manuel cohen

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  • Corpses having been struck by Death's arrows, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_499.jpg
  • Corpses having been struck by Death's arrows, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_498.jpg
  • Corpses having been struck by Death's arrows, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_496.jpg
  • Figure of Death and nobleman with dogs on a lead, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_495.jpg
  • Corpses having been struck by Death's arrows and a group of noblewomen, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_493.jpg
  • Corpses having been struck by Death's arrows, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_491.jpg
  • Death with a scythe and bow and arrows, riding a horse, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_490.jpg
  • Poor people calling on Death to relieve their suffering, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The man in the top left corner is thought to be a self-portrait of the artist. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_527.jpg
  • Death mask of Charles Edward Stuart, or Bonnie Prince Charlie, 1720-88, Stuart claimant to the British throne who was defeated at the Battle of Culloden in 1746, in the collection of the West Highland Museum in Fort William, Scotland. The death mask was made in Rome, Italy, on his death in 1788. Picture by Manuel Cohen
    LC18_SCOTLAND_MC_166.jpg
  • Corpses having been struck by Death's arrows, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_497.jpg
  • Corpses having been struck by Death's arrows, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_492.jpg
  • Death with a scythe and bow and arrows, riding a horse, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_489.JPG
  • Group of noblewomen and a lute player, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_494.jpg
  • Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_488.jpg
  • Noblemen at a fountain including harpist and falconer, detail from Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_528.jpg
  • Il Trionfo della Morte, or The Triumph of Death, late Gothic fresco, c. 1446, by an unknown artist, possibly catalan or provencal, in the Galleria Regionale della Sicilia, or Gallery of Art for the Sicilian region, in the Palazzo Abatellis, designed by Matteo Carnelivari in Gothic-Catalan style, 15th century, on the Via Alloro in the Kalsa district of Palermo, Sicily, Italy. The fresco was originally in the Palazzo Sclafani and was commissioned by the Aragonese Kings of Naples. It depicts a garden with Death as a skeleton riding a skeletal horse, firing arrows and killing people from all walks of life. The palace was originally the home of Francesco Abatellis, port master of the Kingdom of Sicily, subsequently became a monastery before opening as a museum in 1954. Picture by Manuel Cohen
    LC20_ITALY_MC_526.jpg
  • The Dance of Death or Totentanz, fresco painted c. 1485 during the plague outbreaks of the 15th century, in the entrance hall of the Marienkirche or St Mary's Church, Berlin, Germany. The fresco, depicting skeletons dancing with people and leading them to their death, measures 22x2m and was uncovered in 1860. It is currently being restored. The church itself was begun in the 13th century but was fully restored in 1950. Picture by Manuel Cohen
    LC14_BERLIN_MC0987.jpg
  • The Dance of Death or Totentanz, fresco painted c. 1485 during the plague outbreaks of the 15th century, in the entrance hall of the Marienkirche or St Mary's Church, Berlin, Germany. The fresco, depicting skeletons dancing with people and leading them to their death, measures 22x2m and was uncovered in 1860. It is currently being restored. The church itself was begun in the 13th century but was fully restored in 1950. Picture by Manuel Cohen
    LC14_BERLIN_MC0988.jpg
  • The Dance of Death or Totentanz, fresco painted c. 1485 during the plague outbreaks of the 15th century, in the entrance hall of the Marienkirche or St Mary's Church, Berlin, Germany. The fresco, depicting skeletons dancing with people and leading them to their death, measures 22x2m and was uncovered in 1860. It is currently being restored. The church itself was begun in the 13th century but was fully restored in 1950. Picture by Manuel Cohen
    LC14_BERLIN_MC0986.jpg
  • Death Napoleon the Great, engraving, 1828, in the Antechamber, housing displays relating to Franco-British relations during the revolutionary period of the First Empire, in the Chateau de Hardelot, originally the site of a 12th century castle, rebuilt over the centuries and finally redeveloped in the 19th century, in Condette, Pas-de-Calais, France. The current chateau dates from 1865-72, when its owner, Henry Guy, rebuilt it in Neo-Tudor style. Since 2009 the building has housed the Centre Culturel de l'Entente Cordiale, with an arts programme involving France and Britain. It is situated within the Reserve Naturelle Regionale du Marais de Condette, a protected marshland area. Picture by Manuel Cohen
    LC17_FRANCE_MC_1396.jpg
  • Saint Maximin places the body of Mary Magdalene in a tomb, from the death of Mary, 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_MC805.jpg
  • Saint Maximin reads prayers over the body of Mary, the death of Mary Magdalene, 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_MC804.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
  • The 12 apostles surrounding the body of the Virgin, the Death of the Virgin, from the Glorification of the Virgin 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_MC766.jpg
  • Mort du Christ or Death of Christ, by Emile Signol, 1804-92, oil on canvas, in the North transept of the church of Saint-Sulpice, built 1646-1870, in the 6th arrondissement of Paris, France. The painting was ordered by the City Council of Paris in 1868 and was subject to a first exhibition in Ecole des Beaux Arts (School of Fine Arts) in 1876. Picture by Manuel Cohen
    LC16_FRANCE_MC_0703.jpg
  • Mort du Christ or Death of Christ, detail of mourners including the Virgin Mary beneath the cross, by Emile Signol, 1804-92, oil on canvas, in the North transept of the church of Saint-Sulpice, built 1646-1870, in the 6th arrondissement of Paris, France. The painting was ordered by the City Council of Paris in 1868 and was subject to a first exhibition in Ecole des Beaux Arts (School of Fine Arts) in 1876. Picture by Manuel Cohen
    LC16_FRANCE_MC_0692.jpg
  • Signol, Emile, 1804-1892, La mort du Christ (The death of Jesus), oil on canvas mounted, in Eglise Saint-Sulpice (St Sulpitius' Church), c.1646-1745, late Baroque church on the Left Bank, Paris, France. This painting was ordered by the City Council of Paris in 1868 and was subject to a first exhibition in Ecole des Beaux Arts (School of Fine Arts) in 1876. Picture by Manuel Cohen
    LC16_FRANCE_MC_0691.jpg
  • Painting of the death of a saint, possibly St Francis Xavier, 1506-52, founder of the Society of Jesus or Jesuit Order, by Jean Helart, 1618-85, French painter, in a carved wooden frame set in the wooden panelling of the refectory of the Ancien College des Jesuites or Former Jesuit College in Reims, Marne, Champagne-Ardenne, France. The College was built 1619-78 and is now the Euro-American campus of Sciences Po, or the Institut d'Etudes politiques de Paris, and the FRAC Champagne-Ardenne. It is listed as a historic monument. Picture by Manuel Cohen
    LC15_FRANCE_MC0808.jpg
  • Painting of the death of a saint, possibly St Francis Xavier, 1506-52, founder of the Society of Jesus or Jesuit Order, by Jean Helart, 1618-85, French painter, in a carved wooden frame set in the wooden panelling of the refectory of the Ancien College des Jesuites or Former Jesuit College in Reims, Marne, Champagne-Ardenne, France. The College was built 1619-78 and is now the Euro-American campus of Sciences Po, or the Institut d'Etudes politiques de Paris, and the FRAC Champagne-Ardenne. It is listed as a historic monument. Picture by Manuel Cohen
    LC15_FRANCE_MC0807.jpg
  • Painting of the death of a saint, possibly St Francis Xavier, 1506-52, founder of the Society of Jesus or Jesuit Order, by Jean Helart, 1618-85, French painter, in a carved wooden frame set in the wooden panelling of the refectory of the Ancien College des Jesuites or Former Jesuit College in Reims, Marne, Champagne-Ardenne, France. The College was built 1619-78 and is now the Euro-American campus of Sciences Po, or the Institut d'Etudes politiques de Paris, and the FRAC Champagne-Ardenne. It is listed as a historic monument. Picture by Manuel Cohen
    LC15_FRANCE_MC0806.jpg
  • Painting of the death of a saint, possibly St Francis Xavier, 1506-52, founder of the Society of Jesus or Jesuit Order, by Jean Helart, 1618-85, French painter, in a carved wooden frame set in the wooden panelling of the refectory of the Ancien College des Jesuites or Former Jesuit College in Reims, Marne, Champagne-Ardenne, France. The College was built 1619-78 and is now the Euro-American campus of Sciences Po, or the Institut d'Etudes politiques de Paris, and the FRAC Champagne-Ardenne. It is listed as a historic monument. Picture by Manuel Cohen
    LC15_FRANCE_MC0805.jpg
  • Transit of the Virgin or Death of the Virgin, gilded polychrome wood, c. 1490 by Alejo de Vahia, 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
    LCSPAIN14_MC026.jpg
  • Transit of the Virgin or Death of the Virgin, gilded polychrome wood, c. 1490 by Alejo de Vahia, 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
    LCSPAIN14_MC025.jpg
  • Sculpted gargoyles, one of a monster, symbol of illness and death, and one of a frog with its baby, symbol of life in the face of illness and death, on the Hospital de Sant Pau, or Hospital de la Santa Creu i Sant Pau, built 1902-30, designed by Catalan Modernist architect Lluis Domenech i Montaner, 1850-1923, in El Guinardo, Barcelona, Catalonia, Spain. The original medieval hospital of 1401 was replaced with this complex in the 20th century thanks to capital provided in the will of Pau Gil. The hospital consists of 27 pavilions surrounded by gardens and linked by tunnels, using the Modernist Art Nouveau style with great attention to detail. On the death of the architect, his son Pere Domenech i Roura took over the project. The complex was listed in 1997 as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_SPAIN_MC318.jpg
  • Carved capital from the nave of Vezelay Abbey church, Vezelay, Yonne, Burgundy, France. Vezelay Abbey was a Benedictine and Cluniac monastery founded in the 9th century by St Badilo, who was said to have brought back relics of Mary Magdalene from the Holy Land. The Abbey Church or Basilica of St Mary Magdalene is a 12th century Burgundian Romanesque church. The capitals in the nave were probably carved by artists from Cluny Abbey and depict biblical scenes, ancient legends and mythological creatures. This capital is from the south side of the nave and depicts the death of the poor, represented by Lazarus, and the death of the rich. Here we see the death of a rich man surrounded by women, with a snake under his bed eating his wealth and two demons ripping out his soul with pincers. Picture by Manuel Cohen
    LC13_FRANCE_MC316.jpg
  • Death of Mary Magdalene, detail from altarpiece of St Mary Magdalene of Perella, 1437-52, by Bernat Martorell, International Gothic style tempera painting on wood, from the Church of Santa Magdalena de Perella, Sant Joan de les Abadesses, Ripolles, in the Museu Episcopal de Vic, specialising in medieval liturgical catalan art, in Vic, Catalonia, Spain. This panel depicts the death of the saint, with Jesus receiving her soul departing her body through her mouth. Picture by Manuel Cohen
    LC20_SPAIN_MC_260.jpg
  • Statue of Joan of Arc being burned at the stake, 1929, by Maxime Real del Sarte, in the Place du Vieux Marche, the site of her actual death in 1431, next to the Eglise Jeanne D'Arc, Rouen, Normandy, France. After leading the French to many victories during the Hundred Years War, Joan of Arc was captured and tried by the English for heresy and sentenced to death by burning on 30th May 1431. Picture by Manuel Cohen
    LC15_FRANCE_MC0051.jpg
  • Having received Christ's forgiveness, Julian and his wife sleep peacefully in death. Their souls, represented as small naked bodies, ascend to heaven accompanied by 2 angels. Julian repaid his crime through charity and repentance. Section of the death of Julian and his wife, 1215-25, at the apex of the Life of St Julian the Hospitaller window in the chapel of St Julian 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_MC522.jpg
  • La Mort, or Death, card no. 13, sculpture 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. A woman riding a horse is the Grim Reaper. Death represents renewal and the great mystery of life. 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_208.jpg
  • La Mort, or Death, detail, card no. 13, sculpture 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. A woman riding a horse is the Grim Reaper. Death represents renewal and the great mystery of life. 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_209.jpg
  • La Mort, or Death, card no. 13, sculpture 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. A woman riding a horse is the Grim Reaper. Death represents renewal and the great mystery of life. 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_207.jpg
  • La Mort, or Death, detail, card no. 13, sculpture 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. A woman riding a horse is the Grim Reaper. Death represents renewal and the great mystery of life. 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_201.jpg
  • Console table of the Duke of Morny, with plaster death mask of Napoleon dating from soon after his death in 1821, and model of the Column of the Great Army or Colonne de la Grande Armee at Wimille near Boulogne sur Mer, inaugurated 1841, in the Antechamber, in the Chateau de Hardelot, originally the site of a 12th century castle, rebuilt over the centuries and finally redeveloped in the 19th century, in Condette, Pas-de-Calais, France. The current building dates from 1865-72, when its owner, Henry Guy, rebuilt the chateau in Neo-Tudor style. Since 2009 the building has housed the Centre Culturel de l'Entente Cordiale, with an arts programme involving France and Britain. It is situated within the Reserve Naturelle Regionale du Marais de Condette, a protected marshland area. Picture by Manuel Cohen
    LC17_FRANCE_MC_1376.jpg
  • Sculptural detail of 2 gargoyles as winged monsters, symbols of illness and death, at the Hospital de Sant Pau, or Hospital de la Santa Creu i Sant Pau, built 1902-30, designed by Catalan Modernist architect Lluis Domenech i Montaner, 1850-1923, in El Guinardo, Barcelona, Catalonia, Spain. The original medieval hospital of 1401 was replaced with this complex in the 20th century thanks to capital provided in the will of Pau Gil. The hospital consists of 27 pavilions surrounded by gardens and linked by tunnels, using the Modernist Art Nouveau style with great attention to detail. On the death of the architect, his son Pere Domenech i Roura took over the project. The complex was listed in 1997 as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_SPAIN_MC310.jpg
  • Sculpted gargoyle of a frog with its baby, symbol of life in the face of illness and death, on the Hospital de Sant Pau, or Hospital de la Santa Creu i Sant Pau, built 1902-30, designed by Catalan Modernist architect Lluis Domenech i Montaner, 1850-1923, in El Guinardo, Barcelona, Catalonia, Spain. The original medieval hospital of 1401 was replaced with this complex in the 20th century thanks to capital provided in the will of Pau Gil. The hospital consists of 27 pavilions surrounded by gardens and linked by tunnels, using the Modernist Art Nouveau style with great attention to detail. On the death of the architect, his son Pere Domenech i Roura took over the project. The complex was listed in 1997 as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_SPAIN_MC319.jpg
  • Statue of Joan of Arc being burned at the stake, 1929, by Maxime Real del Sarte, in the Place du Vieux Marche, the site of her actual death in 1431, next to the Eglise Jeanne D'Arc, Rouen, Normandy, France. After leading the French to many victories during the Hundred Years War, Joan of Arc was captured and tried by the English for heresy and sentenced to death by burning on 30th May 1431. Picture by Manuel Cohen
    LC15_FRANCE_MC0052.jpg
  • Emperor Charlemagne, 742-814, turns around on his horse to hear Baldwin announce the death of Roland, and his last exploits and words. His hand gesture indicates great sorrow. Section of Baldwin announcing the death of Roland, 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
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  • Tomb of Jean-Baptiste Joseph LANGUET de Gergy, 1677-1753, by Rene Michel SLODTZ, 1705-64, Eglise Saint-Sulpice (St Sulpitius' Church), c.1646-1745, late Baroque church on the Left Bank, Paris, France.  Jean-Baptiste Joseph LANGUET de Gergy was a French archbishop and theologian. The sculpture features an angel (right) and Death or the Grim Reaper (left), representing the Christian's defeat of death. Picture by Manuel Cohen
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  • Tomb of Jean-Baptiste Joseph LANGUET de Gergy by Rene Michel SLODTZ, 1705-64, Eglise Saint-Sulpice (St Sulpitius' Church), c.1646-1745, Paris, France. Jean-Baptiste Joseph LANGUET de Gergy, 1677-1753, was a French archbishop and theologian. The sculpture features an angel (right) and Death or the Grim Reaper (left), representing the Christian's defeat of death. Picture by Manuel Cohen
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  • Allegory of Death or Sadness, depicting a monastic burial, carved stone capital, 1915-16, by Pere Jou, 1891-1964, on the facade of 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
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  • Allegory of Death or Sadness, depicting a monastic burial, carved stone capital, 1915-16, by Pere Jou, 1891-1964, on the facade of 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
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  • Death of the Virgin, detail from the Retable de Notre-Dame de l'Esperance, or Retable de la Confrerie des Tisserands, 15th century, in the Chapelle des Tisserands, in the Eglise Saint-Jacques, a Gothic church built 1260-80 in Perpignan, Pyrenees-Orientales, Catalogne du Nord, France. The church is on the pilgrimage route to Santiago de Compostela and is listed as a historic monument. Picture by Manuel Cohen
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  • Death of St Martin, altarpiece front of Sant Marti de Puigbo, Romanesque, made in Ripoll 1120-50, tempera painting on wood, from the church of Sant Marti de Puigbo, Gombren, Ripolles, in the Museu Episcopal de Vic, specialising in medieval liturgical catalan art, in Vic, Catalonia, Spain. Picture by Manuel Cohen
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  • Death of the Virgin, 12th century Byzantine mosaic in the Western barrel vault of the nave of 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 mosaic depicts the dead Virgin with mourners, and Christ delivering her soul to 2 angels waiting above. Palermo's Arab and Norman centre is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Death of the Virgin, from the Gothic altarpiece, by Blasco de Granen, 1400-59, dedicated to San Blas, St Thomas a Becket and the Virgin of Mercy, in the presbytery of the Iglesia de San Blas, a 13th century Romanesque church, in the village of Anento, Saragossa, Aragon, Spain. The altarpiece depicts 37 scenes from the lives of the 3 dedication saints, and the Passion of Christ. Picture by Manuel Cohen
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  • St Nicholas on his death bed reciting  "in te domino speravi", from a series of windows of the Life of St Nicholas in the Legende Doree or Golden Legend, by Jacques de Voragine, early 13th century, in the Chapelle Notre-Dame in the Eglise Notre-Dame de Caudebec-en-Caux, a Flamboyant Gothic catholic church built 15th and 16th centuries, in Caudebec-en-Caux, Normandy, France. The church is listed as a historic monument. Picture by Manuel Cohen
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  • Dormition or Death of the Virgin, with her soul ascending to Christ in heaven and priests reading texts by a candle below, from the Life of the Virgin, on the Altarpiece of the Constable or Epiphany Altarpiece, 1464-65, by Jaume Huguet, c. 1412-92, tempera on panel, in Gothic style, commissioned by Don Pedro of Portugal, in the Royal Chapel of Santa Agatha in the Palacio Real Mayor in Barcelona, Spain. The central panel is the most important and depicts the Adoration of the Magi. The side and top panels depict the Life of the Virgin and Jesus Christ, and Saints are portrayed at the bottom. Picture by Manuel Cohen
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  • The Death of St Joachim, from the Baroque altarpiece of St Joseph and St Joachim, in gilded polychrome wood, in front of the gilded door of the Chapel of St Cosmas and St Damian, 15th century, dedicated to St Anne and St Joachim, parents of the Virgin, in the Cathedral of St Mary, designed by Benito Dalguayre in Catalan Gothic style and begun 1347 on the site of a Romanesque cathedral, consecrated 1447 and completed in 1757, Tortosa, Catalonia, Spain. The cathedral has 3 naves with chapels between the buttresses and an ambulatory with radial chapels. Picture by Manuel Cohen
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  • Mary lies in her deathbed surrounded by the 12 apostles, who have been miraculously transported from their missions to her bedside. John leans over the Virgin and Paul is at the foot of the bed, all with expressions of sadness. The Death of the Virgin, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. 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
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  • Detail of the Death of Adonis, showing Adonis and angels, fresco by Rosso Fiorentino, 1535-37, in the Galerie Francois I, begun 1528, the first great gallery in France and the origination of the Renaissance style in France, Chateau de Fontainebleau, France. The Palace of Fontainebleau is one of the largest French royal palaces and was begun in the early 16th century for Francois I. It was listed as a UNESCO World Heritage Site in 1981. Picture by Manuel Cohen
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  • Detail of a copy of a sculpted marble reliquary sarcophagus depicting the death and martyrdom of Saint Saturninus of Toulouse, 1150-80, by the Master of Cabestany, from the Abbey of Saint-Hilaire, Languedoc-Roussillon, France, displayed at the Abbey of St Mary of Lagrasse. The Abbey of Saint-Hilaire is a Benedictine monastery founded in the 8th century and featuring sculpted work by Romanesque craftsmen from the Roussillon area. Picture by Manuel Cohen
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  • "Allegorie a la douleur" (Madame Gourlot mourns the death of her husband Louis Sebastien), tomb of Louis Sebastien Gourlot (1778-1816), Pere Lachaise Cemetery (Cimetiere du Pere-Lachaise) Paris, France, opened 1804, designed by Alexandre-Theodore Brongniart. Named after Pere Francois de la Chaise (1624-1709), confessor to Louis XIV (1638-1713), who lived in the Jesuit house on the site of the chapel. Picture by Manuel Cohen
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  • Death of Leonardo da Vinci in the arms of king Francois I in the Chateau d'Amboise, oil painting on canvas, 1781, by Francois-Guillaume Menageot, 1744-1816, in the Chambre du Roi or King's Bedroom, in the Chateau d'Ambois, a medieval castle which became a royal residence in the 15th century and was largely reworked in the 15th and 16th centuries, on the River Loire, at Amboise, Indre-et-Loire, Centre, France. The chateau was rebuilt as a Gothic palace under Charles VIII and Renaissance and Italianate additions were installed under Francois I and Henri II. It is listed as a historic monument and is part of the Loire Valley UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Death of the Virgin, oil painting on wood, by Master of Santa Clara de Palencia, possibly Juan de Nalda, late 15th century, 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
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  • Death of the Virgin, painting, c. 1460, from the Lake Constance region, 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
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  • Serapeum of Saqqara, a burial place of the sacred bulls of the Apis cult, built 18th - 30th dynasties, at Saqqara, Egypt. The bulls were believed to be incarnations of the god Ptah, becoming Osiris-Apis after death. They were buried in canopic jars and sarcophagi in underground chambers. The burial site at Saqqara, containing pyramids, mastabas and tombs from 1st dynasty to the Greco Roman period, was the royal necropolis for Memphis. Saqqara is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Granite apis sarcophagus at the Serapeum of Saqqara, a burial place of the sacred bulls of the Apis cult, built 18th - 30th dynasties, at Saqqara, Egypt. The bulls were believed to be incarnations of the god Ptah, becoming Osiris-Apis after death. They were buried in canopic jars and sarcophagi in underground chambers. The burial site at Saqqara, containing pyramids, mastabas and tombs from 1st dynasty to the Greco Roman period, was the royal necropolis for Memphis. Saqqara is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Abandoned sarcophagus in the northern corridor of the Serapeum of Saqqara, a burial place of the sacred bulls of the Apis cult, built 18th - 30th dynasties, at Saqqara, Egypt. The bulls were believed to be incarnations of the god Ptah, becoming Osiris-Apis after death. They were buried in canopic jars and sarcophagi in underground chambers. The burial site at Saqqara, containing pyramids, mastabas and tombs from 1st dynasty to the Greco Roman period, was the royal necropolis for Memphis. Saqqara is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Barque des desesperes, painted wood, late 16th century, in the Collegiale Notre-Dame et Saint-Laurent, in Eu, Normandy, France. The central boat represents the church, with a crucified Christ as its mast and Insruments of the Passion on the sail, holding Toby, Job, Joseph, Mary and St Laurent O'Toole. Death, wickedness and patience threaten the boat of the church, and St Paul has not yet converted to christianity.  Clinging to the boat are St Clement and St Christine. At the bottom right are disbelievers committing suicide. The church was originally founded in 925 by Guillaume I, comte d'Eu, and became an abbey in the 12th century, which was destroyed during the French Revolution. Only the collegiate church remains, which is owned by the Chateau d'Eu. The church is listed as a historic monument. Picture by Manuel Cohen
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  • Skull and bones, symbols of an unavoidable death, stone carving on the Porch, with 5 arches at the entrance to the chapter house from the cloister, covered with carvings including of bones, skulls and instruments of the Passion, at Fontevraud Abbey, Fontevraud-l'Abbaye, Loire Valley, Maine-et-Loire, France. The abbey 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
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  • Mehdi Ben Cheikh, French-Tunisian gallery owner specialising in street art and contemporary art, on a rooftop in the 13th arrondissement of Paris, France. Behind is a mural by D*Face (Dean Stockton, b. 1978, English urban street artist), of a woman embracing a figure of death in uniform, created as part of the Boulevard Paris 13 project, by Galerie Itinerrance, founded and directed by Mehdi Ben Cheikh. Photographed on 29th May 2019 by Manuel Cohen
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  • Skeleton with a scythe representing Death, on the back of the Chariot of Time, charcoal drawings, made 1882-91, drawn by 2 unknown men, possibly bell ringers, in the bell room of the Eglise Notre-Dame-de-la-Croix de Menilmontant, in the 20th arrondissement of Paris, France. The Church of Our Lady of the Holy Cross of Menilmontant is a Roman catholic church built 1863-80. Picture by Manuel Cohen
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  • Mausoleum, with the tomb of D'Annunzio, on the Mastio hill at Vittoriale degli italiani, or The Shrine of Italian Victories, the home, estate and museums of Gabriele D'Annunzio, 1863-1938, Italian writer, soldier and fascist, at Gardone Riviera, Lake Garda, Brescia, Lombardy, Italy. The funeral monument was designed by Gian Carlo Maroni after d’Annunzio’s death, in the style of Etruscan-Roman grave sites, with 3 marble circles representing the victories of the Humble, the Sappers and the Heroes. At the centre is the tomb of d’Annunzio surrounded by 10 other heroes of Fiume including Guido Keller, Giuseppe Piffer, Ernesto Cabruna and Gian Carlo Maroni. In 2013 iron and cement dog sculptures by Velasco Vitali were added. Picture by Manuel Cohen
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  • Tomb of a hero with dog sculpture by Velasco Vitali, at the Mausoleum, with the tomb of D'Annunzio, on the Mastio hill at Vittoriale degli italiani, or The Shrine of Italian Victories, the home, estate and museums of Gabriele D'Annunzio, 1863-1938, Italian writer, soldier and fascist, at Gardone Riviera, Lake Garda, Brescia, Lombardy, Italy. The funeral monument was designed by Gian Carlo Maroni after d’Annunzio’s death, in the style of Etruscan-Roman grave sites, with 3 marble circles representing the victories of the Humble, the Sappers and the Heroes. At the centre is the tomb of d’Annunzio surrounded by 10 other heroes of Fiume including Guido Keller, Giuseppe Piffer, Ernesto Cabruna and Gian Carlo Maroni. In 2013 iron and cement dog sculptures by Velasco Vitali were added. Picture by Manuel Cohen
    LC19_ITALY_MC_122.jpg
  • Mausoleum, with the tomb of D'Annunzio, on the Mastio hill at Vittoriale degli italiani, or The Shrine of Italian Victories, the home, estate and museums of Gabriele D'Annunzio, 1863-1938, Italian writer, soldier and fascist, at Gardone Riviera, Lake Garda, Brescia, Lombardy, Italy. The funeral monument was designed by Gian Carlo Maroni after d’Annunzio’s death, in the style of Etruscan-Roman grave sites, with 3 marble circles representing the victories of the Humble, the Sappers and the Heroes. At the centre is the tomb of d’Annunzio surrounded by 10 other heroes of Fiume including Guido Keller, Giuseppe Piffer, Ernesto Cabruna and Gian Carlo Maroni. In 2013 iron and cement dog sculptures by Velasco Vitali were added. Picture by Manuel Cohen
    LC19_ITALY_MC_121.jpg
  • Inside the Mausoleum, with the tomb of D'Annunzio, on the Mastio hill at Vittoriale degli italiani, or The Shrine of Italian Victories, the home, estate and museums of Gabriele D'Annunzio, 1863-1938, Italian writer, soldier and fascist, at Gardone Riviera, Lake Garda, Brescia, Lombardy, Italy. The funeral monument was designed by Gian Carlo Maroni after d’Annunzio’s death, in the style of Etruscan-Roman grave sites, with 3 marble circles representing the victories of the Humble, the Sappers and the Heroes. At the centre is the tomb of d’Annunzio surrounded by 10 other heroes of Fiume including Guido Keller, Giuseppe Piffer, Ernesto Cabruna and Gian Carlo Maroni. In 2013 iron and cement dog sculptures by Velasco Vitali were added. Picture by Manuel Cohen
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  • Epigraph on the monumental marble tomb, 69 AD, at the Porta Stabia or Stabian Gate, discovered 2017, in the Parco Archeologico di Pompei, or Archaeological Park of Pompeii, Campania, Italy. The tomb is that of a magistrate who is thought to have died during a fight at a gladiator contest. The detailed 4m long epigraph describes his life, achievements and death. The site was excavated as part of the Great Pompeii Project in the San Paolino area near Porta Stabia, one of the access points to the ancient city. A new phase of official excavations has been taking place here since 2017 in an attempt to stop looters from digging tunnels and removing artefacts for sale. Pompeii was a Roman city which was buried in ash after the eruption of Vesuvius in 79 AD. The site is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Stone with date of death, on the tomb of the French artist Paul Gauguin, 1848-1903, in Calvary Cemetery, near Atuona, on the island of Hiva Oa, in the Marquesas Islands, French Polynesia. Gauguin lived in Atuona from 1901, having previously lived on Tahiti for many years. His tomb features Oviri, a sculpture from 1894 by Gauguin, a cast of which was placed on his grave in 1973. Picture by Manuel Cohen
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  • Censer carved on a grave in the Capuchin cemetery, or Cimetiere des Capucins, founded in 1792, the oldest cemetery in Bourges, Centre Val de Loire, France. This columnar gravestone is carved with mysterious symbols, including an oil lamp, hourglass and skull with bat's wings, representing the passing of time and death. One theory is that it relates to freemasonry but no theory has been proved. It is probably the tomb of a soldier and member of the Parnajon family. Picture by Manuel Cohen
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  • The good death, a pious man dies peacefully with his soul (a naked child) welcomed by an angel, from the stained glass window of the Last Judgement, 1215-25, in bay 4, in the ambulatory of Bourges Cathedral or the Cathedrale Saint-Etienne de Bourges, built 1195-1230 in French Gothic style and consecrated in 1324, in Bourges, Centre-Val de Loire, France. 22 of the original 25 medieval stained glass windows of the ambulatory have survived. The cathedral is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
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  • Detail of Martirio di San Marco, or The Martyrdom of St Mark, with onlookers in European, Mamluk and Ottoman costume, Renaissance painting by Giovanni Bellini, 1430-1516, and Vittore Belliniano, 1456-1529, in the Gallerie dell'Accademia, Venice, Italy. The painting was commissioned in 1515 and finished by Belliniano in 1526, after the death of Bellini. St Mark was martyred in 68 AD in Alexandria, by being tied up and dragged through the streets (right). It was originally painted for the Sala dell’Albergo of the Scuola Grande di San Marco. Picture by Manuel Cohen
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  • Detail of Martirio di San Marco, or The Martyrdom of St Mark, with the saint tied up on the ground being whipped and dragged, Renaissance painting by Giovanni Bellini, 1430-1516, and Vittore Belliniano, 1456-1529, in the Gallerie dell'Accademia, Venice, Italy. The painting was commissioned in 1515 and finished by Belliniano in 1526, after the death of Bellini. St Mark was martyred in 68 AD in Alexandria, by being tied up and dragged through the streets (right). It was originally painted for the Sala dell’Albergo of the Scuola Grande di San Marco. Picture by Manuel Cohen
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  • The Death of the Virgin, with the apostles surrounding her body, from the Altarpiece of the Virgin, 1430-40, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. An angel reaches up to close the Virgin's eyes, and 2 other angels take her soul, in the form of a child, up to heaven. The altarpiece was commissioned by Philippe de Ternant and his wife Isabeau de Roye, and depicts 7 scenes of the Life of the Virgin, both painted and sculpted, including the Annunciation, Dormition and Glorification. 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
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  • Effigy of John the Fearless with angels holding helmet, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
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  • Angel from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. In the background is the tomb of Philippe le Hardi, or Philip the Bold, 1342-1404, by Jean de Marville, Claus Sluter, and Claus de Werve. The tombs consist of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. This tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
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  • Angel from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
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  • Lion at the feet of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0471.jpg
  • Tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0472.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0474.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0476.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0477.jpg
  • Effigies from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0460.jpg
  • Effigy of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0462.jpg
  • Effigy of John the Fearless, from the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0465.jpg
  • Angel sculpture from the weeper facade of 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_0527.jpg
  • Effigies above and weepers below on the tomb of Jean sans Peur, or John the Fearless, 1371-1419, (Jean de Valois or John of Valois, Jean I, duc de Bourgogne, or John I, Duke of Burgundy) and his wife Marguerite de Baviere, or Margaret of Bavaria, 1363- 1423, 1443-70, by Jean de la Huerta, 1413-62, and Antoine le Moiturier, 1425-97, in the Grande Salle du Palais des ducs de Bourgogne, or Salle des Gardes, a 15th century Flamboyant Gothic hall, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. The tomb consists of painted alabaster effigies with lions and angels, and below, figures of pleurants or weepers among Gothic tracery. The tomb was begun in 1443 (24 years after his death), by Jean de La Huerta, and Antoine le Moiturier after 1456, and finally installed in 1470. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0506.jpg
  • Effigy and angels, from 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, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, 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. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0495.jpg
  • Effigy and angels, from 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, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, 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. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0497.jpg
  • Effigy and angels, from 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, by Jean de Marville, d. 1389, Claus Sluter, 1340-1405, and Claus de Werve, 1380-1459, 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. Jean de Marville was commissioned in 1381, and Claus Sluter took over in 1389 after his death and produced startlingly realistic sculptures. In 1404, and Claus de Werve took over and finished the work in 1410. The effigies were painted by Jean Malouel, 1365-1415. The tombs were originally from the Chartreuse de Champmol, or Chartreuse de la Sainte-Trinite de Champmol, a Carthusian monastery which was sacked in the French Revolution and the tombs moved to Dijon cathedral then here in 1827. The effigies are 19th century reconstructions, the originals being destroyed in the French Revolution. Picture by Manuel Cohen
    LC16_FRANCE_MC_0493.jpg
  • Mural, with nuns mourning the death of a saint, on the wall of the Cloister, built in late Romanesque style by Mihoje Brajkov of Bar in 1360, in the Franciscan monastery on Stradun or Placa, Old Town, Dubrovnik, Croatia. The city developed as an important port in the 15th and 16th centuries and has had a multicultural history, allied to the Romans, Ostrogoths, Byzantines, Ancona, Hungary and the Ottomans. In 1979 the city was listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC15_DUBROVNIK_MC110.jpg
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