manuel cohen

Show Navigation
  • Portfolio
  • Search (in english)
  • Reportages
  • Fine Art Prints
  • About
  • Contact
  • Instagram
  • Facebook
  • PicRights

Search Results

Refine Search
Match all words
Match any word
Prints
Personal Use
Royalty-Free
Rights-Managed
(leave unchecked to
search all images)
{ 3637 images found }

Loading ()...

  • Renaissance bedchamber, Chateau d'Azay-le-Rideau, 16th century Renaissance chateau, Loire Valley, Inde-et-Loire, France. This is the bedroom of Philippa Lesbahy, wife of Gilles de Berthelot, who built and owned the chateau in the early 16th century. Renaissance furniture and furnishings have been restored, although the bed is 19th century. Picture by Manuel Cohen
    LC13_FRANCE_MC112.jpg
  • Renaissance spiral staircase leading to the organ in the nave of the Collegiate Church of Saint-Gervais-Saint-Protais, built 12th to 16th centuries in Gothic and Renaissance styles, in Gisors, Eure, Haute-Normandie, France. The staircase was built by Jean Grappin in the 16th century. The church was consecrated in 1119 by Calixtus II but the nave was rebuilt from 1160 after a fire. The church is 70m long and the nave is 24m high with a rib-vaulted ceiling. The church was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC14_France_MC077.jpg
  • Renaissance cloister of the Convent of Sant Salvador de Horta, or La Mare de Deu dels Angels Convent, or Convent of St Mary of the Angels, 12th - 17th centuries, Santa Salvador mountain, near Horta de Sant Joan, Terra Alta, Tarragona, Spain. The cloister is 2 storey structure of column-supported arches with a central well. The church itself is a 13th century Gothic building, built during the rule of the Templar knights. The Franciscan convent was founded in 1543 and became an important pilgrimage site after the death of Saint Salvador de Horta, who stayed here for 12 years and performed many miracles, in 1567. In 1985 the mountain and convent were listed as an Historic-Artistic Monument. Picture by Manuel Cohen
    LCSPAIN13_MC066.JPG
  • Statue of the architect Andres de Vandelvira, 1509–75, Spanish Renaissance architect, in the Vazquez de Molina Square, Ubeda, Jaen, Andalusia, Spain. Vandelvira designed many of the Renaissance buildings in Ubeda and Baeza. Behind the statue is the Palacio de las Cadenas or Palace of the Chains, or Vazquez de Molina Palace, designed by Andres de Vandelvira and built 1546-65 in Renaissance style for Juan Vazquez de Molina. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC113.jpg
  • Statue of the architect Andres de Vandelvira, 1509–75, Spanish Renaissance architect, in the Vazquez de Molina Square, Ubeda, Jaen, Andalusia, Spain. Vandelvira designed many of the Renaissance buildings in Ubeda and Baeza. Behind the statue is the Palacio de las Cadenas or Palace of the Chains, or Vazquez de Molina Palace, designed by Andres de Vandelvira and built 1546-65 in Renaissance style for Juan Vazquez de Molina. The 3 storey building has a central portal, triangular pediments on the first floor windows, bull's eye windows and caryatids on the second floor and lanterns on the roof corners. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC114.jpg
  • Statue of the architect Andres de Vandelvira, 1509–75, Spanish Renaissance architect, in the  Plaza Vazquez de Molina, Ubeda, Jaen, Andalusia, Spain. Vandelvira designed many of the Renaissance buildings in Ubeda and Baeza. Behind the statue is the Hospital de Santiago, built 1562-75 in Renaissance style, which is listed as a historic monument. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC266.jpg
  • North altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC194.jpg
  • Virgin and child statue, north altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC193.jpg
  • Transfiguration of Christ, from the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC192.jpg
  • Sculptural detail from the South altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC191.jpg
  • Detail of an apostle from the Transfiguration of Christ, from the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC141.jpg
  • Statue of a saint writing on a book in a niche on the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The altarpiece features a central sculpture of the Transfiguration of Christ under an ornate canopy, and statues in niches separated by pilasters with corinthian capitals. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC140.jpg
  • Detail of an apostle from the Transfiguration of Christ, from the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC132.jpg
  • Detail of Christ from the Transfiguration of Christ, from the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC130.jpg
  • Detail of cherubs holding the canopy, from the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC131.jpg
  • Detail of an apostle from the Transfiguration of Christ, from the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC127.jpg
  • Virgin and child statue, north altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC128.jpg
  • Virgin and child statue, north altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC126.jpg
  • Renaissance fountain and the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The building serves as a funerary temple, with a central crypt, and a single tower topped with an onion dome. To the left is the Parador of the Condestable Davalos, former palace of Dean Ortega. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC249.jpg
  • North altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC196.jpg
  • View across the rooftops of the town of Ubeda, Jaen, Andalusia, Spain, seen from the Renaissance tower of the Hotel MS Palacio de Ubeda. In the centre is the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built in 1536 in Spanish Renaissance style. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC289.jpg
  • View across the rooftops of the town of Ubeda, Jaen, Andalusia, Spain, seen from the Renaissance tower of the Hotel MS Palacio de Ubeda. In the centre is the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built in 1536 in Spanish Renaissance style. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC288.jpg
  • Transfiguration of Christ under an ornate canopy, central section of the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC283.jpg
  • North altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, with altar and Virgin and child statue, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC281.jpg
  • Transfiguration of Christ, from the main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC190.jpg
  • Main altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The altarpiece features a central sculpture of the Transfiguration of Christ under an ornate canopy, and statues in niches separated by pilasters with corinthian capitals. The original was destroyed in the Spanish Civil War (only the central Christ was saved) and it was restored by Juan Luis Vassal. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC181.JPG
  • Cherubs from the North altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC139.jpg
  • Cherub and Virgin and child statue, north altarpiece, c. 1560, by Alonso Berruguete, 1490-1561, in Spanish Renaissance style, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC138.jpg
  • View across the rooftops of the town of Ubeda, Jaen, Andalusia, Spain, seen from the Renaissance tower of the Hotel MS Palacio de Ubeda. In the centre is the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built in 1536 in Spanish Renaissance style. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC263.jpg
  • Low angle view of a detail of the fountain statue,  Central Patio, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070302.jpg
  • Detail of the courtyard with fountain statue and a Roman statue of Minerva in the background, Central Patio, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070301.jpg
  • Low angle oblique view of the Central Patio with a Roman statue of Minerva in the distance, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070294.jpg
  • Detail of reclining nude sculpture in the garden, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families. During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070292.jpg
  • Low angle view of a Roman statue of Minerva in the Central Patio, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070290.jpg
  • Low angle view of a detail of the fountain statue, Central Patio, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families. During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070300.jpg
  • Detail of fountain statue,  Central Patio, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070299.JPG
  • High angle view of the central patio with Roman statue of Minerva and upper portico, Casa de Pilatos, Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070296.jpg
  • Low angle view of the Central Patio with a Roman statue of Minerva in the distance, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070295.jpg
  • Low angle view of the Central Patio with a Roman statue of Minerva in the distance, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070293.jpg
  • Detail of reclining nude sculpture in the garden, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070291.jpg
  • Oblique low angle view of Roman statue of Minerva in the Central Patio, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070289.jpg
  • View from the front of a Roman statue of Minerva, Central Patio, Casa de Pilatos (Pilate's House), Seville, Spain, pictured on December 30, 2006, in the afternoon. Pilate's House, late 15th century, was built by the Enriquez and Ribera families During the 16th century these families, who had a strong relationship with Italy,  introduced the Renaissance style to Seville. In the palace is the sculpture collection of the Duke of Alcala  who brought back many Classical pieces from Italy and adapted the palace and gardens to exhibiting them in Renaissance style. The buildings were further modified according to Romantic taste in the 19th century and now present a combination of Mudejar-Gothic, Renaissance and Romantic styles. Today the Casa de Pilatos belongs to the Fundacion Casa Ducal de Medicaneli and is the residence of the Dukes of Medicaneli. Picture by Manuel Cohen.
    DSEVILLE070288.jpg
  • Coronation of the Virgin, detail, Renaissance fresco, 1440-41, by Fra Angelico, 1395-1455, in Cell 9, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ in heaven crowns the Virgin, both robed in white. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_235.jpg
  • St Dominic in thought, detail from Mocking of Christ, with the Virgin and St Dominic, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 7, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is blindfolded and crowned with thorns, and jeering soldiers appear as disembodied hands, a spitting head, cap raised in sarcasm, a hand and beating stick. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_226.jpg
  • Mocking of Christ, with the Virgin and St Dominic, detail, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 7, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is blindfolded and crowned with thorns, and jeering soldiers appear as disembodied hands, a spitting head, cap raised in sarcasm, a hand and beating stick. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_224.jpg
  • Angel Gabriel, detail from the Annunciation, Renaissance fresco, 1442-43, by Fra Angelico, 1395-1455, on the first floor of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_202.jpg
  • Annunciation Triptych of the Renaissance Merode Altarpiece, c. 1427–32, by the workshop of Robert Campin, 1375-1444, Flemish, 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 central panel shows the Virgin and archangel Gabriel in the Annunciation, with on the left, a kneeling donor at open door and on the right, Joseph in his carpenter's workshop. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC134.jpg
  • Decorative detail from under the cupola of the crypt, with statue in a niche, painted and gilt decoration and balustrade, at the Sacra Capilla del Salvador, or Sacred Chapel of the Saviour, designed by Diego de Siloe and Andres de Vandelvira and built for Francisco de los Cobos in 1536 in Spanish Renaissance style and consecrated in 1559, on the Plaza Vazquez de Molina, in Ubeda, Jaen, Andalusia, Spain. The Renaissance buildings of Ubeda and Baeza are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_SPAIN_MC133.jpg
  • Descent from the Cross, 1560, Spanish Renaissance painting by Juan de Juanes, 1475-1579, in the Museu Catedral Valencia, in the Metropolitan Cathedral-Basilica of the Assumption of Our Lady of Valencia, Valencia, Spain. The museum houses a collection of Gothic, Renaissance and Mannerist sculptures and paintings, including works by Maella, Goya and Juan de Juanes. The cathedral is a Roman Catholic parish church consecrated in 1238 and reworked several times over the centuries. Picture by Manuel Cohen
    LC21_SPAIN_MC_0937.jpg
  • Portrait of Fra Angelico, 1395-1455, Early Renaissance Italian painter, Baroque painting, by Carlo Dolci, 1616-86, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_330.jpg
  • Presentation at the Temple, Renaissance fresco, 1450-52, by Fra Angelico, 1395-1455, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Joseph is carrying a basket with 2 doves and Mary witnesses Jesus being held by Simeon, while St Peter Martyr and St Catherine of Siena look on. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_327.jpg
  • Baptism of Christ, detail, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in the cloister of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ, attended by angels, is baptised in the river Jordan by St John the Baptist, with the Virgin and St Dominic looking on. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_326.jpg
  • Baptism of Christ, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in the cloister of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ, attended by angels, is baptised in the river Jordan by St John the Baptist, with the Virgin and St Dominic looking on. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_325.jpg
  • Mocking of Christ, detail from Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of and scenes from the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_324.jpg
  • Homo Pietatis or Man of Sorrow, detail, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of the Passion (lance, sponge, cross, column), Judas kissing Christ, Peter and the handmaiden, the mocking of Christ, and with St Dominic and the Virgin below as witnesses. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_323.jpg
  • Kiss of Judas, Renaissance fresco, 1441-43, by Fra Angelico, 1395-1455, in Cell 33 in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. To the right is St Peter cutting off the ear of a servant of the high priest. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_320.jpg
  • Adoration of the Magi and Man of Sorrows, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_319.jpg
  • Adoration of the Magi and Man of Sorrows, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 39, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_318.jpg
  • Crucifixion with the Virgin and Saints Cosmas, John the Evangelist and Peter Martyr, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 38, the cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_316.jpg
  • Crucifixion with the Virgin and Saints Cosmas, John the Evangelist and Peter Martyr, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 38, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_317.jpg
  • Nailing of Christ to the Cross, Renaissance fresco, 1441-42, by an assistant of Fra Angelico, 1395-1455, in Cell 36, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Roman soldiers climb ladders to nail Christ to the cross, and below stand the grieving Virgin and Mary Magdalene, with the Sanhedrin on the right. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_315.jpg
  • Last Supper: Communion of the Apostles, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 35, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_314.jpg
  • Coronation of the Virgin, Renaissance fresco, 1440-41, by Fra Angelico, 1395-1455, in Cell 9, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Below are (left-right) St Thomas, St Benedict, St Dominic, St Francis, St Peter the Martyr and St Mark. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_312.jpg
  • Resurrection of Christ and Women at the Tomb, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 8, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. On the left is St Dominic in meditation, and on the right is Mary Magdalene and 3 women painted by Benozzo Gozzoli, 1421-97. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_311.jpg
  • Archangel Gabriel, detail from Annunciation, Renaissance fresco, 1440-42, by Fra Angelico, 1395-1455, in Cell 3, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_309.jpg
  • Lamentation over Christ, Renaissance fresco, 1440-42, by Fra Angelico, 1395-1455, in Cell 2 of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_308.jpg
  • Noli Me Tangere, Renaissance fresco, 1440-42, by Fra Angelico, 1395-1455, in Cell 1 of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_307.jpg
  • Annunciation, Renaissance fresco, 1440-42, by Fra Angelico, 1395-1455, in Cell 3, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_304.jpg
  • Renaissance paintings on display in the Museo Nazionale di San Marco, originally the Dominican Convent of St Mark in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico, 1395-1455, and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_301.jpg
  • Library, built 1437-44 by Michelozzo on the first floor of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The room has 2 rows of columns forming 3 naves with a barrel vaulted ceiling and large windows to let in natural light for the copying of manuscripts. It holds books and manuscripts, many in Latin and Greek, and was a centre for learning in the Renaissance. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico, 1395-1455, and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_285.jpg
  • Library, built 1437-44 by Michelozzo on the first floor of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The room has 2 rows of columns forming 3 naves with a barrel vaulted ceiling and large windows to let in natural light for the copying of manuscripts. It holds books and manuscripts, many in Latin and Greek, and was a centre for learning in the Renaissance. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico, 1395-1455, and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_284.jpg
  • Virgin and child enthroned with St Zenobius (or St Augustine) and St Thomas, detail, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 11, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_283.jpg
  • Joseph and Mary, detail from Presentation at the Temple, Renaissance fresco, 1450-52, by Fra Angelico, 1395-1455, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Joseph is carrying a basket with 2 doves and Mary witnesses Jesus being held by Simeon, while St Peter Martyr and St Catherine of Siena look on. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_282.jpg
  • Angels holding towels, detail from Baptism of Christ, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in the cloister of the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ, attended by angels, is baptised in the river Jordan by St John the Baptist, with the Virgin and St Dominic looking on. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_278.jpg
  • Virgin Mary, detail from Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_276.jpg
  • Mocking of Christ, detail from Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of and scenes from the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_275.jpg
  • Peter and the handmaiden, detail from Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of and scenes from the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_274.jpg
  • St John the Evangelist, St Thomas Aquinas, St Lawrence and St Peter Martyr, detail from Sacra Conversazione, or Holy Conversation, also known as Madonna delle Ombre, or Madonna of the Shadows, Renaissance fresco, c. 1443, by Fra Angelico, 1395-1455, in the east corridor between cells 25 and 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_272.jpg
  • St Dominic, St Cosmas, St Damian and St Mark, detail from Sacra Conversazione, or Holy Conversation, also known as Madonna delle Ombre, or Madonna of the Shadows, Renaissance fresco, c. 1443, by Fra Angelico, 1395-1455, in the east corridor between cells 25 and 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_271.jpg
  • Virgin and child, detail from Sacra Conversazione, or Holy Conversation, also known as Madonna delle Ombre, or Madonna of the Shadows, Renaissance fresco, c. 1443, by Fra Angelico, 1395-1455, in the east corridor between cells 25 and 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_269.jpg
  • St Cosmas, St Damian and St Mark, detail from Sacra Conversazione, or Holy Conversation, also known as Madonna delle Ombre, or Madonna of the Shadows, Renaissance fresco, c. 1443, by Fra Angelico, 1395-1455, in the east corridor between cells 25 and 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_270.jpg
  • Virgin and child, detail from Sacra Conversazione, or Holy Conversation, also known as Madonna delle Ombre, or Madonna of the Shadows, Renaissance fresco, c. 1443, by Fra Angelico, 1395-1455, in the east corridor between cells 25 and 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_268.jpg
  • St Peter cutting off the ear of a servant of the high priest, detail from Kiss of Judas, Renaissance fresco, 1441-43, by Fra Angelico, 1395-1455, in Cell 33 in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_267.jpg
  • Kiss of Judas, detail, Renaissance fresco, 1441-43, by Fra Angelico, 1395-1455, in Cell 33 in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. To the right is St Peter cutting off the ear of a servant of the high priest. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_265.jpg
  • Worshippers in procession, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_263.jpg
  • Worshippers in procession, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_261.jpg
  • Magi, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_260.jpg
  • Virgin and child, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_259.jpg
  • King worshipping the Christ child, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_258.jpg
  • King worshipping the Christ child, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_257.jpg
  • Entrance to Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Cell 39 is painted with the Adoration of the Magi and Man of Sorrows, Renaissance frescoes, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_255.jpg
  • Skull, detail from Crucifixion with the Virgin and Saints Cosmas, John the Evangelist and Peter Martyr, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 38, the cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_254.jpg
  • Sanhedrin council, detail from Nailing of Christ to the Cross, detail, Renaissance fresco, 1441-42, by an assistant of Fra Angelico, 1395-1455, in Cell 36, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_251.jpg
  • Virgin Mary and Mary Magdalene grieving, detail from Nailing of Christ to the Cross, detail, Renaissance fresco, 1441-42, by an assistant of Fra Angelico, 1395-1455, in Cell 36, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_250.jpg
  • Nailing of Christ to the Cross, detail, Renaissance fresco, 1441-42, by an assistant of Fra Angelico, 1395-1455, in Cell 36, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_249.jpg
  • Nailing of Christ to the Cross, detail, Renaissance fresco, 1441-42, by an assistant of Fra Angelico, 1395-1455, in Cell 36, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_248.jpg
  • Nailing of Christ to the Cross, detail, Renaissance fresco, 1441-42, by an assistant of Fra Angelico, 1395-1455, in Cell 36, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_247.jpg
  • Apostles, detail from Last Supper: Communion of the Apostles, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 35, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_245.jpg
  • Christ feeding bread to an apostle, detail from Last Supper: Communion of the Apostles, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 35, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_243.jpg
  • Christ feeding bread to an apostle, detail from Last Supper: Communion of the Apostles, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 35, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_242.jpg
Next
  • Facebook
  • Twitter
x