manuel cohen

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  • Crying angel sculpture, with skull and hourglass, 1636 by Nicolas Blasset, 1600-59, French sculptor, from the tomb of canon Guilain Lucas, died 1628, behind the choir in 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_MC883.jpg
  • Crying angel sculpture, with skull and hourglass, 1636 by Nicolas Blasset, 1600-59, French sculptor, from the tomb of canon Guilain Lucas, died 1628, behind the choir in 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_MC894.jpg
  • Crying angel sculpture, with skull and hourglass, 1636 by Nicolas Blasset, 1600-59, French sculptor, from the tomb of canon Guilain Lucas, died 1628, behind the choir in 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_MC892.jpg
  • Crying angel sculpture, with skull and hourglass, 1636 by Nicolas Blasset, 1600-59, French sculptor, from the tomb of canon Guilain Lucas, died 1628, behind the choir in 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_MC891.jpg
  • Crying angel sculptures, 1636, by Nicolas Blasset, 1600-59, French sculptor, from the tomb of canon Guilain Lucas, died 1628, behind the choir in 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_MC1046.jpg
  • Mourners, detail, c. 1295, by unknown Castilian artist, Gothic, tempera on parchment on wood, 1 of 8 painted panels from the tomb of the knight Sancho Sanchez Carrillo in the chapel of the hermitage of San Andres de Mahamud, Burgos, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. The mourners are dressed in traditional striped mourning clothes, crying, pulling their hair out and scratching their faces in their grief. Picture by Manuel Cohen
    LC21_SPAIN_MC_0497.jpg
  • Mourners, c. 1295, by unknown Castilian artist, Gothic, tempera on parchment on wood, 1 of 8 painted panels from the tomb of the knight Sancho Sanchez Carrillo in the chapel of the hermitage of San Andres de Mahamud, Burgos, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. The mourners are dressed in traditional striped mourning clothes, crying, pulling their hair out and scratching their faces in their grief. Picture by Manuel Cohen
    LC21_SPAIN_MC_0496.jpg
  • La Grande Plage, detail of baskets of fish and woman with crying children, watercolour painting on canvas, 1925-35, by Augustin Hanicotte, in an exhibition entitled L’eau à la Bouche, February - May 2020, in the Musee d'Art Moderne de Collioure, in Collioure, Pyrenees-Orientales, Catalogne du Nord, France. This large canvas pictures all of daily life unfolding on the beach at Collioure, with fishermen, priests, groups of women, traditional barques catalanes, the Chateau Royal and Fort Saint-Elme. The Collioure Museum was created by the painter Jean Peske in 1934 and has a collection of modern and contemporary art. Collioure is a small town depicted by many artists in the 20th century, on the Vermilion Coast near the Spanish border. Picture by Manuel Cohen
    LC20_FRANCE_MC_0923.jpg
  • Mourners, c. 1295, by unknown Castilian artist, Gothic, tempera on parchment on wood, 1 of 8 painted panels from the tomb of the knight Sancho Sanchez Carrillo in the chapel of the hermitage of San Andres de Mahamud, Burgos, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. The mourners are dressed in traditional striped mourning clothes, crying, pulling their hair out and scratching their faces in their grief. Picture by Manuel Cohen
    LC21_SPAIN_MC_0499.jpg
  • Mourners, c. 1295, by unknown Castilian artist, Gothic, tempera on parchment on wood, 1 of 8 painted panels from the tomb of the knight Sancho Sanchez Carrillo in the chapel of the hermitage of San Andres de Mahamud, Burgos, in the Museu Nacional d'Art de Catalunya, in the Palau Nacional on Montjuic Hill, Barcelona, Catalonia, Spain. The mourners are dressed in traditional striped mourning clothes, crying, pulling their hair out and scratching their faces in their grief. Picture by Manuel Cohen
    LC21_SPAIN_MC_0498.jpg
  • Crying woman, detail from the patio of the Gardens of the Emperor, in Il Giardino dei Tarocchi, a sculpture garden by Niki de Saint Phalle, 1930-2002, based on the esoteric tarot, at Pescia Fiorentina, Grosseto, Tuscany, Italy. Niki de Saint Phalle begun the project in 1979 and it opened in 1998, holding 22 monumental sculptures of the Greater Mysteries of the tarot. The sculptures are made from concrete and covered in ceramic and mirrored mosaic pieces. Picture by Manuel Cohen
    LC19_ITALY_MC_219.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0421.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0513.jpg
  • Lamentation, polychrome limestone sculptural group, Renaissance, c. 1515-30, with Virgin, St John and Mary Magdalene grieving the body of Christ, in the Eglise Saint-Jean-au-Marche, built 13th century in Gothic style, in Troyes, Aube, Grand Est, France. The church is listed as a historic monument. Picture by Manuel Cohen
    LC22_FRANCE_MC_0472.jpg
  • Pieta, detail, tempera painting on panel, 15th century, by an unknown artist, from Palencia, from the collection of Dr Jesus Perez-Rosales, in the Palau de Maricel, now the Maricel Museum, inaugurated 1970 and reopened in 2015, in Sitges, Catalonia, Spain. The complex was built 1910-18 by Miquel Utrillo for Charles Deering, converted from a hospital to a residence and gallery to house Deering's collection. Picture by Manuel Cohen
    LC21_SPAIN_MC_0956.jpg
  • San Francisco de Borja, painting, detail, 1788, by Francisco de Goya, 1746-1828, depicting the saint saying goodbye to his relatives in his palace in Gandia to join Jesus, in the Capilla de San Francisco de Borja, in the Metropolitan Cathedral-Basilica of the Assumption of Our Lady of Valencia, Valencia, Spain. 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_0015.JPG
  • Three mourning women, by Benozzo Gozzoli, 1421-97, detail from 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. 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_233.jpg
  • Funeral street scene in Sicily c. 1950, after a murder committed by the mafia, black and white photograph from the exhibition No Mafia Memorial, in Palermo, Sicily, Italy. The No Mafia Memorial explores the growth and history of the mafia, and its impact on the Sicilian population. Picture by Manuel Cohen
    LC20_ITALY_MC_035.jpg
  • Front cover of issue no. 586 of Historia, a monthly history magazine, published October 1995, focusing on 16 centuries of war in the Balkans. Historia was created by Jules Tallandier and published 1909-37 and again from 1945. Picture by Manuel Cohen
    LC_HISTORY_MC_0443.jpg
  • Statues of mourners, detail from the base of the tomb of Louis de France, 1244-60, eldest son of Saint Louis and Marguerite de Provence, made early 13th century, originally from the Abbaye de Royaumont and brought to Saint-Denis in 1817, in the Basilique Saint-Denis, Paris, France. 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_0277.jpg
  • Christ Blessing, detail of Christ's face, weeping and bleeding from the Crown of Thorns, oil painting on wood, early 16th century Portuguese painting by an unknown artist, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. Picture by Manuel Cohen
    LC16_FRANCE_MC_0151.JPG
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0353.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0356.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0349.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0337.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0344.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0345.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0418.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0400.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0423.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0390.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0387.jpg
  • Detail of the Pieta scene, with the Virgin cradling the body of Christ and flanked by St John the Baptist and Mary Magdalene, and above, Mary of Clopas wiping her eyes, from the Altarpiece of the Passion, late 15th century, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. The altarpiece was commissioned by Charles de Ternant, son of Philippe de Ternant, and depicts scenes of the Passion and the Glorification of Christ, including a sculpted triptych of the Entombment, Crucifixion and Pieta. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0438.jpg
  • Detail of the Pieta scene, with the Virgin cradling the body of Christ and Mary Magdalene weeping, from the Altarpiece of the Passion, late 15th century, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. The altarpiece was commissioned by Charles de Ternant, son of Philippe de Ternant, and depicts scenes of the Passion and the Glorification of Christ, including a sculpted triptych of the Entombment, Crucifixion and Pieta. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0437.jpg
  • Pieta scene, with the Virgin cradling the body of Christ and flanked by St John the Baptist and Mary Magdalene, and above, Mary of Clopas wiping her eyes, from the Altarpiece of the Passion, late 15th century, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. The altarpiece was commissioned by Charles de Ternant, son of Philippe de Ternant, and depicts scenes of the Passion and the Glorification of Christ, including a sculpted triptych of the Entombment, Crucifixion and Pieta. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0426.jpg
  • Detail of the Pieta scene, with the Virgin cradling the body of Christ and flanked by St John the Baptist and Mary Magdalene, and above, Mary of Clopas wiping her eyes, from the Altarpiece of the Passion, late 15th century, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. The altarpiece was commissioned by Charles de Ternant, son of Philippe de Ternant, and depicts scenes of the Passion and the Glorification of Christ, including a sculpted triptych of the Entombment, Crucifixion and Pieta. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0430.jpg
  • Detail of the Pieta scene, with the Virgin cradling the body of Christ and Mary Magdalene weeping, from the Altarpiece of the Passion, late 15th century, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. The altarpiece was commissioned by Charles de Ternant, son of Philippe de Ternant, and depicts scenes of the Passion and the Glorification of Christ, including a sculpted triptych of the Entombment, Crucifixion and Pieta. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0436.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0516.jpg
  • Sculptures of weepers including a bishop, under Gothic canopies, by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0518.jpg
  • Statues of hooded weeper under Gothic canopy from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0524.jpg
  • Sculptures of weepers, including a man drying his eyes with a handkerchief, by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0526.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0510.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0511.jpg
  • Sculptures of hooded weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0512.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0515.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0508.jpg
  • Facade of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0509.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0500.jpg
  • Woman (left) and man (right) condemned to burning alive by the Spanish Inquisition, wearing the sanbenito, a penitential garment depicted with devils and flames, in the Centro Cultural y Museo Casa de Sefarad, a museum and cultural centre opened 2006 in the Jewish quarter of Cordoba, Andalusia, Southern Spain. The historic centre of Cordoba is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC15_SPAIN_MC348.jpg
  • An English slave owner from Barbados selling his mistress, by Jean Michel Moreau the Younger, 1741-1814, facsimile of the original in the Musee du Quai Branly, in the Musee d'Aquitaine, Cours Pasteur, Bordeaux, Aquitaine, France. Picture by Manuel Cohen
    LC15_FRANCE_MC_1384.jpg
  • Statue of Maria Santissima de los Remedios, in the the Jesuit Church of Saints Justus and Pastor of Alcala, built 1575 on the site of a mosque in Granada, Andalusia, Southern Spain. Saints Justus and Pastor were 4th century schoolboy christian martyrs, who were killed for their faith under the persecution of the christians by the Roman emperor Diocletian. Granada was listed as a UNESCO World Heritage Site in 1984. Picture by Manuel Cohen
    LC14_GRANADA_MC064.jpg
  • Virgin of Sorrows, or Mater Dolorosa, oil painting on wood, by workshop of Louis Morales, 1515-86, in the Musee des Beaux-Arts de Lyon, a fine arts museum opened 1801 in a former convent on the Place des Terreaux in Lyon, Rhone, France. Picture by Manuel Cohen
    LC22_FRANCE_MC_0796.jpg
  • Christ and the crown of thorns, painting, oil on wood, c. 1500, by the workshop of Albrecht Bouts, c.  1452/60–1549, in the Musee des Beaux-Arts de Lyon, a fine arts museum opened 1801 in a former convent on the Place des Terreaux in Lyon, Rhone, France. Picture by Manuel Cohen
    LC22_FRANCE_MC_0683.jpg
  • San Francisco de Borja, painting, 1788, by Francisco de Goya, 1746-1828, depicting the saint saying goodbye to his relatives in his palace in Gandia to join Jesus, in the Capilla de San Francisco de Borja, in the Metropolitan Cathedral-Basilica of the Assumption of Our Lady of Valencia, Valencia, Spain. 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_0282.jpg
  • Massacre of the Innocents, tempera painting on wood, 1451-52, by Fra Angelico, 1395-1455, and his assistants, detail from the Armadio degli Argenti, an ex voto door for Santissima Annunziata depicting the Life of Christ, now 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_334.jpg
  • Tears of St John, and the angel unfurling a scroll, detail of the first piece depicting the Seven Seals, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    LC21_FRANCE_MC_0335.jpg
  • Tears of St John, with the angel unfurling a scroll and the old man holding a glove, detail of the first piece depicting the Seven Seals, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    LC21_FRANCE_MC_0633.jpg
  • Tears of St John, and the angel unfurling a scroll, detail of the first piece depicting the Seven Seals, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    _CC_2173.jpg
  • Tears of St John, with the angel unfurling a scroll and the old man holding a glove, detail of the first piece depicting the Seven Seals, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    Pano_CC_2170_CC_2171.jpg
  • Weeping women, from Pentecost, fresco, in the Salle Capitulaire or Chapter House at Fontevraud Abbey, Fontevraud-l'Abbaye, Loire Valley, Maine-et-Loire, France. The Chapter House was built in the 16th century and its walls were painted in 1563 with frescoes of scenes from Christ's Passion by the Anjou artist Thomas Pot. The abbey itself was founded in 1100 by Robert of Arbrissel, who created the Order of Fontevraud. It was a double monastery for monks and nuns, run by an abbess. The abbey is listed as a historic monument and a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC20_FRANCE_MC_0151.jpg
  • Statues of mourner, detail from the base of the tomb of Louis de France, 1244-60, eldest son of Saint Louis and Marguerite de Provence, made early 13th century, originally from the Abbaye de Royaumont and brought to Saint-Denis in 1817, in the Basilique Saint-Denis, Paris, France. 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_0275.jpg
  • Christ Blessing, detail of Christ's face, weeping and bleeding from the Crown of Thorns, oil painting on wood, early 16th century Portuguese painting by an unknown artist, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. Picture by Manuel Cohen
    LC16_FRANCE_MC_0150.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0347.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0332.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0404.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0396.jpg
  • Detail of the Pieta scene, with Mary of Clopas wearing a large headdress and wiping her eyes, from the Altarpiece of the Passion, late 15th century, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. The altarpiece was commissioned by Charles de Ternant, son of Philippe de Ternant, and depicts scenes of the Passion and the Glorification of Christ, including a sculpted triptych of the Entombment, Crucifixion and Pieta. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0442.JPG
  • Sculptures of weepers by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0521.jpg
  • Sculptures of weepers by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0520.jpg
  • Sculptures of weepers by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0522.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0523.jpg
  • Statues of weepers under Gothic canopy from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0525.jpg
  • Sculptures of weepers under Gothic canopies by Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, on the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, (Philippe II, duc de Bourgogne, or Philip II, Duke of Burgundy), 1381-1410, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of a painted alabaster effigy with lion and angels, and below, figures of pleurants or weepers among Gothic tracery. Claus Sluter worked on the weepers 1389-1404 and produced startlingly realistic sculptures, and Claus de Werve completed them 1404-10. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0514.jpg
  • Statues of weepers under Gothic canopies under effigy of Margaret of Bavaria, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. Picture by Manuel Cohen
    LC16_FRANCE_MC_0507.jpg
  • People of Troy mourning the loss of Anches, 1841, oil on canvas on card, by Theodore Chasseriau, 1819-56, French artist, in Le MUDO, or the Musee de l'Oise, Beauvais, Picardy, France. Picture by Manuel Cohen
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  • Statue of Nuestra Senora de la Antigua dressed in a cape with an aurora crown, in the Chapel of Nuestra Senora de la Antigua, the family chapel of Don Gines de Garranza, a knight from Santiago who is buried here, designed by Pedro de Mena, 1628-88, son of Alonso de Mena, in the Monasterio de San Jeronimo, or Monastery of St Jerome, 16th century Roman Catholic church and Hieronymite monastery founded by the Catholic monarchs in Santa Fe, Granada, Andalusia, Southern Spain. Granada was listed as a UNESCO World Heritage Site in 1984. Picture by Manuel Cohen
    LC14_GRANADA_MC278.jpg
  • Statue of a mater dolorosa or weeping Virgin Mary, Our Lady of Sorrows, with aurora halo in a gilded niche in the Iglesia del Sagrario or Church of the Tabernacle, built 1704 in Baroque style after designs by Francisco Hurtado Izquierdo and Jose de Bada y Navajas, adjacent to Granada Cathedral, or the Cathedral of the Incarnation, Granada, Andalusia, Southern Spain. Granada was listed as a UNESCO World Heritage Site in 1984. Picture by Manuel Cohen
    LC14_GRANADA_MC211.jpg
  • Dolorosa or weeping Virgin Mary statue from the Baroque altarpiece by  Alfonso Rodenas Garcia, 1947-65, in the St Ildesonso Chapel or <br />
Capilla de San Ildesonso, built 1639-46 by order of Hernando de Ballesteros and his wife Casilda de Villasante, 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. Picture by Manuel Cohen
    LC14_ALMERIA_MC126.jpg
  • Dolorosa or weeping Virgin Mary statue from the Baroque altarpiece by Alfonso Rodenas Garcia, 1947-65, in the St Ildesonso Chapel or <br />
Capilla de San Ildesonso, built 1639-46 by order of Hernando de Ballesteros and his wife Casilda de Villasante, 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. Picture by Manuel Cohen
    LC14_ALMERIA_MC121.jpg
  • Martha and Mary mourn the death of their brother Lazarus, from the Life of Mary Magdalene stained glass window, 13th century, in the nave of Chartres cathedral, Eure-et-Loir, France. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC14_France_MC800.jpg
  • Cri de Paris, colour print, caricature of Napoleon leaving after the Fall of Paris, in the Musee Napoleon at Brienne-le-Chateau, Aube, Grand Est, France. The museum is in the former Royal Military School where Napoleon trained. In the background, soldiers are fighting allied troops. Picture by Manuel Cohen
    LC21_FRANCE_MC_1487.jpg
  • Angel with the Book, depicting the 7th angel with feet on the land and sea, holding a book while the 7 thunders cry overhead, with St John writing, detail of the second piece depicting the Seven Trumpets, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    LC21_FRANCE_MC_0358.jpg
  • Angel with the Book, depicting the 7th angel with feet on the land and sea, holding a book while the 7 thunders cry overhead, with St John writing and an angel unfurling a scroll, detail of the second piece depicting the Seven Trumpets, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    LC21_FRANCE_MC_0642.jpg
  • Angel with the Book, depicting the 7th angel with feet on the land and sea, holding a book while the 7 thunders cry overhead, with St John writing, detail of the second piece depicting the Seven Trumpets, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    _CC_2239.jpg
  • Angel with the Book, depicting the 7th angel with feet on the land and sea, holding a book while the 7 thunders cry overhead, with St John writing and an angel unfurling a scroll, detail of the second piece depicting the Seven Trumpets, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    Pano_CC_2237_CC_2238.jpg
  • After being betrayed and ambushed by Ganelon, Roland is alone amongst the bodies of soldiers. Protected by the hand of God, he cries on his sword and strikes a rock, which splits in 2, and blows as hard as he can on his ivory horn. Medallion of Roland splitting the rock and sounding the horn, from the Charlemagne window, early 13th century, in the ambulatory of Chartres Cathedral, Eure-et-Loir, France. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC434.jpg
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