manuel cohen

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  • Altar mayor or main altar, made in 1657 by Pedro Portillo from red marble, with tabernacle by Juan Pedro Arnal with a jasper crystal cross framed in bronze and 6 white marble angels, in the Catedral de la Asuncion de Jaen, or Santa Iglesia Catedral de la Asuncion de la Virgen, in Jaen, Andalusia, Spain. The current cathedral was built in the 16th century on the site of an older building, and is known for its Renaissance chapter house and sacristy by Andres de Vandelvira and its Baroque facade by Eufrasio Lopez de Rojas. Picture by Manuel Cohen
    LC20_SPAIN_MC_026.jpg
  • New altar, by Vladimir Zbynovsky, a French-Slovakian artist, consecrated 14th January 2018, in the Basilique Saint-Denis, Paris, France. The altar features a Greek cross cut through the altar and floor, allowing a cruciform of light to descend into the crypt. The basilica is a large medieval 12th century Gothic abbey church and burial site of French kings from 10th - 18th centuries. Picture by Manuel Cohen
    LC18_FRANCE_MC_0327.jpg
  • Amorini hauling the chariot of Mars (replica), carved relief on one of the sides of the altar of Sacello dell'Ara dei Gemelli (Shrine of the Altar of the Twins), 2nd century AD, Ostia Antica, Italy. Picture by Manuel Cohen
    LCITALY12_MC470.jpg
  • Papal Altar  with Bernini's baldacchino, 1633, Saint Peter's Basilica, Vatican City, Rome, Italy. The mainly bronze, partly gilt altar is Bernini's first work in St. Peter's. In the background stands the Cathedra Petri, Altar of the Chair of St. Peter, created by Bernini in 1666, with four gigantic statues of Doctors of the Church: St. Ambrose, St. Anthanasius (left); and St. John Chrysostom, St. Augustine (right) Picture by Manuel Cohen
    LCITALY12_MC320.jpg
  • Nave, choir and high altar of the Cathedrale Saint-Maurice d'Angers, a Roman catholic church consecrated in 1096 and built 11th - 16th centuries, in Romanesque, Gothic and Angevin Gothic styles, in Angers, Maine-et-Loire, France. The Rococo altar of 1758 is Rococo in style and consists of a base and 6 columns in red marble and a gilded oak canopy. The cathedral houses stained glass windows by Andre Robin from 1451, and is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_0672.jpg
  • Roman stone altar with dedication to Jupiter, the main state deity and embodiment of Imperial Rome, with carved images of a patera (small pan) and jug used to pour libations into the hollow scoops on the altar top, at the Housesteads Roman Fort Museum, Hadrian's Wall, Northumberland, England. An inscription reads, 'to Jupiter best and greatest, and the spirit of the Emperors, the 1st regiment of Hungarians, under the command of Quintus Julius Maximus'. Such dedications of new altars enabled individuals and regiments to record their achievements and document their allegiance. Housesteads Fort was built in 124 AD and is the most complete Roman fort in Britain, built by legionaries to house 10 centuries of auxiliary soldiers based on the frontier. Hadrian's Wall was built 73 miles across Britannia, now England, 122-128 AD, under the reign of Emperor Hadrian, ruled 117-138, to mark the Northern extent of the Roman Empire and guard against barbarian attacks from the Picts to the North. The Housesteads Roman Fort Museum is run by English Heritage and forms part of the Hadrian's Wall UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_ENGLAND_MC_142.jpg
  • Double circular altar at Barbar Temple II, photograph, constructed with cut limestone blocks, in the Bahrain National Museum, designed by Krohn and Hartvig Rasmussen, inaugurated December 1988 by Amir Shaikh Isa Bin Salman Al-Khalifa, in Manama, Bahrain. This large temple was discovered near the village of Barbar and the site consists of 3 successive temples, with the 2 oldest temples terraced with a central platform above an outer oval platform, in Sumerian style. This temple contains a sacrificial courtyard, altars, shrines and an underground shrine built around a fresh water spring. The Bahrain National Museum houses cultural and archaeological collections covering 6000 years of history, with rooms entitled Burial Mounds, Dilmun, Tylos and Islam, Customs and Traditions, Traditional Trades and Crafts, and Documents and Manuscripts. Picture by Manuel Cohen
    LC19_BAHREIN_MC_217.jpg
  • Altar del Trascoro, designed 1772-76 by Ventura Rodriguez and built by Eusebio Valdes with sculptures by Juan de Salazar of the Immaculate Conception, San Domingo de Guzman and San Juan Nepomuceno, in the Cathedral of the Incarnation of Almeria, or Catedral de la Encarnacion de Almeria, built 1524-62 in late Gothic and Renaissance styles after the original cathedral was destroyed in an earthquake, Almeria, Andalusia, Southern Spain. Above the main statues are a medallion of God the Father, angels and allegories of Faith and Hope. Picture by Manuel Cohen
    LC14_ALMERIA_MC124.jpg
  • Altar del Trascoro, designed 1772-76 by Ventura Rodriguez and built by Eusebio Valdes with sculptures by Juan de Salazar of the Immaculate Conception, San Domingo de Guzman and San Juan Nepomuceno, in the Cathedral of the Incarnation of Almeria, or Catedral de la Encarnacion de Almeria, built 1524-62 in late Gothic and Renaissance styles after the original cathedral was destroyed in an earthquake, Almeria, Andalusia, Southern Spain. Above the main statues are a medallion of God the Father, angels and allegories of Faith and Hope. Picture by Manuel Cohen
    LC14_ALMERIA_MC122.jpg
  • Embroidered altar cloth, 14th century, from the Abbey church of St Martin's, or upper church, at the Abbaye Saint-Martin-du-Canigou, a Romanesque Benedictine monastery built 1005-9 under Guifred, Count of Cerdanya, on the slopes of the Pic du Canigou, Pyrenees-Orientales, France. The cloth is made from fine linen, with cross stitch embroidery in green, golden and purple silk thread. Tradition states that it was made by Guisla, d. 1018, who founded the abbey with her husband Guifred II, although it is now known to be 14th century. The abbey complex consists of St Mary's or the lower church, and the abbey church of St Martin's or the upper church, and the bell tower. The abbey and the altar cloth are listed as a historic monuments. Picture by Manuel Cohen
    LC20_FRANCE_MC_1650.jpg
  • Gallo-Roman votive altar topped with crown, dedicated to Mercury, limestone, in the Musee Archeologique Henri Prades, an archaeology museum at Lattara, an ancient Etruscan settlement founded 6th century BC, rediscovered in 1963, at Lattes, near Montpellier, Languedoc-Roussillon, France. The site was first settled in neolithic times but thrived in Etruscan times as a port settlement, beside lagoons on the Lez delta, and grew again in Roman times from 2nd century BC. The site is a protected archaeological reserve, with an archaeological museum, research centre and excavation depot, and is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_1250.jpg
  • Martyrdom of St Quiricus by hammering of nails into his head, 12th century Romanesque, by unknown artist, detail of an altar frontal, tempera on wood, from the chapel of Sant Quirc in Durro, La Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0535.jpg
  • Christ in Majesty, detail of an altar frontal, early 13th century Romanesque, by workshop of La Seu d'Urgell, tempera, stucco and metal on wood, from the church of Sant Roma de Vila, Encamp, Andorra, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0532.jpg
  • Altar frontal of the Archangels, detail of St Michael with the devil weighing souls, 13th century, Romanesque, by Master of Sant Pau de Casserres, in tempera, stucco and metal on wood, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0482.jpg
  • Martyrdom of Julitta, mother of St Quiricus, by cutting with swords, 12th century Romanesque, by unknown artist, detail of an altar frontal, tempera on wood, from the chapel of Sant Quirc in Durro, La Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0462.jpg
  • Scenes from the life of the Virgin, including the Flight into Egypt, detail from an altar frontal from Cardet, by the workshop of Iohannes Ribagorca, late 13th century, Romanesque and early Gothic, tempera, stucco reliefs and remains of varnished metal plate on wood, from the parish church of Santa Maria de Cardet, Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Unusually, this painting is signed by the artist. Picture by Manuel Cohen
    LC21_SPAIN_MC_0457.jpg
  • Nativity of Christ, from scenes from the life of the Virgin, detail from an altar frontal from Cardet, by the workshop of Iohannes Ribagorca, late 13th century, Romanesque and early Gothic, tempera, stucco reliefs and remains of varnished metal plate on wood, from the parish church of Santa Maria de Cardet, Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Unusually, this painting is signed by the artist. Picture by Manuel Cohen
    LC21_SPAIN_MC_0456.jpg
  • Stone altar with candles and a crucifixion sculpture in an apse of St Mary's Church or lower church, built partly underground, at the Abbaye Saint-Martin-du-Canigou, a Romanesque Benedictine monastery built 1005-9 under Guifred, Count of Cerdanya, on the slopes of the Pic du Canigou, Pyrenees-Orientales, France. The abbey complex consists of St Mary's or the lower church, and the abbey church of St Martin's or the upper church, and the bell tower. The abbey is listed as a historic monument. Picture by Manuel Cohen
    LC20_FRANCE_MC_1409.jpg
  • Main altar, and tomb of Cardinal Richelieu by Francois Girardon, 1694, in the Chapelle de la Sorbonne, or La Chapelle Sainte Ursule de la Sorbonne, built 1635-42 by architect Jacques Lemercier, at the Sorbonne, the main building of the University of Paris, in the 5th arrondissement of Paris, France. The tomb consists of a marble sculpture of the cardinal with allegorical figures of science and religion, and a copy of a cardinal's hat donated by Pope Paul VI hanging above. It is positioned between the choir stalls with the cardinal facing the altar. The chapel is listed as a historic monument. Picture by Manuel Cohen
    LC19_PARIS_MC_0678.jpg
  • Apse and main altar arch with high altar below, in the Berliner Dom or Berlin Cathedral, redesigned by Julius Raschdorff and completed 1905 in Neo-Renaissance style after being badly damaged in World War Two, although the original chapel on this site was consecrated in 1454, Museum Island, Mitte, Berlin, Germany. The buildings on Museum Island were listed as a UNESCO World Heritage Site in 1999. Picture by Manuel Cohen
    LC14_BERLIN_MC0596.jpg
  • Main altar of 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_MC754.jpg
  • Martyrdom of St Quiricus and his mother Julitta by torture in a cauldron of boiling pitch, 12th century Romanesque, by unknown artist, detail of an altar frontal, tempera on wood, from the chapel of Sant Quirc in Durro, La Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0534.jpg
  • Christ in Majesty with evangelists and apostles, altar frontal, early 13th century Romanesque, by workshop of La Seu d'Urgell, tempera, stucco and metal on wood, from the church of Sant Roma de Vila, Encamp, Andorra, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0531.jpg
  • Christ in Majesty and saints, 12th century, by workshop of La Seu d'Urgell, Romanesque altar frontal in tempera and metal on wood, from the church of Sant Marti d'Ix, La Guingueta d'Ix, Alta Cerdanya, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0527.jpg
  • Christ in Majesty, 12th century, by workshop of La Seu d'Urgell, detail of Romanesque altar frontal in tempera and metal on wood, from the church of Sant Marti d'Ix, La Guingueta d'Ix, Alta Cerdanya, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0526.jpg
  • Virgin and child in a mandorla with evangelists and scenes from the life of the Virgin, altar frontal from Cardet, by the workshop of Iohannes Ribagorca, late 13th century, Romanesque and early Gothic, tempera, stucco reliefs and remains of varnished metal plate on wood, from the parish church of Santa Maria de Cardet, Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Unusually, this painting is signed by the artist. Picture by Manuel Cohen
    LC21_SPAIN_MC_0524.jpg
  • Christ in Majesty with evangelists and apostles, early 12th century, Romanesque altar frontal by Ripoll workshop, tempera and metal on wood, from the church of Santa Maria in the castle of Besora, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0522.jpg
  • Altar frontal of the Archangels, detail of St Michael fighting the dragon, 13th century, Romanesque, by Master of Sant Pau de Casserres, in tempera, stucco and metal on wood, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0484.jpg
  • Altar frontal of the Archangels, detail from the life of St Michael, with man firing an arrow at his prize bull in a cave, 13th century, Romanesque, by Master of Sant Pau de Casserres, in tempera, stucco and metal on wood, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0483.jpg
  • Christ in Majesty with evangelists and apostles, detail, c. 1200, Romanesque altar frontal by workshop of Mestre Alexander, in tempera and metal on wood, from the church of Sant Andreu de Baltarga, Bellver de Cerdanya, Baixa Cerdanya, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0481.jpg
  • Nativity of Christ, detail from an altar frontal, by unknown artist, 13th century, Romanesque, in tempera, parchment trim, stucco reliefs and remnants of corrugated metal sheet on board, from the church of Santa Maria de Avia in Bergueda, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. This piece shows a strong Byzantine influence. The frontal features the Virgin as 'Sedes Sapientiae' on throne of wisdom with Christ child and angels above, surrounded by 4 scenes from the childhood of Christ. Picture by Manuel Cohen
    LC21_SPAIN_MC_0477.jpg
  • Martyrdom of Julitta, mother of St Quiricus, by cutting with swords, 12th century Romanesque, by unknown artist, detail of an altar frontal, tempera on wood, from the chapel of Sant Quirc in Durro, La Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0461.jpg
  • High altar, installed 1877, made by the goldsmiths Poussielgue-Rusand based on a design by Canon Brune, in the Cathedral Saint-Samson, begun in the 13th century on the site of an older church and completed in the 18th century, in Dol-de-Bretagne, Brittany, France. The cathedral is dedicated to one of the founding saints of Brittany and until 1801 was the seat of the archbishopric of Dol. Picture by Manuel Cohen
    LC18_FRANCE_MC_0151.jpg
  • Altar with 3 vertical stones, in the Sanctuary, used for worship and sacrifices, in the public area of the Phoenician city of Solunto, in Sicily, Italy. The Phoenician village of Solunto was expanded by the Greeks after 396 BC and again by the Romans after 254 BC. It was abandoned soon after and rediscovered by archaeologists in the 16th century. Picture by Manuel Cohen
    LC17_ITALY_MC223.jpg
  • Main altar and dome of the Chapel of the Choir, 1574-77, with frescoes by Antonio Ferraro da Giuliana, in the Chiesa di San Domenico, or San Domenico Church, built in 1470, commissioned by the Tagliavia, rulers of Castelvetrano, on the Piazza Regina Margherita in Castelvetrano, Trapani, Sicily, Italy. The cupola frescoes depict the Resurrection, Assumption, Pentecost, Death of the Virgin, Jonah, David, Solomon, Daniel and God the Father Pantocrator. Decorated in Baroque style in the 16th century, the church is known as the Sistine Chapel of Sicily. The church was damaged in the Belice earthquake of 1968 and was reopened in 2014 after 5 years of restoration work. Picture by Manuel Cohen
    LC17_ITALY_MC173.jpg
  • Central statue of the Virgin of the Assumption, standing on the moon surrounded by angels, from the altarpiece of the high altar, Renaissance, 1490-1503, in the  Collegiate Church of Santa Maria la Mayor, originally a 10th century Islamic fortress, then a 12th century Romanesque church and Priory of the Royal Abbey of Montearagon, then collegiate church built 1541-59 by Pedro de Irazabal, at Bolea, Huesca, Aragon, Spain. The altarpiece consists of 20 painted panels and wooden polychrome statuettes. The design and ornamentation are by Flemish master Gil de Brabant, and the paintings by Master of Bolea, an unknown Spanish artist. Picture by Manuel Cohen
    LC15_SPAIN_MC120.jpg
  • Painting of Pope St Gregory, reigned 590-604 AD, by the Master of Bolea, from the altarpiece of the high altar, Renaissance, 1490-1503, in the  Collegiate Church of Santa Maria la Mayor, originally a 10th century Islamic fortress, then a 12th century Romanesque church and Priory of the Royal Abbey of Montearagon, then collegiate church built 1541-59 by Pedro de Irazabal, at Bolea, Huesca, Aragon, Spain. The altarpiece consists of 20 painted panels and wooden polychrome statuettes. The design and ornamentation are by Flemish master Gil de Brabant, and the paintings by Master of Bolea, an unknown Spanish artist. Picture by Manuel Cohen
    LC15_SPAIN_MC117.jpg
  • Painting of St Augustine of Hippo, by the Master of Bolea, from the altarpiece of the high altar, Renaissance, 1490-1503, in the  Collegiate Church of Santa Maria la Mayor, originally a 10th century Islamic fortress, then a 12th century Romanesque church and Priory of the Royal Abbey of Montearagon, then collegiate church built 1541-59 by Pedro de Irazabal, at Bolea, Huesca, Aragon, Spain. The altarpiece consists of 20 painted panels and wooden polychrome statuettes. The design and ornamentation are by Flemish master Gil de Brabant, and the paintings by Master of Bolea, an unknown Spanish artist. Picture by Manuel Cohen
    LC15_SPAIN_MC118.jpg
  • Painting of St Augustine of Hippo, by the Master of Bolea, from the altarpiece of the high altar, Renaissance, 1490-1503, in the  Collegiate Church of Santa Maria la Mayor, originally a 10th century Islamic fortress, then a 12th century Romanesque church and Priory of the Royal Abbey of Montearagon, then collegiate church built 1541-59 by Pedro de Irazabal, at Bolea, Huesca, Aragon, Spain. The altarpiece consists of 20 painted panels and wooden polychrome statuettes. The design and ornamentation are by Flemish master Gil de Brabant, and the paintings by Master of Bolea, an unknown Spanish artist. Picture by Manuel Cohen
    LC15_SPAIN_MC119.JPG
  • Altarpiece of the high altar, Renaissance, 1490-1503, in the Collegiate Church of Santa Maria la Mayor, originally a 10th century Islamic fortress, then a 12th century Romanesque church and Priory of the Royal Abbey of Montearagon, then collegiate church built 1541-59 by Pedro de Irazabal, at Bolea, Huesca, Aragon, Spain. The altarpiece consists of 20 painted panels and wooden polychrome statuettes. The design and ornamentation are by Flemish master Gil de Brabant, and the paintings by Master of Bolea, an unknown Spanish artist. Picture by Manuel Cohen
    LC15_SPAIN_MC115.jpg
  • Altarpiece of the high altar, Renaissance, 1490-1503, in the  Collegiate Church of Santa Maria la Mayor, originally a 10th century Islamic fortress, then a 12th century Romanesque church and Priory of the Royal Abbey of Montearagon, then collegiate church built 1541-59 by Pedro de Irazabal, at Bolea, Huesca, Aragon, Spain. The altarpiece consists of 20 painted panels and wooden polychrome statuettes. The design and ornamentation are by Flemish master Gil de Brabant, and the paintings by Master of Bolea, an unknown Spanish artist. Picture by Manuel Cohen
    LC15_SPAIN_MC091.jpg
  • Main altar with gilded wood canopy by Hurtado Izquierdo, 1710, and statues by Jose de Mora, in the Granada Charterhouse or Monasterio de la Cartuja, a Carthusian monastery founded 1506, in Baroque style, in Granada, Andalusia, Southern Spain. Granada was listed as a UNESCO World Heritage Site in 1984. Picture by Manuel Cohen
    LC14_GRANADA_MC336.jpg
  • Nave and choir, Basilica di Santa Maria in Ara coeli (Basilica of St. Mary of the Altar of Heaven), 12th century, Rome, Italy. Picture by Manuel Cohen
    LCITALY12_MC369.jpg
  • Three wise men following the star on horseback, detail from an altar frontal, by the workshop of La Seu d'Urgell, early 13th century, Romanesque, tempera stucco relief and varnished metal plate on wood, from the church of Santa Maria de Mosoll, Das, Baixa Cerdanya, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0544.jpg
  • Virgin as 'Sedes Sapientiae' on throne of wisdom with Christ child and angels above, detail from an altar frontal, by unknown artist, 13th century, Romanesque, in tempera, parchment trim, stucco reliefs and remnants of corrugated metal sheet on board, from the church of Santa Maria de Avia in Bergueda, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. This piece shows a strong Byzantine influence. Around this central image are 4 scenes from the childhood of Christ. Picture by Manuel Cohen
    LC21_SPAIN_MC_0543.jpg
  • Martyrdom of St Quiricus by sawing in half, 12th century Romanesque, by unknown artist, detail of an altar frontal, tempera on wood, from the chapel of Sant Quirc in Durro, La Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0533.jpg
  • Virgin and child in a mandorla with evangelists and scenes from the life of the Virgin, altar frontal from Cardet, by the workshop of Iohannes Ribagorca, late 13th century, Romanesque and early Gothic, tempera, stucco reliefs and remains of varnished metal plate on wood, from the parish church of Santa Maria de Cardet, Vall de Boi, Alta Ribagorca, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Unusually, this painting is signed by the artist. Picture by Manuel Cohen
    LC21_SPAIN_MC_0525.jpg
  • Christ in a mandorla surrounded by the evangelists and saints, altar frontal, by the workshop of Mestre Alexander, 12th century, Romanesque, tempera on metal plate and wood, from the parish church of Sant Andreu de Baltarga, Bellver de Cerdanya, Baixa Cerdanya, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0480.jpg
  • Presentation in the Temple, detail from an altar frontal, by unknown artist, 13th century, Romanesque, in tempera, parchment trim, stucco reliefs and remnants of corrugated metal sheet on board, from the church of Santa Maria de Avia in Bergueda, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. This piece shows a strong Byzantine influence. The frontal features the Virgin as 'Sedes Sapientiae' on throne of wisdom with Christ child and angels above, surrounded by 4 scenes from the childhood of Christ. Picture by Manuel Cohen
    LC21_SPAIN_MC_0478.jpg
  • Virgin as 'Sedes Sapientiae' on throne of wisdom with Christ child and 4 scenes from the childhood of Christ, altar frontal, by unknown artist, 13th century, Romanesque, in tempera, parchment trim, stucco reliefs and remnants of corrugated metal sheet on board, from the church of Santa Maria de Avia in Bergueda, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. This piece shows a strong Byzantine influence. Picture by Manuel Cohen
    LC21_SPAIN_MC_0476.jpg
  • Baroque main altar in La Martorana, or Concattedrale Santa Maria dell’Ammiraglio, a 12th century orthodox church which merged with the adjacent Benedictine convent in 1433, in Palermo, Sicily, Italy. The church is decorated with 12th century Byzantine mosaics. Palermo's Arab and Norman centre is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC20_ITALY_MC_047.jpg
  • Royal tombs seen from above, with effigies of (top) Charles Martel, d. 741, Clovis II, 639-57, Philippe IV the Fair, 1285-1314, Philippe III the Bold, 1270-85, and Isabelle of Aragon, d. 1271, in the Basilique Saint-Denis, Paris, France. The bottom group are Louis III, 879-82, Carloman, 882-84, Pepin le Bref, 751-68, and Berthe, d. 783. The basilica is a large medieval 12th century Gothic abbey church and burial site of French kings from 10th - 18th centuries. On the right is the new altar, by Vladimir Zbynovsky, a French-Slovakian artist, consecrated 14th January 2018. Picture by Manuel Cohen
    DRN_LC18_FRANCE_MC_0467.jpg
  • Central statue of the Virgin of the Assumption, standing on the moon surrounded by angels, from the altarpiece of the high altar, Renaissance, 1490-1503, in the  Collegiate Church of Santa Maria la Mayor, originally a 10th century Islamic fortress, then a 12th century Romanesque church and Priory of the Royal Abbey of Montearagon, then collegiate church built 1541-59 by Pedro de Irazabal, at Bolea, Huesca, Aragon, Spain. The altarpiece consists of 20 painted panels and wooden polychrome statuettes. The design and ornamentation are by Flemish master Gil de Brabant, and the paintings by Master of Bolea, an unknown Spanish artist. Picture by Manuel Cohen
    LC15_SPAIN_MC125.jpg
  • Altar carved with bas-reliefs of 4 gods, detail, High Empire Gallo-Roman, 1st - 3rd century AD, limestone, in the Musee de Langres, or Langres Museum of Art and History, in Langres, Haute-Marne, France. Founded in 1841, the museum has been housed in a new building in the old town since 1997. It exhibits art, artefacts and archaeology from prehistory to the 20th century. Picture by Manuel Cohen
    LC21_FRANCE_MC_0976.jpg
  • Altar, with bas-relief of a vase, High Empire Gallo-Roman, 1st - 3rd century AD, limestone, discovered in 1819 at Faubourg de Louot, in the Musee de Langres, or Langres Museum of Art and History, in Langres, Haute-Marne, France. Founded in 1841, the museum has been housed in a new building in the old town since 1997. It exhibits art, artefacts and archaeology from prehistory to the 20th century. Picture by Manuel Cohen
    LC21_FRANCE_MC_0951.jpg
  • Stone altar with candles in the Lower Chapel, with columns supporting ceiling vaults and tiled floor, in the Palais de Tau, the 12th century Episcopal Palace of Angers and former residence of the bishops of Angers, in Angers, Maine-et-Loire, France. The T-shaped palace was built on the site of an earlier 9th century building. It is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_0562.jpg
  • Statue of the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France, on the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. The statue of the Black Virgin and child stands in front of a fresco of the Pentecost. Picture by Manuel Cohen
    LC15_FRANCE_MC0348.jpg
  • Altar in the Royal Chapel, on the second floor of the Phare de Cordouan or Cordouan Lighthouse, built 1584-1611 in Renaissance style by Louis de Foix, 1530-1604, French architect, located 7km at sea, near the mouth of the Gironde estuary, Aquitaine, France. This is the oldest lighthouse in France. There are 4 storeys, with keeper apartments and an entrance hall, King's apartments, chapel, secondary lantern and the lantern at the top at 68m. Parabolic lamps and lenses were added in the 18th and 19th centuries. The lighthouse is listed as a historic monument. Picture by Manuel Cohen
    LC15_FRANCE_MC0293.jpg
  • Altar with figures carved in alabaster, 15th century, from Santa Maria Podone, the Borromeo family church in Milan, in the passage to the Palatine Chapel, 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_0069.jpg
  • Christ Pantocrator with evangelists and angels, fresco on the wooden canopy above the altar, in the sanctuary of Saints Sergius and Bacchus Church, or Abu Serga, founded 4th century, in Coptic Cairo, an area of Old Cairo, in Cairo, Egypt. The church is believed to have been built on the site where the Holy Family stayed after their Flight into Egypt, and is the oldest church in Egypt. Christianity grew here near the Babylon fort from the late pharaonic and Roman eras and during Islamic rule, and 6 early christian churches remain. Picture by Manuel Cohen
    LC22_EGYPT_MC_0143.jpg
  • Altar under a wooden canopy in the sanctuary of Saints Sergius and Bacchus Church, or Abu Serga, founded 4th century, in Coptic Cairo, an area of Old Cairo, in Cairo, Egypt. On the right is the apse, decorated with coloured marble and mosaics. The church is believed to have been built on the site where the Holy Family stayed after their Flight into Egypt, and is the oldest church in Egypt. Christianity grew here near the Babylon fort from the late pharaonic and Roman eras and during Islamic rule, and 6 early christian churches remain. Picture by Manuel Cohen
    LC22_EGYPT_MC_0142.jpg
  • Three-headed god, from a carved stone altar, detail, in the Musee Saint-Remi, an art and archaeology museum in the Abbey of Saint-Remi, founded 6th century, in Reims, Marne, France. The abbey is a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_FRANCE_MC_1460.jpg
  • Statues of St Nicholas of Bari and St Peter of Verona, in a niche, detail from the main altar in the Iglesia de San Nicolas de Bari y San Pedro Martir, or Church of San Nicolas, with rib vaulted baroque interior designed 1690-93 and decorated by Juan Perez Castiel, in Valencia, Spain. The church was originally built c. 1242 but remodelled 1419-55 by the Borgia family in Valencian Gothic style. Picture by Manuel Cohen
    LC21_SPAIN_MC_0921.jpg
  • Statues of St Nicholas of Bari and St Peter of Verona, in a niche flanked by Solomonic columns, detail from the main altar in the Iglesia de San Nicolas de Bari y San Pedro Martir, or Church of San Nicolas, with rib vaulted baroque interior designed 1690-93 and decorated by Juan Perez Castiel, in Valencia, Spain. The church was originally built c. 1242 but remodelled 1419-55 by the Borgia family in Valencian Gothic style. Picture by Manuel Cohen
    LC21_SPAIN_MC_0942.jpg
  • Taurobolium altar, used for sacrificing bulls, dedicated to Cybele, Mother of the Gods, and to the imperial Numina, by Lucius Pomponius Paternus, Gallo-Roman sculpture, 180-250 AD, excavated in the ramparts of Vesunna, detail, in the Musee Vesunna, Perigueux, Dordogne, France. The Vesunna Gallo-Roman Museum was built by Jean Nouvel and opened in 2003, to protect and house the excavated remains of the Vesunna domus and exhibit artefacts from the region. Vesunna was founded on the site of modern-day Perigueux in c. 16 BC under Emperor Augustus, and was the Gallo-Roman capital of Petrucores territory. Picture by Manuel Cohen
    LC21_FRANCE_MC_1101.jpg
  • Altar to the gods of Olympus, with reliefs of Diana, Bacchus, Apollo, Vulcan, Hercules and Ceres, Gallo-Roman sculpture excavated in the Jardin Vidal in Vesunna, in the Musee Vesunna, Perigueux, Dordogne, France. The Vesunna Gallo-Roman Museum was built by Jean Nouvel and opened in 2003, to protect and house the excavated remains of the Vesunna domus and exhibit artefacts from the region. Vesunna was founded on the site of modern-day Perigueux in c. 16 BC under Emperor Augustus, and was the Gallo-Roman capital of Petrucores territory. Picture by Manuel Cohen
    LC21_FRANCE_MC_1096.jpg
  • Taurobolium altar, used for sacrificing bulls, dedicated to Cybele, Mother of the Gods, and to the imperial Numina, by Lucius Pomponius Paternus, with relief of bull's head, sacrificial knife, ladle and vase, Gallo-Roman sculpture, 180-250 AD, excavated in the ramparts of Vesunna, detail, in the Musee Vesunna, Perigueux, Dordogne, France. The Vesunna Gallo-Roman Museum was built by Jean Nouvel and opened in 2003, to protect and house the excavated remains of the Vesunna domus and exhibit artefacts from the region. Vesunna was founded on the site of modern-day Perigueux in c. 16 BC under Emperor Augustus, and was the Gallo-Roman capital of Petrucores territory. Picture by Manuel Cohen
    LC21_FRANCE_MC_1095.jpg
  • Taurobolium altar, used for sacrificing bulls, dedicated to Cybele, Mother of the Gods, and to the imperial Numina, by Lucius Pomponius Paternus, with relief of bull's head, sacrificial knife, ladle and vase, Gallo-Roman sculpture, 180-250 AD, excavated in the ramparts of Vesunna, in the Musee Vesunna, Perigueux, Dordogne, France. The Vesunna Gallo-Roman Museum was built by Jean Nouvel and opened in 2003, to protect and house the excavated remains of the Vesunna domus and exhibit artefacts from the region. Vesunna was founded on the site of modern-day Perigueux in c. 16 BC under Emperor Augustus, and was the Gallo-Roman capital of Petrucores territory. Picture by Manuel Cohen
    LC21_FRANCE_MC_1094.jpg
  • Stone altar, with bas-relief of a peacock spawning fruit representing Juno, Gallo-Roman, discovered in Orbigny-au-Mont, in the Musee de Langres, or Langres Museum of Art and History, in Langres, Haute-Marne, France. The other 3 faces are carved with a winged cupid for Venus, an eagle for Jupiter and a laurel wreath for Apollo. The block was incorporated into a holy water font in the Church of Orbigny-au-Mont. Founded in 1841, the museum has been housed in a new building in the old town since 1997. It exhibits art, artefacts and archaeology from prehistory to the 20th century. Picture by Manuel Cohen
    LC21_FRANCE_MC_1035.jpg
  • Stone altar, with bas-relief of a winged cupid representing Venus, Gallo-Roman, discovered in Orbigny-au-Mont, in the Musee de Langres, or Langres Museum of Art and History, in Langres, Haute-Marne, France. The other 3 faces are carved with a peacock spawning fruit for Juno, an eagle for Jupiter and a laurel wreath for Apollo. The block was incorporated into a holy water font in the Church of Orbigny-au-Mont. Founded in 1841, the museum has been housed in a new building in the old town since 1997. It exhibits art, artefacts and archaeology from prehistory to the 20th century. Picture by Manuel Cohen
    LC21_FRANCE_MC_1034.jpg
  • Altar carved with bas-reliefs of 4 gods, High Empire Gallo-Roman, 1st - 3rd century AD, limestone, in the Musee de Langres, or Langres Museum of Art and History, in Langres, Haute-Marne, France. Founded in 1841, the museum has been housed in a new building in the old town since 1997. It exhibits art, artefacts and archaeology from prehistory to the 20th century. Picture by Manuel Cohen
    LC21_FRANCE_MC_0974.jpg
  • Altar carved with bas-reliefs of 4 gods, High Empire Gallo-Roman, 1st - 3rd century AD, limestone, in the Musee de Langres, or Langres Museum of Art and History, in Langres, Haute-Marne, France. Founded in 1841, the museum has been housed in a new building in the old town since 1997. It exhibits art, artefacts and archaeology from prehistory to the 20th century. Picture by Manuel Cohen
    LC21_FRANCE_MC_0975.jpg
  • Last supper, 13th century, by Master of Soriguerola, Gothic, tempera and metal on wood, detail of an altar frontal from the church of Sant Miquel de Soriguerola in Fontanals de Cerdanya, Baixa Cerdanya, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0550.jpg
  • Apostles, 12th century, by workshop of La Seu d'Urgell, detail of Romanesque altar frontal of Christ and the apostles, in tempera and metal on wood, from a church in La Seu d'Urgell, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0529.jpg
  • Christ in Majesty, 12th century, by workshop of La Seu d'Urgell, detail of Romanesque altar frontal of Christ and the apostles, in tempera and metal on wood, from a church in La Seu d'Urgell, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0528.jpg
  • St Michael with the devil weighing souls and an angel delivering the soul of a chosen one to St Peter, 13th century, by Master of Soriguerola, Gothic, tempera and metal on wood, detail of an altar frontal from the church of Sant Miquel de Soriguerola in Fontanals de Cerdanya, Baixa Cerdanya, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0495.jpg
  • Hell, with damned souls being boiled alive in a cauldron stoked by demons, 13th century, by Master of Soriguerola, Gothic, tempera and metal on wood, detail of an altar frontal from the church of Sant Miquel de Soriguerola in Fontanals de Cerdanya, Baixa Cerdanya, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0494.jpg
  • Christ in Majesty and apostles, 12th century, by workshop of La Seu d'Urgell, detail of Romanesque altar frontal in tempera and metal on wood, from a church in La Seu d'Urgell, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. Picture by Manuel Cohen
    LC21_SPAIN_MC_0459.jpg
  • Altar, with freemason symbols of axes, star and square and compasses carved into its front, in the Renaissance chapel of the Chateau d'Aubeterre, built in the 11th century and rebuilt in the 13th century, in Aubeterre-sur-Dronne, in Charente, Nouvelle-Aquitaine, France. The village has existed since the Middle Ages and is on the pilgrimage route to Santiago de Compostela in Spain. Picture by Manuel Cohen
    LC20_FRANCE_MC_0273.jpg
  • Altar with reliquary for bones, made in Cologne, 14th century, 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 palace complex includes the Salo del Tinell, the Palatine Chapel of St Agatha built 1302, the Casa Padellas, the Palau Comtal, the Watchtower of King Marti and the Palau del Lloctinent built 1549. The museum is part of MUHBA or the Museu d'Historia de Barcelona. Picture by Manuel Cohen
    LC20_SPAIN_MC_404.jpg
  • Altar with traces of burnt offerings in the inner hall of a temple at Sar, Temples of Dilmun, photograph, in the Bahrain National Museum, designed by Krohn and Hartvig Rasmussen, inaugurated December 1988 by Amir Shaikh Isa Bin Salman Al-Khalifa, in Manama, Bahrain. 5 temples have been excavated, at Sar, Diraz, Umm as-Sujur and Barbar, with architecture in the Sumerian Mesopotamian style. The museum houses cultural and archaeological collections covering 6000 years of history, with rooms entitled Burial Mounds, Dilmun, Tylos and Islam, Customs and Traditions, Traditional Trades and Crafts, and Documents and Manuscripts. Picture by Manuel Cohen
    LC19_BAHREIN_MC_224.jpg
  • Altar of Sainte Therese de 
l’Enfant Jesus et de la Sainte Face, also known as Therese Martin, a pilgrim who recovered from a serious disease during mass in the church, surrounded by ex voto plaques, in the Basilica of Notre-Dame-des-Victoires, Roman catholic convent church built 1629-1740 in Baroque style, on the Rue Notre Dame des Victoires, Place des Petits-Peres, 2nd arrondissement, Paris, France. Originally the chapel of the Augustinian fathers, the church was rebuilt from 1656 by Pierre Le Muet, consecrated in 1666 and finished by Sylvain Cartaud. The basilica was once a station on the Compostela pilgrimage route, and is famous for its ex voto offerings. The building is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0690.jpg
  • Altar of Sainte Therese de 
l’Enfant Jesus et de la Sainte Face, also known as Therese Martin, a pilgrim who recovered from a serious disease during mass in the church, surrounded by ex voto plaques, in the Basilica of Notre-Dame-des-Victoires, Roman catholic convent church built 1629-1740 in Baroque style, on the Rue Notre Dame des Victoires, Place des Petits-Peres, 2nd arrondissement, Paris, France. Originally the chapel of the Augustinian fathers, the church was rebuilt from 1656 by Pierre Le Muet, consecrated in 1666 and finished by Sylvain Cartaud. The basilica was once a station on the Compostela pilgrimage route, and is famous for its ex voto offerings. The building is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0672.jpg
  • Roman altar with an inscription dedicated to the alaisiagae, gods of war worshipped by Germanic tribes, at Chesters Roman Fort Museum, at Chesters Roman Fort or Cilurnum, managed by English Heritage, Northumberland, England. Hadrian's Wall was built 73 miles across Britannia, now England, 122-128 AD, under the reign of Emperor Hadrian, ruled 117-138, to mark the Northern extent of the Roman Empire and guard against barbarian attacks from the Picts to the North. The wall was fortified with milecastles with 2 turrets in between, and a fort about every 5 Roman miles. The Hadrian's Wall Path, an 84-mile coast to coast long distance footpath, runs alongside it at his point. Picture by Manuel Cohen
    LC16_ENGLAND_MC_040.jpg
  • Statue of the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France, on the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. The statue of the Black Virgin and child stands in front of a fresco of the Pentecost. Picture by Manuel Cohen
    LC15_FRANCE_MC0366.jpg
  • Statue of the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France, on the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. The statue of the Black Virgin and child stands in front of a fresco of the Pentecost. Picture by Manuel Cohen
    LC15_FRANCE_MC0365.jpg
  • Bas-relief of the Assumption of the Virgin on the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0360.jpg
  • Decorative detail from the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0362.jpg
  • Marble steps leading up to the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0361.jpg
  • Virgin and child enthroned, detail from the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0351.jpg
  • Virgin and child enthroned, detail from the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0350.jpg
  • Mater Vitae or Mother of Life, inscription on the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0347.jpg
  • High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. The statue of the Black Virgin and child stands in front of a fresco of the Pentecost, and above is a bas-relief of the Assumption of the Virgin. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0346.jpg
  • High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. The statue of the Black Virgin and child stands in front of a fresco of the Pentecost, and above is a bas-relief of the Assumption of the Virgin. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0343.jpg
  • Bas-relief of the Assumption of the Virgin on the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0335.jpg
  • Statue of the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France, on the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. The statue of the Black Virgin and child stands in front of a fresco of the Pentecost. Picture by Manuel Cohen
    LC15_FRANCE_MC0336.jpg
  • Bas-relief of the Assumption of the Virgin on the High Altar, made 1610 in Italian Renaissance style, donated by Marie de Medici, wife of Henri IV, on the birth of Louis XIII, in the Basilica of Liesse Notre Dame, built 1134 in Flamboyant Gothic style by the Chevaliers d'Eppes, then rebuilt in 1384 and enlarged in 1480 and again in the 19th century, Liesse-Notre-Dame, Laon, Picardy, France. Pilgrims flock here to worship the Black Virgin, based on Ismeria, the Soudanese daughter of the sultan of Cairo El-Afdhal, who saved the lives of French knights during the Crusades, converted to christianity and married Robert d'Eppes, son of Guillaume II of France. Picture by Manuel Cohen
    LC15_FRANCE_MC0332.jpg
  • High altar of the choir in sculpted and gilded wood, 1755, and glory with sculpted clouds and angels, 1785, with the apsidal chapels behind, at the Basilique Cathedrale Notre-Dame d'Amiens or Cathedral Basilica of Our Lady of Amiens, built 1220-70 in Gothic style, Amiens, Picardy, France. Amiens Cathedral was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
    LC14_France_MC1082.jpg
  • Funerary altar with young boy named Drakon who died aged 6, depicted with his dog and holding an apple and a staff, from the Museum Of Apollonia near the Ardenica monastery in Fier, Albania. The museum was opened in 1958 to display artefacts found at the nearby Greek Illyrian archaeological site of Apollonia. Apollonia was an ancient Greek city in Illyria, founded in 588 BC by Greek colonists from Corfu and Corinth. It flourished in the Roman period and declined from the 3rd century AD when its harbour was silted up due to an earthquake. Picture by Manuel Cohen
    LC14_Albania_MC335.jpg
  • High altar, installed in 1967, work of Joaquim de Ros i de Ramis, Basilica de Santa Maria del Pi (Santa Maria del Pino, St. Mary of the Pine Tree), 14th century Gothic church, Barcelona, Spain. Picture by Manuel Cohen
    LCSPAIN12_MC154.jpg
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