine-dining establishments in the city. The hotel itself was designed by Frank Edbrooke and built in 1892, and is listed on the US National Register of Historic Places and the Colorado State Register of Historic Properties. Picture by Manuel Cohen
    LC16_COLORADO_MC_168.jpg
  • Original panoramic wallpaper painted by Jean Zuber et Cie in Rixheim, Alsace, France, in 1834, entitled The Wars of Independence, in the Independence Room (used as a private dining room) of the Palace Arms restaurant, in the Brown Palace Hotel, Denver, Colorado, USA. This is 1 of only 2 existing original painted wallpapers in America (the other in the Diplomatic Reception Room of the White House in Washington DC). The restaurant retains its historical ambience with leather seating and antique memorabilia and is one of the best fine-dining establishments in the city. The hotel itself was designed by Frank Edbrooke and built in 1892, and is listed on the US National Register of Historic Places and the Colorado State Register of Historic Properties. Picture by Manuel Cohen
    LC16_COLORADO_MC_169.jpg
  • Interior of the Palace Arms restaurant, in the Brown Palace Hotel, Denver, Colorado, USA. The restaurant retains its historical ambience with leather seating and antique memorabilia and is one of the best fine-dining establishments in the city. The hotel itself was designed by Frank Edbrooke and built in 1892, and is listed on the US National Register of Historic Places and the Colorado State Register of Historic Properties. Picture by Manuel Cohen
    LC16_COLORADO_MC_170.jpg
  • Original panoramic wallpaper painted by Jean Zuber et Cie in Rixheim, Alsace, France, in 1834, entitled The Wars of Independence, in the Independence Room (used as a private dining room) of the Palace Arms restaurant, in the Brown Palace Hotel, Denver, Colorado, USA. This is 1 of only 2 existing original painted wallpapers in America (the other in the Diplomatic Reception Room of the White House in Washington DC). The restaurant retains its historical ambience with leather seating and antique memorabilia and is one of the best fine-dining establishments in the city. The hotel itself was designed by Frank Edbrooke and built in 1892, and is listed on the US National Register of Historic Places and the Colorado State Register of Historic Properties. Picture by Manuel Cohen
    LC16_COLORADO_MC_167.jpg
  • Entrance, built by king James V c. 1533 to give access to the outer enclosure, to Linlithgow Palace, built 15th century under king James I, and rebuilt 1618-22 by king James VI, a royal palace and residence for Scottish monarchs, in West Lothian, Scotland. Above the entrance are the 4 European orders of chivalry to which James V belonged, the Order of the Garter, Order of the Thistle, Order of the Golden Fleece and Order of St Michael. Mary Queen of Scots was born here. The palace was a resting place for Stuart royalty travelling between Edinburgh and Stirling. The Renaissance style palace was burned in 1746 and has since been restored and is now run by Historic Environment Scotland. Picture by Manuel Cohen
    LC18_SCOTLAND_MC_087.jpg
  • Coat of Arms of the Spanish Inquisition carved in stone, 16th century, from the collection of the Crespo Lopez family exhibited in the 16th century Palacio de los Olvidados or Palace of the Forgotten, in El Albayzin, the medieval Moorish old town of Granada, Andalusia, Southern Spain. The Palace is one of the few remaining old aristocratic houses in good condition, thought to belong to a Jew and now housing artefacts of Jewish culture and history. Granada was listed as a UNESCO World Heritage Site in 1984. Picture by Manuel Cohen
    LC14_GRANADA_MC256.jpg
  • Shield bearing the arms of Henri IV and Marie de Medici at the south end of the vaulted ceiling above the tribune, in La Chapelle de la Trinite or Chapel of the Trinity, 16th century, originally a monastery church belonging to the Mathurin monks under Saint Louis and re-annexed to the chateau under Francois I, Chateau de Fontainebleau, France. The proto-baroque decor is of the Second Ecole de Fontainebleau style. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC674.jpg
  • Carved wooden alfarje ceiling with the coat of arms of Pedro I of Castile, in the Patio de las Doncellas, or Courtyard of the Maidens, in the Mudejar Palace, or Palacio del Rey Don Pedro, built by Pedro I of Castile, 1334-1369, in 1364, in the Real Alcazar, a Moorish royal palace in Seville, Andalusia, Spain. The Patio de las Doncellas is a courtyard surrounded by muqarnas arches and a central sunken garden. It is the main courtyard of the palace and was named after the Moorish annual tradition of demanding 100 virgins from their Christian kingdoms. The ground floor is in typical Mudejar style but the upper floor was added 1540-72 and shows Renaissance influences. The Alcazar was first founded as a fort in 913, then developed as a palace in the 11th, 12th and 13th centuries and used by both Muslim and Christian rulers. The Alcazar is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC051.jpg
  • Coat of arms of Jean Sans Peur (Jean de Valois or Jean I duc de Bourgogne), or John the Fearless (John of Valois or John I Duke of Burgundy), 1371-1419, carved by Jean de Liege, 1330-81, on the back of his armorial chair, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The lion is the symbol of his mother Margaret of Flanders. Picture by Manuel Cohen
    LC16_FRANCE_MC_0195.jpg
  • Coats of arms of the Dukes of Burgundy, from the Altarpiece of Saints and Martyrs, 1390-99, in gilded polychromed oak, carved by Jacques de Baerze, 14th century, and painted and gilded by Melchior Broederlam, 1350-1409, originally in the Chartreuse de Champmol, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The altarpiece was commissioned in 1390 and installed in 1399 in the Chapterhouse at Champmol. Picture by Manuel Cohen
    LC16_FRANCE_MC_0193.jpg
  • Angels holding crowned coat of arms, mosaic, 1140-70, in the Palatine Chapel or Cappella Palatina, the royal chapel of the Norman Palace in Palermo, Sicily, Italy. The chapel was built for Roger II of Sicily in 1132 and consecrated in 1143, and is decorated with Byzantine mosaics. It has a sanctuary dedicated to St Peter and muqarnas in the nave ceiling, being a marriage of Norman, Byzantine and Islamic Fatimid architectural styles. The chapel is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC20_ITALY_MC_469.jpg
  • Gilded stucco eagle with coats of arms of the kingdoms of Austria and Vavaria, above the door in the Boudoir of the Empress, decorated 1854-56 by Giovanni Rossi, in the Sissi apartments, used by empress Elisabeth of Austria (Sissi) from 1856, in the Royal Palace of Venice, now the Correr Museum, on the Piazza San Marco in Venice, Veneto, Italy. The Napoleonic wing was built 1807-13 designed by Giovanni Antonio Antolini and Giuseppe Maria Soli and was used by Napoleon until 1814, the Emperor of Austria until 1866 and the king of Italy until 1919, and restored 2000-22. The historic centre of Venice is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_ITALY_MC_0160.jpg
  • Statue of King John III or Joao III, 1502-57, who based the University permanently in Coimbra, and behind, the coat of arms over the main entrance to the Joanina Library, or Biblioteca Joanina, a Baroque library built 1717-28 by Gaspar Ferreira, part of the University of Coimbra General Library, in Coimbra, Portugal. The Casa da Livraria was built during the reign of King John V or Joao V, and consists of the Green Room, Red Room and Black Room, with 250,000 books dating from the 16th - 18th centuries. The library is part of the Faculty of Law and the University is housed in the buildings of the Royal Palace of Coimbra. The building is classified as a national monument and UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_PORTUGAL_MC_083.jpg
  • Coat of arms over the main entrance to the Joanina Library, or Biblioteca Joanina, a Baroque library built 1717-28 by Gaspar Ferreira, part of the University of Coimbra General Library, in Coimbra, Portugal. The Casa da Livraria was built during the reign of King John V or Joao V, and consists of the Green Room, Red Room and Black Room, with 250,000 books dating from the 16th - 18th centuries. The library is part of the Faculty of Law and the University is housed in the buildings of the Royal Palace of Coimbra. The building is classified as a national monument and UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_PORTUGAL_MC_082.jpg
  • Coat of arms above the fireplace in the King's Inner Hall, used for audiences with ambassadors, courtiers and nobles, in Stirling Castle, with current buildings dating to 15th and 16th centuries, on Castle Hill, in Stirling, Scotland. The castle is listed as a scheduled ancient monument and is run by Historic Environment Scotland. Picture by Manuel Cohen
    LC18_SCOTLAND_MC_173.jpg
  • Bedroom of Victor Emmanuel II, king of Italy, in the Royal Rooms, in the Royal Palace of Venice, now the Correr Museum, on the Piazza San Marco in Venice, Veneto, Italy. The green upholstered chairs bear the coat of arms of Savoy. The Napoleonic wing was built 1807-13 designed by Giovanni Antonio Antolini and Giuseppe Maria Soli and was used by Napoleon until 1814, the Emperor of Austria until 1866 and the king of Italy until 1919, and restored 2000-22. The historic centre of Venice is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_ITALY_MC_0210.jpg
  • Sculptural detail of a figure holding the coat of arms of Jacques Coeur, with shells (coquilles Saint-Jacques) and hearts (coeurs), in the Salle du Tresor or treasury room, in the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. This small room has an iron door and was used for keeping the most precious objects in the household safe. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0253.jpg
  • Sculptural detail of a figure holding the coat of arms of Jacques Coeur, with shells (coquilles Saint-Jacques) and hearts (coeurs), in the Salle du Tresor or treasury room, in the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. This small room has an iron door and was used for keeping the most precious objects in the household safe. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0290.jpg
  • Decorative ceiling of the Moorish Room, inspired by the travels of archduke Maximilian to Turkey in 1850 and Egypt in 1855 while he was viceroy of Lombardy-Venetia, in the apartment of archduke Maximilian, in the Royal Palace of Venice, now the Correr Museum, on the Piazza San Marco in Venice, Veneto, Italy. The Napoleonic wing was built 1807-13 designed by Giovanni Antonio Antolini and Giuseppe Maria Soli and was used by Napoleon until 1814, the Emperor of Austria until 1866 and the king of Italy until 1919, and restored 2000-22. The historic centre of Venice is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_ITALY_MC_0188.jpg
  • Lion, symbol of the city of Venice, on the decorative ceiling on the Moorish Room, inspired by the travels of archduke Maximilian to Turkey in 1850 and Egypt in 1855 while he was viceroy of Lombardy-Venetia, in the apartment of archduke Maximilian, in the Royal Palace of Venice, now the Correr Museum, on the Piazza San Marco in Venice, Veneto, Italy. The Napoleonic wing was built 1807-13 designed by Giovanni Antonio Antolini and Giuseppe Maria Soli and was used by Napoleon until 1814, the Emperor of Austria until 1866 and the king of Italy until 1919, and restored 2000-22. The historic centre of Venice is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_ITALY_MC_0193.jpg
  • Snake, symbol of the city of Milan, on the decorative ceiling on the Moorish Room, inspired by the travels of archduke Maximilian to Turkey in 1850 and Egypt in 1855 while he was viceroy of Lombardy-Venetia, in the apartment of archduke Maximilian, in the Royal Palace of Venice, now the Correr Museum, on the Piazza San Marco in Venice, Veneto, Italy. The Napoleonic wing was built 1807-13 designed by Giovanni Antonio Antolini and Giuseppe Maria Soli and was used by Napoleon until 1814, the Emperor of Austria until 1866 and the king of Italy until 1919, and restored 2000-22. The historic centre of Venice is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_ITALY_MC_0192.jpg
  • Angels holding a coat of arms, sculptural detail above the architrave, on the Parador del Condestable Davalos, or Palacio del Dean Ortega (Palace of the Marquis of Donadio or Palace of Dean Ortega), commissioned by Fernando Ortega Salido and designed by Andres de Vandelvira in Renaissance style in the 16th century, on the Plaza Vazquez de Molina, Ubeda, Jaen, Andalusia, Spain. The palace is listed as a historic monument and the Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC233.jpg
  • Azulejos tilework with Dutch inspiration, late 18th - 19th century, in the Sala das Armas, or Hall of Arms (or Halberdiers) which houses the weapons (halberds) of the former Royal Academic Guard, used in formal academic ceremonies, at the University of Coimbra in the royal palace or Paco Real, Coimbra, Portugal. The University of Coimbra was first founded in 1290 and moved to Coimbra in 1308 and to the royal palace in 1537. The buildings are listed as a historic monument and a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_PORTUGAL_MC_137.jpg
  • Aragonese window, 14th century, in the Arabic Norman tower, or Torre di Scrigno, 12th century, the oldest part of the building, built on top of the Punic ancient city walls to defend the city, at the Palazzo Conte Federico, a 12th century Arabic Norman palace in Palermo, Sicily, Italy. Surrounding the window are carved the coats of arms of the city of Palermo, the Swabians and the Aragonese. The Federico counts bought the palace in the mid 17th century and are responsible for commissioning many of the decorations in place today. Picture by Manuel Cohen
    LC20_ITALY_MC_603.jpg
  • Cavalry, from Conquest of Majorca in 1231, fresco, late 13th century, Early Gothic style, from the Sala Major of the royal palace, 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 fresco depicts the victory parade of James I's troops with infantry above and cavalry below, King James and bishop Berengerde Palou, and coats of arms of the noble families who supported the king (Montcada, Cruilles, Empuries, Cervello). The palace complex includes the Salo del Tinell, 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_440.jpg
  • Conquest of Majorca in 1231, fresco, late 13th century, Early Gothic style, from the Sala Major of the royal palace, 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 fresco depicts the victory parade of James I's troops with infantry above and cavalry below, King James and bishop Berengerde Palou, and coats of arms of the noble families who supported the king (Montcada, Cruilles, Empuries, Cervello). The palace complex includes the Salo del Tinell, 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_438.jpg
  • Infantry, from Conquest of Majorca in 1231, fresco, late 13th century, Early Gothic style, from the Sala Major of the royal palace, 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 fresco depicts the victory parade of James I's troops with infantry above and cavalry below, King James and bishop Berengerde Palou, and coats of arms of the noble families who supported the king (Montcada, Cruilles, Empuries, Cervello). The palace complex includes the Salo del Tinell, 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_439.jpg
  • Infantry, from Conquest of Majorca in 1231, fresco, late 13th century, Early Gothic style, from the Sala Major of the royal palace, 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 fresco depicts the victory parade of James I's troops with infantry above and cavalry below, King James and bishop Berengerde Palou, and coats of arms of the noble families who supported the king (Montcada, Cruilles, Empuries, Cervello). The palace complex includes the Salo del Tinell, 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_432.jpg
  • Stanza degli Ospiti, or Guest Room, at the Palazzo Conte Federico, a 12th century Arabic Norman palace in Palermo, Sicily, Italy. On the wall are the coats of arms of the families who married into the Federico family. The Federico counts bought the palace in the mid 17th century and are responsible for commissioning many of the decorations in place today. Picture by Manuel Cohen
    LC20_ITALY_MC_592.jpg
  • Aragonese window, 14th century, in the Arabic Norman tower, or Torre di Scrigno, 12th century, the oldest part of the building, built on top of the Punic ancient city walls to defend the city, at the Palazzo Conte Federico, a 12th century Arabic Norman palace in Palermo, Sicily, Italy. Surrounding the window are carved the coats of arms of the city of Palermo, the Swabians and the Aragonese. The Federico counts bought the palace in the mid 17th century and are responsible for commissioning many of the decorations in place today. Picture by Manuel Cohen
    LC20_ITALY_MC_601.jpg
  • Aragonese window, 14th century, in the Arabic Norman tower, or Torre di Scrigno, 12th century, the oldest part of the building, built on top of the Punic ancient city walls to defend the city, at the Palazzo Conte Federico, a 12th century Arabic Norman palace in Palermo, Sicily, Italy. Surrounding the window are carved the coats of arms of the city of Palermo, the Swabians and the Aragonese. The Federico counts bought the palace in the mid 17th century and are responsible for commissioning many of the decorations in place today. Picture by Manuel Cohen
    LC20_ITALY_MC_602.jpg
  • Ceiling fresco from the Galerie des Fastes, depicting the Napoleonic coat of arms, at the Chateau de Fontainebleau, France. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC525.jpg
  • Architectural detail with royal coats of arms from La Chapelle de la Trinite or Chapel of the Trinity, 16th century, originally a monastery church belonging to the Mathurin monks under Saint Louis and re-annexed to the chateau under Francois I, Chateau de Fontainebleau, France. The proto-baroque decor is of the Second Ecole de Fontainebleau style. Louis XV was married in this chapel in the 18th century and Napoleon III was baptised here in the early 19th century. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC528.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_0480.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_0481.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_0478.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
  • 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_0466.jpg
  • Back of the armorial chair of Jean Sans Peur (Jean de Valois or Jean I duc de Bourgogne), or John the Fearless (John of Valois or John I Duke of Burgundy), 1371-1419, carved by Jean de Liege, 1330-81, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The upper section is the coat of arms of Jean Sans Peur, with the lion of his mother Margaret of Flanders, and below are the symbols of Bethel County and the County of Burgundy, and angels holding musical instruments such as the unicorde, flute and viola. Picture by Manuel Cohen
    LC16_FRANCE_MC_0212.jpg
  • Back of the armorial chair of Jean Sans Peur (Jean de Valois or Jean I duc de Bourgogne), or John the Fearless (John of Valois or John I Duke of Burgundy), 1371-1419, carved by Jean de Liege, 1330-81, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The upper section is the coat of arms of Jean Sans Peur, with the lion of his mother Margaret of Flanders, and below are the symbols of Bethel County and the County of Burgundy, and angels holding musical instruments such as the unicorde, flute and viola. Picture by Manuel Cohen
    LC16_FRANCE_MC_0194.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
  • Coat of arms of the abbey with crossed keys and a sword, limestone carving, 12th century, in the Musee Ochier, or Musee d’Art et d’Archeologie, housing sculptures from the abbey, in the Jean de Bourbon Palace, built c. 1560, at Cluny Abbey or Abbaye de Cluny, a Romanesque Benedictine monastery founded 910 by duke William I of Aquitaine, in Cluny, Saone et Loire, Bourgogne-Franche-Comte, France. The museum was founded in 1866 and renovated in 1988. The abbey is listed as a historic monument. Picture by Manuel Cohen
    LC22_FRANCE_MC_0369.jpg
  • Grape harvest and garland with coat of arms, stained glass window, by Paule and Max Ingrand, in the Palais Consulaire or Consular Palace, built 1937 in art deco style, which houses the Chamber of Commerce and Industry, on the Quai de Lattre de Tassigny in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. Picture by Manuel Cohen
    LC20_FRANCE_MC_1378.jpg
  • Part of the facade of the Cour d'Honneur of the Palais de Justice or Palace of Justice, with allegorical statues on the balustrade, a clock and sculpted figures holding the French coat of arms, Ile de la Cite, Paris, France. The building largely dates to the 19th century, with restoration work under Joseph-Louis Duc, 1802-79, although this has been the site of law courts since Roman times. Picture by Manuel Cohen
    LC14_Paris_MC191.jpg
  • Camara de la Duquesa, or Duchess's Chamber,  with 15th century ceramic floor tiles, a fabric cushion with the Borgia coat of arms, and the chasuble of St Francis Borgia, said to have been born in this room, in the Palau Ducal in Gandia, on the Costa del Azahar, Valencia, Spain. The Ducal Palace of the Borgias of Gandia was originally built in the 14th and 15th centuries in Valencian Gothic style, and later added to in Renaissance, baroque and neo-Gothic style. Picture by Manuel Cohen
    LC21_SPAIN_MC_0213.jpg
  • The King's Outer Hall, with the royal coat of arms above the fireplace, in Stirling Castle, with current buildings dating to 15th and 16th centuries, on Castle Hill, in Stirling, Scotland. This was a public function room and a waiting chamber for meetings with the king. The castle is listed as a scheduled ancient monument and is run by Historic Environment Scotland. Picture by Manuel Cohen
    LC18_SCOTLAND_MC_019.jpg
  • Coat of arms of the kings of France with 2 angels and fleur de lys, in the Royal Oratory, or private chapel of the king, in the Francois I wing of the Chateau de Chambord, designed by Domenico da Cortona and built 1519-47 in French Renaissance style under King Francois I, at Chambord, Loir-et-Cher, France. The largest of the Loire Valley chateaux, Chambord has a central keep with 4 bastion towers on the corners, a moat and an elaborate decorative roofline. The chateau is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_FRANCE_MC_1193.jpg
  • Salone d'ingresso or entrance hall, with furniture designed by Ernesto Basile, displays of livery and palanquins, and coat of arms inland in the floor, in the Palazzo Francavilla, built in 1783 for Ignazio Barone, and then bought in 1801 by Saverio Oneto and Gravina Duca di Sperlinga, in Palermo, Sicily, Italy. Ernesto Basile worked on the interiors and the mansion is filled with 18th century works of art. Picture by Manuel Cohen
    LC20_ITALY_MC_547.jpg
  • Salone d'ingresso or entrance hall, with furniture designed by Ernesto Basile, displays of livery and palanquins, and coat of arms inland in the floor, in the Palazzo Francavilla, built in 1783 for Ignazio Barone, and then bought in 1801 by Saverio Oneto and Gravina Duca di Sperlinga, in Palermo, Sicily, Italy. Ernesto Basile worked on the interiors and the mansion is filled with 18th century works of art. Picture by Manuel Cohen
    LC20_ITALY_MC_546.jpg
  • Salone d'ingresso or entrance hall, with furniture designed by Ernesto Basile, displays of livery and palanquins, and coat of arms inland in the floor, in the Palazzo Francavilla, built in 1783 for Ignazio Barone, and then bought in 1801 by Saverio Oneto and Gravina Duca di Sperlinga, in Palermo, Sicily, Italy. Ernesto Basile worked on the interiors and the mansion is filled with 18th century works of art. Picture by Manuel Cohen
    LC20_ITALY_MC_538.jpg
  • Coat of arms of the kings of France with 2 angels, Order of Chivalry of Saint-Michel, fleur de lys, initial F and salamanders, in the Royal Oratory, or private chapel of the king, in the Francois I wing of the Chateau de Chambord, designed by Domenico da Cortona and built 1519-47 in French Renaissance style under King Francois I, at Chambord, Loir-et-Cher, France. The largest of the Loire Valley chateaux, Chambord has a central keep with 4 bastion towers on the corners, a moat and an elaborate decorative roofline. The chateau is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_FRANCE_MC_1197.jpg
  • Stone sculpture of 2 figures holding a coat arms, in the Palau del Baro de Castellet, part of the Museu Picasso, an art gallery featuring over 4000 works by Pablo Picasso, 1881-1973, in La Ribera, in the Old City of Barcelona, Catalonia, Spain. The museum opened in 1963 and is housed in 5 adjoining medieval palaces on the Carrer de Montcada. The Palau del Baro de Castellet is a medieval palace renovated in the 18th century, arranged around a central courtyard. Picture by Manuel Cohen
    LC20_SPAIN_MC_1413.jpg
  • Salone d'ingresso or entrance hall, with furniture designed by Ernesto Basile, displays of livery and palanquins, and coat of arms inland in the floor, in the Palazzo Francavilla, built in 1783 for Ignazio Barone, and then bought in 1801 by Saverio Oneto and Gravina Duca di Sperlinga, in Palermo, Sicily, Italy. Ernesto Basile worked on the interiors and the mansion is filled with 18th century works of art. Picture by Manuel Cohen
    LC20_ITALY_MC_550.jpg
  • The Presentation in the Temple, painting c. 1440-50 by an unknown Burgundian artist, originally from the Chartreuse de Champmol, from the collection of the Musee du Louvre, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The scene is set in the nave of the Eglise Notre-Dame in Dijon, and the kneeling donors are thought to be Hennequin de Fretin, sergeant at arms of Philip the Good, and his wife Jeanne de Presles. Picture by Manuel Cohen
    LC16_FRANCE_MC_0148.jpg
  • Detail of Mary and Joseph presenting Jesus to a temple elder, from The Presentation in the Temple, painting c. 1440-50 by an unknown Burgundian artist, originally from the Chartreuse de Champmol, from the collection of the Musee du Louvre, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The scene is set in the nave of the Eglise Notre-Dame in Dijon, and the kneeling donors are thought to be Hennequin de Fretin, sergeant at arms of Philip the Good, and his wife Jeanne de Presles. Picture by Manuel Cohen
    LC16_FRANCE_MC_0149.jpg
  • Monumental fireplace, 1498, in the Feast Room or Salle du Festin, in the Palace of Tau or Palais du Tau, the palace of the Archbishop of Reims, rebuilt 1498-1509 and modified 1671-1710, in Reims, Marne, Grand Est, France. The palace is a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_FRANCE_MC_1611.jpg
  • Monumental fireplace, 1498, in the Feast Room or Salle du Festin, in the Palace of Tau or Palais du Tau, the palace of the Archbishop of Reims, rebuilt 1498-1509 and modified 1671-1710, in Reims, Marne, Grand Est, France. The palace is a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_FRANCE_MC_2576.jpg
  • Carved and painted wooden ceiling of the Chapelle Haute Saint-Saturnin, begun 1540s under Francois I and decorated by Philippe Delorme, Chateau de Fontainebleau, France. The chapel was built with 2 storeys, the upper section for the use of royalty. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC628.jpg
  • A 'Granada y los Converses' book, used as a blood cleansing process, to confirm nobility and christian virtue by listing acts carried out by its owner, from the collection of the Crespo Lopez family exhibited in the 16th century Palacio de los Olvidados or Palace of the Forgotten, in El Albayzin, the medieval Moorish old town of Granada, Andalusia, Southern Spain. The Palace is one of the few remaining old aristocratic houses in good condition, thought to belong to a Jew and now housing artefacts of Jewish culture and history. Granada was listed as a UNESCO World Heritage Site in 1984. Picture by Manuel Cohen
    LC14_GRANADA_MC251.jpg
  • Carved and painted wooden ceiling of the Chapelle Haute Saint-Saturnin, begun 1540s under Francois I and decorated by Philippe Delorme, with angel portraits and initials H for Henri IV and M for Marie de Medici, at the Chateau de Fontainebleau, France. The chapel was built with 2 storeys, the upper section for the use of royalty. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC630.jpg
  • Detail of a painted decorative wall panel with portrait bust of Anne of Austria, 19th century, in the Guard Room, Chateau de Fontainebleau, France. The Guard Room is the first of the King's apartment and was occupied by the soldiers of the guard. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC738.JPG
  • Detail of sculpted stone angels and heraldic shields above the arch of the Porte du Baptistere or Porte Dauphine, built 1565 by Primaticcio and enlarged in 1601-06 under King Henri IV, Chateau de Fontainebleau, France. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC394.jpg
  • Napoleon I Museum, opened 1986, in the Louis XV wing of the Chateau de Fontainebleau, France, housing a collection of furniture, objets díart, paintings, sculptures, gold and silverware, arms, costumes, ceramics, documents and historical artefacts from the imperial family from the Empire 1804-15.  The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC402.JPG
  • Coat of arms of the Chiaromonte family on a Moorish plate supported by crowned maidens, tempera painting on wood by a Sicilian artist, late 14th century, from the painted ceiling of the Sala dei Baroni, in the museum of the Palazzo Chiaramonte-Steri, a 14th century palace built for Manfredi III Chiaramont, which became a jail during the Spanish Inquisition, in Palermo, Sicily, Italy. Palermo's Arab and Norman centre is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC20_ITALY_MC_053.jpg
  • Patio de Armas, Gothic, the central courtyard at the Palau Ducal in Gandia, on the Costa del Azahar, Valencia, Spain. The Ducal Palace of the Borgias of Gandia was originally built in the 14th and 15th centuries in Valencian Gothic style, and later added to in Renaissance, baroque and neo-Gothic style. Picture by Manuel Cohen
    LC21_SPAIN_MC_0203.jpg
  • Death of Leonardo da Vinci in the arms of king Francois I in the Chateau d'Amboise, oil painting on canvas, 1781, by Francois-Guillaume Menageot, 1744-1816, in the Chambre du Roi or King's Bedroom, in the Chateau d'Ambois, a medieval castle which became a royal residence in the 15th century and was largely reworked in the 15th and 16th centuries, on the River Loire, at Amboise, Indre-et-Loire, Centre, France. The chateau was rebuilt as a Gothic palace under Charles VIII and Renaissance and Italianate additions were installed under Francois I and Henri II. It is listed as a historic monument and is part of the Loire Valley UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_FRANCE_MC_0857.jpg
  • Death of Leonardo da Vinci in the arms of king Francois I in the Chateau d'Amboise, detail, oil painting on canvas, 1781, by Francois-Guillaume Menageot, 1744-1816, in the Chambre du Roi or King's Bedroom, in the Chateau d'Ambois, a medieval castle which became a royal residence in the 15th century and was largely reworked in the 15th and 16th centuries, on the River Loire, at Amboise, Indre-et-Loire, Centre, France. The chateau was rebuilt as a Gothic palace under Charles VIII and Renaissance and Italianate additions were installed under Francois I and Henri II. It is listed as a historic monument and is part of the Loire Valley UNESCO World Heritage Site. Picture by Manuel Cohen
    LC22_FRANCE_MC_0858.jpg
  • Detail of carvings on the wall of Casa de las Conchas, Salamanca, Spain, pictured on December 19, 2010 in the afternoon. The Casa de la Conchas, 15th century, was built as the palace of Rodrigo Maldonado, a knight of the Santiago Order (Order of St James), whose emblem is a shell. Adorning the walls of the palace are carvings of shells, hence the name. It is now a library. Salamanca, an important Spanish University city, is known as La Ciudad Dorada ("The golden city") because of the unique golden colour of its Renaissance sandstone buildings. Founded in 1218 its University is still one of the most important in Spain. Around it the Old Town is a UNESCO World Heritage Site. Picture by Manuel Cohen
    LCSPAIN10_MC064.JPG
  • Detail of carvings on the wall of Casa de las Conchas, Salamanca, Spain, pictured on December 19, 2010 in the afternoon. The Casa de la Conchas, 15th century, was built as the palace of Rodrigo Maldonado, a knight of the Santiago Order (Order of St James), whose emblem is a shell. Adorning the walls of the palace are carvings of shells, hence the name. It is now a library. Salamanca, an important Spanish University city, is known as La Ciudad Dorada ("The golden city") because of the unique golden colour of its Renaissance sandstone buildings. Founded in 1218 its University is still one of the most important in Spain. Around it the Old Town is a UNESCO World Heritage Site. Picture by Manuel Cohen
    LCSPAIN10_MC063.jpg
  • Detail of carvings on the wall of Casa de las Conchas, Salamanca, Spain, pictured on December 19, 2010 in the afternoon. The Casa de la Conchas, 15th century, was built as the palace of Rodrigo Maldonado, a knight of the Santiago Order (Order of St James), whose emblem is a shell. Adorning the walls of the palace are carvings of shells, hence the name. It is now a library. Salamanca, an important Spanish University city, is known as La Ciudad Dorada ("The golden city") because of the unique golden colour of its Renaissance sandstone buildings. Founded in 1218 its University is still one of the most important in Spain. Around it the Old Town is a UNESCO World Heritage Site. Picture by Manuel Cohen
    LCSPAIN10_MC061.jpg
  • Detail of carving in the Casa de las Conchas courtyard, Salamanca, Spain, pictured on December 18, 2010 at midday. The Casa de la Conchas, 15th century, was built as the palace of Rodrigo Maldonado, a knight of the Santiago Order (Order of St James), whose emblem is a shell. Adorning the walls of the palace are carvings of shells, hence the name. It is now a library. Salamanca, an important Spanish University city, is known as La Ciudad Dorada ("The golden city") because of the unique golden colour of its Renaissance sandstone buildings. Founded in 1218 its University is still one of the most important in Spain. Around it the Old Town is a UNESCO World Heritage Site. Picture by Manuel Cohen
    LCSPAIN10_MC037.jpg
  • Detail of grated boxes (loges grillées) located at the Gods or Paradise (paradis or poulailler in French), upper balcony, on the frieze of the floor appears the megaphone (porte-voix) with Napoleon's gilded coat of arms, Theatre Imperial Napoleon III de Fontainebleau (Fontainebleau Theatre Napoleon III), 1853-1856, by Hector Lefuel, Fontainebleau, Seine-et-Marne, France. Restoration of the theatre began in Spring 2013 thanks to an agreement between the Emirate of Abu Dhabi and the French Governement dedicating 5 M€ to the restoration.  In recognition of the sponsorship by the Emirate of Abu Dhabi, French Governement decided to rename the theatre as "Theatre Cheikh Khalifa bin Zayed Al Nahyan" (Cheikh Khalifa bin Zayed Al Nahyan Theatre). The achievement of the first stage of renovation has allowed the opening of the theatre to the public on May 3, 2014. Picture by Manuel Cohen
    LC14_France_MC367.jpg
  • Detail of megaphone (porte-voix) with Napoleon's gilded coat of arms, Theatre Imperial Napoleon III de Fontainebleau (Fontainebleau Theatre Napoleon III), 1853-1856, by Hector Lefuel, Fontainebleau, Seine-et-Marne, France. Restoration of the theatre began in Spring 2013 thanks to an agreement between the Emirate of Abu Dhabi and the French Governement dedicating 5 M€ to the restoration.  In recognition of the sponsorship by the Emirate of Abu Dhabi, French Governement decided to rename the theatre as "Theatre Cheikh Khalifa bin Zayed Al Nahyan" (Cheikh Khalifa bin Zayed Al Nahyan Theatre). The achievement of the first stage of renovation has allowed the opening of the theatre to the public on May 3, 2014. Picture by Manuel Cohen
    LC14_France_MC371.jpg
  • Detail of megaphone (porte-voix) with Napoleon's gilded coat of arms, Theatre Imperial Napoleon III de Fontainebleau (Fontainebleau Theatre Napoleon III), 1853-1856, by Hector Lefuel, Fontainebleau, Seine-et-Marne, France. Restoration of the theatre began in Spring 2013 thanks to an agreement between the Emirate of Abu Dhabi and the French Governement dedicating 5 M€ to the restoration.  In recognition of the sponsorship by the Emirate of Abu Dhabi, French Governement decided to rename the theatre as "Theatre Cheikh Khalifa bin Zayed Al Nahyan" (Cheikh Khalifa bin Zayed Al Nahyan Theatre). The achievement of the first stage of renovation has allowed the opening of the theatre to the public on May 3, 2014. Picture by Manuel Cohen
    LC14_France_MC379.jpg
  • 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_0472.jpg
  • Carved capital with heraldic symbol of the Abatellis family, a griffon and a sun, in the Internal courtyard or atrium, at the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery and since 1954 has housed the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region. Picture by Manuel Cohen
    LC20_ITALY_MC_517.jpg
  • Carved capital with heraldic symbol of the Abatellis family, a griffon and a sun, in the Internal courtyard or atrium, at the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery and since 1954 has housed the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region. Picture by Manuel Cohen
    LC20_ITALY_MC_516.jpg
  • Sculptural detail with mocarabe capital, pinnacles, flowers and heraldic shields, from the facade of the Palacio de Jabalquinto, now the Universidad Internacional de Andalusia (UNIA), or International University of Andalusia, in Baeza, Jaen, Andalusia, Spain. The building was commissioned by Juan Alfonso de Benavides Manrique, lord of Jabalquinto, was designed by Enrique Egas and Pedro Lopez, and has a decorative facade featuring pineapples, fronds, flowerpots and bows. The palace is listed as a historic monument and the Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC273.jpg
  • Sculptural detail with mocarabe capital, pinnacles, flowers and heraldic shields, from the facade of the Palacio de Jabalquinto, now the Universidad Internacional de Andalusia (UNIA), or International University of Andalusia, in Baeza, Jaen, Andalusia, Spain. The building was commissioned by Juan Alfonso de Benavides Manrique, lord of Jabalquinto, was designed by Enrique Egas and Pedro Lopez, and has a decorative facade featuring pineapples, fronds, flowerpots and bows. The palace is listed as a historic monument and the Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC270.jpg
  • Sculptural detail with mocarabe capital, pinnacles, flowers and heraldic shields, from the facade of the Palacio de Jabalquinto, now the Universidad Internacional de Andalusia (UNIA), or International University of Andalusia, in Baeza, Jaen, Andalusia, Spain. The building was commissioned by Juan Alfonso de Benavides Manrique, lord of Jabalquinto, was designed by Enrique Egas and Pedro Lopez, and has a decorative facade featuring pineapples, fronds, flowerpots and bows. The palace is listed as a historic monument and the Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC272.jpg
  • Sculptural detail with pinnacles, flowers and heraldic shields, from the facade of the Palacio de Jabalquinto, now the Universidad Internacional de Andalusia (UNIA), or International University of Andalusia, in Baeza, Jaen, Andalusia, Spain. The building was commissioned by Juan Alfonso de Benavides Manrique, lord of Jabalquinto, was designed by Enrique Egas and Pedro Lopez, and has a decorative facade featuring pineapples, fronds, flowerpots and bows. The palace is listed as a historic monument and the Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC271.jpg
  • Sculptural detail with mocarabe capital, pinnacles, flowers and heraldic shields, from the facade of the Palacio de Jabalquinto, now the Universidad Internacional de Andalusia (UNIA), or International University of Andalusia, in Baeza, Jaen, Andalusia, Spain. The building was commissioned by Juan Alfonso de Benavides Manrique, lord of Jabalquinto, was designed by Enrique Egas and Pedro Lopez, and has a decorative facade featuring pineapples, fronds, flowerpots and bows. The palace is listed as a historic monument and the Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC269.jpg
  • Angel 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_0491.jpg
  • 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_0470.jpg
  • 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_0456.jpg
  • 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_0458.jpg
  • Effigies 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_0460.jpg
  • 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_0453.jpg
  • 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_0454.jpg
  • Staircase of Honour, with stucco coats of arms of European aristocracy joined by marriage to the Borromeos, 1680, by Francesco Maino, in the Palazzo Borromeo, built 1632-1948 by the Borromeo family, on Isola Bella, in the Isole Borromee or Borromean Islands, on Lake Maggiore, Piedmont, Italy. The palazzo, begun 1632, was designed by Angelo Crivelli, for Carlo III Borromeo and his wife Isabella D'Adda, then completed by Carlo Fontana for Giberto III Borromeo and Vitaliano VI Borromeo. Picture by Manuel Cohen
    LC22_ITALY_MC_0029.jpg
  • Relief on the tympanum of the postern or pedestrian entrance, restored by Caudron in the 19th century, with St Michael the archangel holding a phylactery and a vase of fleur de lys, symbol of purity, on the main facade of the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. The 3 fleur de lys flowers are in 3 stages of maturity, showing the cycle of life. Both the vase and fate flowers are hexagonal, like the Seal of Solomon. St Michael stands on the coat of arms of Jacques Coeur, with 3 hearts and 3 shells (coquilles Saint-Jacques). St Michael is a reference to 'Notre Dame Saint-Michel', the first galley chartered by Jacques Coeur. The angel hovering represents interactions between earth and air. The fruit trees may also link to red and white sulphur. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. Fulcanelli stated that Jacques Coeur was an alchemist and it is believed that some of these symbols refer to alchemy. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0229.jpg
  • Stucco coat of arms of the Borromeo family, above the doorframes of rooms on the first floor of the Palazzo Borromeo, built 1632-1948 by the Borromeo family, on Isola Bella, in the Isole Borromee or Borromean Islands, on Lake Maggiore, Piedmont, Italy. The palazzo, begun 1632, was designed by Angelo Crivelli, for Carlo III Borromeo and his wife Isabella D'Adda, then completed by Carlo Fontana for Giberto III Borromeo and Vitaliano VI Borromeo. Picture by Manuel Cohen
    LC22_ITALY_MC_0110.jpg
  • Stucco coat of arms of European aristocracy joined by marriage to the Borromeos, 1680, by Francesco Maino, at the Staircase of Honour, in the Palazzo Borromeo, built 1632-1948 by the Borromeo family, on Isola Bella, in the Isole Borromee or Borromean Islands, on Lake Maggiore, Piedmont, Italy. The palazzo, begun 1632, was designed by Angelo Crivelli, for Carlo III Borromeo and his wife Isabella D'Adda, then completed by Carlo Fontana for Giberto III Borromeo and Vitaliano VI Borromeo. Picture by Manuel Cohen
    LC22_ITALY_MC_0030.jpg
  • Staircase of Honour, with stucco coats of arms of European aristocracy joined by marriage to the Borromeos, 1680, by Francesco Maino, in the Palazzo Borromeo, built 1632-1948 by the Borromeo family, on Isola Bella, in the Isole Borromee or Borromean Islands, on Lake Maggiore, Piedmont, Italy. The palazzo, begun 1632, was designed by Angelo Crivelli, for Carlo III Borromeo and his wife Isabella D'Adda, then completed by Carlo Fontana for Giberto III Borromeo and Vitaliano VI Borromeo. Picture by Manuel Cohen
    LC22_ITALY_MC_0028.jpg
  • Fireplace, with family coat of arms and marble columns topped with fish capitals, in the Rossello room, on the first floor of the Palau Baro de Quadras, a mansion remodelled 1904-6 in catalan Modernisme style by Josep Puig i Cadafalch, 1867-1956, between the Avinguda Diagonal and Carrer Rossello, in Barcelona, Catalonia, Spain. This is a large room facing the Carrer Rossello, used by the family as a dining room, with an arcade of bulging columns with Ionic capitals in front of the facade windows. The house was commissioned by Manuel Quadras i Feliu of the Quadras textile family. The building now houses the Institut Ramon Llull, which promotes catalan language and culture. Picture by Manuel Cohen
    LC20_SPAIN_MC_0984.jpg
  • Sculpted detail of an angel holding a coat of arms with 3 crescent moons, in the chapel of the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. Fulcanelli stated that Jacques Coeur was an alchemist and the moon in its various phases is a common hermetic symbol. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0296.jpg
  • Relief on the tympanum of the postern or pedestrian entrance, restored by Caudron in the 19th century, with St Michael the archangel holding a phylactery and a vase of fleur de lys, symbol of purity, on the main facade of the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. The 3 fleur de lys flowers are in 3 stages of maturity, showing the cycle of life. Both the vase and fate flowers are hexagonal, like the Seal of Solomon. St Michael stands on the coat of arms of Jacques Coeur, with 3 hearts and 3 shells (coquilles Saint-Jacques). St Michael is a reference to 'Notre Dame Saint-Michel', the first galley chartered by Jacques Coeur. The angel hovering represents interactions between earth and air. The fruit trees may also link to red and white sulphur. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. Fulcanelli stated that Jacques Coeur was an alchemist and it is believed that some of these symbols refer to alchemy. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0218.jpg
  • Sculpture of the ride of the Valkyries from Richard Wagner's opera Die Walkure, by Pau Gargallo, and left, the coat of arms of the Palau, around the stage in the Concert Hall, at the Palau de la Musica Catalana, built 1905-8 and designed by the Catalan Modernist architect Lluis Domenech i Montaner, 1850-1923, in Casc Antic, Barcelona, Catalonia, Spain. The hall seats 2015 people, has a Walcker pipe organ and stepped stage and is illuminated entirely during the day by windows and a huge stained glass drip-shaped skylight by Rigalt Granell & Cia. The hall was built for the Orfeo Catala choral society in Catalan Modernist style, with art nouveau inspired organic forms and much attention to decorative detail. The concert hall was listed in 1997 as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_SPAIN_MC361.jpg
  • Quadras family coat of arms on the fireplace, in the Rossello room, on the first floor of the Palau Baro de Quadras, a mansion remodelled 1904-6 in catalan Modernisme style by Josep Puig i Cadafalch, 1867-1956, between the Avinguda Diagonal and Carrer Rossello, in Barcelona, Catalonia, Spain. This is a large room facing the Carrer Rossello, used by the family as a dining room, with an arcade of bulging columns with Ionic capitals in front of the facade windows. The house was commissioned by Manuel Quadras i Feliu of the Quadras textile family. The building now houses the Institut Ramon Llull, which promotes catalan language and culture. Picture by Manuel Cohen
    LC20_SPAIN_MC_0986.jpg
  • Fireplace, with family coat of arms and marble columns topped with fish capitals, in the Rossello room, on the first floor of the Palau Baro de Quadras, a mansion remodelled 1904-6 in catalan Modernisme style by Josep Puig i Cadafalch, 1867-1956, between the Avinguda Diagonal and Carrer Rossello, in Barcelona, Catalonia, Spain. This is a large room facing the Carrer Rossello, used by the family as a dining room, with an arcade of bulging columns with Ionic capitals in front of the facade windows. The house was commissioned by Manuel Quadras i Feliu of the Quadras textile family. The building now houses the Institut Ramon Llull, which promotes catalan language and culture. Picture by Manuel Cohen
    LC20_SPAIN_MC_0985.jpg
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