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  • (left) Sweetener: Moses, following the Lord's command, casts the tree into the bitter waters. The Israelites gather around with drinking cups and vessels to collect the sweetened waters. In the foreground, a group of sheep quenches its thirst. (Exodus 15:24ñ25); (right) Manna: Hunger has overcome the Israelites in the wilderness, and the congregation begins to murmur against Moses. The Lord hears these complaints, however, and rains bread from heaven upon the people. The Israelites collect the bread, each according to his own need, following the instructions Lord has given to Moses. (Exodus 16:11ñ15). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC002.JPG
  • First edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC026.jpg
  • A Plea for Help: As Saul drives oxen in from the fields, he is met by anguished messengers from Jabesh-Gilead. Nahash the Ammonite has encamped outside the city and threatened to gouge out the right eye of every inhabitant. The king, enraged, slaughters two oxen and cuts them into pieces. The pieces are sent throughout Israel with a message: either follow Saul and Samuel into battle or expect the same to be done to your oxen. (1 Samuel 11:1ñ7). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC015.jpg
  • (Up) Amnon tricks Tamar to lie in bed with him. Amnon's love for Tamar turns to hatred and he forces her to leave in humiliation; (Down) Tamar laments her misfortune in Absalom's house while Absalom's servants kill Amnon at a feast held for David's sons. (2 Samuel 13 1-29). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC007.JPG
  • First edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC025.jpg
  • First edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC024.jpg
  • First edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC023.jpg
  • First edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC021.jpg
  • (left) The Sacrifices of Cain and Abel; Cain Murders His Brother: The Lord is pleased with the ram Abel has brought as a sacrifice, but Cain meets with no such favour for the sheaves he presents at the altar. Furiously jealous, Cain later slays Abel with a hatchet. (Genesis 4:3ñ8); (right) The Death of Cain: This scene is drawn from an account popular in the middle ages that expanded upon the brief description of Cain's death in the Book of Genesis. The aged and blind Lamech, his aim guided by a boy, shoots Cain with bow and arrow as he is tangled in a bush. Note that in this and the preceding miniatures, the painter has deliberately ignored some of the plants springing from the ground, perhaps to create a contrast between the barren nature of the world and the lush Garden of Eden. (Genesis 4:15, 23ñ24). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC020.jpg
  • Ehud, a Clever Leader: After the death of Joshua, Israel falls into sin and displeases the Lord; as punishment, the people are made subservient to Eglon, king of the Moabites, for eighteen years. The people repent and plead with the Lord for a deliverer. The Lord chooses Ehud of the tribe of Benjamin. When the Moabite army departs to fight a foreign battle, clever Ehud gains a private audience with Eglon and brutally slays the king. Ehud escapes and summons the Israelite army with a trumpet. The Moabites are humbled. (Judges 3:20ñ30). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC017.jpg
  • (Up) Ehud, a Clever Leader: After the death of Joshua, Israel falls into sin and displeases the Lord; as punishment, the people are made subservient to Eglon, king of the Moabites, for eighteen years. The people repent and plead with the Lord for a deliverer. The Lord chooses Ehud of the tribe of Benjamin. When the Moabite army departs to fight a foreign battle, clever Ehud gains a private audience with Eglon and brutally slays the king. Ehud escapes and summons the Israelite army with a trumpet. The Moabites are humbled. (Judges 3:20ñ30); (Down) Deborah, a Prophetess: Following Ehud's death, the sins of the Israelites again displease the Lord. The people are made to suffer under the rule of Jabin, king of the Canaanites, for twenty years. Finally, the prophetess Deborah summons Barak to lead an attack against the Canaanite army. Deborah, riding side-saddle on a dappled charger, commands Barak and the Israelite forces. The exhausted and terror-stricken enemy offers no resistance even as its king receives his death blow. (Judges 4:8ñ16). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC016.JPG
  • (Up) A Plea for Help: As Saul drives oxen in from the fields, he is met by anguished messengers from Jabesh-Gilead. Nahash the Ammonite has encamped outside the city and threatened to gouge out the right eye of every inhabitant. The king, enraged, slaughters two oxen and cuts them into pieces. The pieces are sent throughout Israel with a message: either follow Saul and Samuel into battle or expect the same to be done to your oxen. (1 Samuel 11:1ñ7); (Down) Marshaling Forces: Saul, crowned, bearing a scepter, and seated on an ivory throne, greets the warriors of Israel. The foremost kneel before the king and pledge their fealty. A standard bearer rides along in a supply cart. Behind Saul, a royal attendant assures a messenger from Jabesh-Gilead that help is at hand. (1 Samuel 11:7ñ9). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC014.JPG
  • (Up) Jonathan, a Prince:Encamped outside of Gibeah, Saul rests beneath a pomegranate tree and advises his warriors. Meanwhile, without informing his father, Saul's son Jonathan bravely scales a mountain to attack a Philistine garrison. Accompanied only by his armour-bearer, Jonathan engages the enemy; together they kill twenty men. (1 Samuel 14:1ñ14); (Down) The Battle is Joined: Sounds of battle have been heard in the Philistine camp, so Saul has assembled his army. It is discovered that Jonathan and his armour-bearer are missing. As the priest Ahijah bears the Ark of the Covenant into battle, Saul issues a bold command: the army is not to partake of food until all of the Philistines are destroyed. Jonathan, riding ahead, does not hear his father's instruction. Cradling his great helm in his left hand, he leans from his horse and spears a honeycomb to eat. (1 Samuel 14:17ñ27) Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC012.jpg
  • (left) Jonathan, a Prince: Encamped outside of Gibeah, Saul rests beneath a pomegranate tree and advises his warriors. Meanwhile, without informing his father, Saul's son Jonathan bravely scales a mountain to attack a Philistine garrison. Accompanied only by his armour-bearer, Jonathan engages the enemy; together they kill twenty men. (1 Samuel 14:1ñ14); (right) The Battle is Joined: Sounds of battle have been heard in the Philistine camp, so Saul has assembled his army. It is discovered that Jonathan and his armour-bearer are missing. As the priest Ahijah bears the Ark of the Covenant into battle, Saul issues a bold command: the army is not to partake of food until all of the Philistines are destroyed. Jonathan, riding ahead, does not hear his father's instruction. Cradling his great helm in his left hand, he leans from his horse and spears a honeycomb to eat. (1 Samuel 14:17ñ27). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC013.jpg
  • (Up) Uriah Refuses to Return Home: Uriah will not obey David's orders to return home, for to do so in a time of war would bring shame upon him. He sets up his eagle-topped pavilion before the king's house and enjoys a rich feast provided by the king. David's grand doorway is crowned by a finial topped by a royal fleur-de-lis. (2 Samuel 11:7ñ9); (Down) Uriah is Slain: David, unable to convince Uriah to return home, sends him back to the Israelite camp with a sealed letter for Joab. Joab is instructed to reassign Uriah to the fiercest part of the battle. Uriah is posted to the front lines of the Israelite siege at Rabbah, where valiant men defend the citadel. There he is struck by a bolt fired from an enemy crossbow and killed. (2 Samuel 11:14ñ17). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC010.JPG
  • Joshua Defeated at Ai: his is the first of the Picture Bible's great battle scenes. Joshua has taken a small contingent of the army to destroy the Amorite city of Ai. As soon as the Israelites arrive at the city gates, they are repulsed by a small force of defenders, including a crossbowman who takes aim from atop the portcullis. Thirty-six men of the expedition are killed as Amorite horsemen vengefully pursue and strike down their assailants. Joshua, shown again in brown tunic and with tri-point shield, narrowly escapes with his life. Nearby, an Amorite breaks his spear in the side of an Israelite horseman whose mount has collapsed beneath him, and a disoriented Israelite foot soldier is trampled by the fleeing cavalry. (Joshua 7:1ñ5). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC004.jpg
  • (left) The Lord Provides: Once more the Israelites complain to Moses of thirst, but again the Lord provides. Moses, in obedience to God, strikes the rock at Horeb with his staff, and a spring bursts forth to quench the thirst of the people and their flocks. (Exodus 17:3ñ6); (Right) Joshua, a Soldier: Amalek and his army threaten the Israelites with war. Moses commands Joshua, son of Nun, to assemble an army. The opponents face each other across a field at Rephidim, in this illustration arrayed in thirteenth-century battle dress. Joshua wears a brown tunic and carries a tri-point shield emblazoned with a lion. He and his cavalry all wear great helms. The enemy horsemen, to include the crowned Amalek, wear an older style of pointed helmet with a nasal guard. In the foreground, trumpeters and drummers sound the call to battle. (Exodus 17:8ñ13). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC001.JPG
  • First edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC027.jpg
  • First edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC022.jpg
  • Deborah, a Prophetess: Following Ehud's death, the sins of the Israelites again displease the Lord. The people are made to suffer under the rule of Jabin, king of the Canaanites, for twenty years. Finally, the prophetess Deborah summons Barak to lead an attack against the Canaanite army. Deborah, riding side-saddle on a dappled charger, commands Barak and the Israelite forces. The exhausted and terror-stricken enemy offers no resistance even as its king receives his death blow. (Judges 4:8ñ16). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC018.jpg
  • (left) The Expulsion from Paradise: The disobedient Adam and Eve are expelled from Paradise by the Lord. An angel brandishes a sword over the guilty pair, who now ashamedly hold fig leaves to conceal their nudity. The Gate of Paradise through which the couple exits is depicted as a slender Gothic tower. (Genesis 3:22ñ24); (right) The Trials of Man and Woman: After their exile from Eden, the Lord multiplies the sorrows of Adam and Eve. She shall suffer the pains of childbirth; he must cultivate the earth for his bread. As Eve sits spinning with a distaff, Adam digs with a spade. Their sons Cain and Abel collect firewood at their feet. (Genesis 3:16ñ19). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC019.jpg
  • (Up) Uriah Refuses to Return Home: Uriah will not obey David's orders to return home, for to do so in a time of war would bring shame upon him. He sets up his eagle-topped pavilion before the king's house and enjoys a rich feast provided by the king. David's grand doorway is crowned by a finial topped by a royal fleur-de-lis. (2 Samuel 11:7ñ9); (Down) Uriah is Slain: David, unable to convince Uriah to return home, sends him back to the Israelite camp with a sealed letter for Joab. Joab is instructed to reassign Uriah to the fiercest part of the battle. Uriah is posted to the front lines of the Israelite siege at Rabbah, where valiant men defend the citadel. There he is struck by a bolt fired from an enemy crossbow and killed. (2 Samuel 11:14ñ17). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC011.jpg
  • Tamar laments her misfortune in Absalom's house while Absalom's servants kill Amnon at a feast held for David's sons. (2 Samuel 13 1-29). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC009.jpg
  • Amnon tricks Tamar to lie in bed with him. Amnon's love for Tamar turns to hatred and he forces her to leave in humiliation. (2 Samuel 13 1-29). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC008.jpg
  • Israel's Enemies Humiliated: Joshua soon learns that his enemies are hiding in a cave at Makkedah. Israelite men drag the five kings from their hiding place, and, in obedience to Joshua, they trample on the kings' necks. Joshua, still holding his spear, encourages the men, reminding them that a similar fate awaits all those who oppose the Lord. (Joshua 10:15ñ25). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC006.JPG
  • The Longest Day: Joshua and his army depart to defend the city of Gibeon, now under siege by the Amorite kings. Joshua is twice shown in this illustration; in the center, he rides through a city gate and spears an enemy king. Behind this group he appears again, imperiously commanding the sun and moon to remain motionless in the sky. As daylight is prolonged, the Israelites have ample time to revenge themselves upon their enemies. To the right, the other Amorite kings flee their attackers. (Joshua 10:6ñ13). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC005.JPG
  • (left) A Costly Transgression Revealed: Confused and aggrieved by the defeat at Ai, Joshua prostrates himself before the Ark of the Covenant (depicted here as a rich reliquary chest) and begs for an explanation. It is discovered that Achan, a man of the tribe of Judah, took forbidden spoil from the accursed town of Jericho. Later Achan confesses the sin to Joshua; he and his family show Joshua a bar of gold (here painted silver), a rich garment, and two hundred shekels. The Lord points accusingly at the greedy family from the heavens. To appease Him, they must be destroyed. (Joshua 7:19ñ23); (right) Achan Stoned: Although Joshua appears loathe to do so, he orders the stoning of Achan, his entire family, and his cattle. Later, the Israelites will destroy Achan's thatched dwelling; all the possessions of the transgressor must be done away with in order to appease the Lord. (Joshua 7:24ñ25). Excerpt of the first edition of the "Crusader Bible", 13th century manuscript kept in the Pierpont Morgan Library in New York, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_CrusaderBible_MC003.jpg
  • Folio 27v of the "Liber Genealogiae Regum Hispaniae", the Book of the Genealogy of the Kings of Spain, first edition of the 15th century manuscript kept in the National Library of Spain in Madrid, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_GenealogyKingsSpain_MC001.jpg
  • Storia Apoc. XVIII,  1-20 : El Fuego de Babilonia y el duelo de los Reyes y Mercaderes (BABYLON FIRE AND MOURNING OF KINGS AND MERCHANTS). First edition of the "Apocalypse, the Beatus held at El Burgo de Osma", 11th century manuscript kept in the El Burgo de Osma Cathedral, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_Apocalipsis_MC002.jpg
  • Alfonso X of Castile (1221-1284), called the Wise, dictating to a scribe, with two other characters that might be chess players of his court compiling information about the game. Copy of the first edition of the "Book of Chess, Dice and Board Games", 13th century manuscript kept in the Library of the Real Monastery in San Lorenzo de El Escorial, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_AlfonsoX_MC001.jpg
  • Folio 40R of the "Liber Genealogiae Regum Hispaniae", the Book of the Genealogy of the Kings of Spain, first edition of the 15th century manuscript kept in the National Library of Spain in Madrid, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_GenealogyKingsSpain_MC002.jpg
  • First edition of the "Liber Genealogiae Regum Hispaniae", the Book of the Genealogy of the Kings of Spain, 15th century manuscript kept in the National Library of Spain in Madrid, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_GenealogyKingsSpain_MC003.jpg
  • "Mappa Mundi", showing the Apostles' dispersion in their respective regions. First edition of the "Apocalypse, the Beatus held at El Burgo de Osma", 11th century manuscript kept in the El Burgo de Osma Cathedral, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_Apocalipsis_MC003.jpg
  • Victory of the Lamb over the beast and the kings of the earth. This illustration from the Osma codex shows a Whore of Babylon for the first and only time nude. First edition of the "Apocalypse, the Beatus held at El Burgo de Osma", 11th century manuscript kept in the El Burgo de Osma Cathedral, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_Apocalipsis_MC001.jpg
  • Left page : Dice players in a Sevilian garden; right page : Alfonso X of Castile (1221-1284), called the Wise, dictating to two scribes, with two other characters that might be chess players of his court compiling information about the game. First edition of the "Book of Chess, Dice and Board Games", 13th century manuscript kept in the Library of the Real Monastery in San Lorenzo de El Escorial, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_AlfonsoX_MC003.jpg
  • Border players at the game inside a tent. Copy of the first edition of the "Book of Chess, Dice and Board Games", 13th century manuscript kept in the Library of the Real Monastery in San Lorenzo de El Escorial, on natural parchment made of animal skin published by Scriptorium SL in Valencia, Spain. © Scriptorium / Manuel Cohen
    LC14_AlfonsoX_MC002.jpg
  • The 6th angel delivers the 4 angels that had been bound at the river Euphrates; an altar appears in the heavens as the enthroned Christ raises his hand in blessing, illustrated Beatus manuscript page, c. 1180, Spanish, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The manuscript describes the Apocalypse according to St John in the Book of Revelation, written by Beatus of Liebana, an 8th century Asturian monk. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC081.jpg
  • The 6th angel delivers the 4 angels that had been bound at the river Euphrates; an altar appears in the heavens as the enthroned Christ raises his hand in blessing, illustrated Beatus manuscript page, detail, c. 1180, Spanish, in The Cloisters, a museum specialising in European medieval architecture, sculpture and decorative arts, part of the Metropolitan Museum of Art, at Fort Tryon Park, Manhattan, New York, USA. The manuscript describes the Apocalypse according to St John in the Book of Revelation, written by Beatus of Liebana, an 8th century Asturian monk. The Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC163.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC024.jpg
  • Sergio is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC031.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC027.jpg
  • Once completed the facsimile goes into a press for the final process at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC041.jpg
  • Graphic retouchers highlight the gilt painting with golden ink and then age their work with a small scalpel at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC038.jpg
  • Graphic retouchers highlight the gilt painting with golden ink and then age their work with a small scalpel at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC036.jpg
  • Graphic retouchers highlight the gilt painting with golden ink and then age their work with a small scalpel at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC035.jpg
  • Graphic retouchers highlight the gilt painting with golden ink and then age their work with a small scalpel at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC034.jpg
  • Sergio is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC033.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC023.jpg
  • Graphic retouchers highlight the gilt painting with golden ink and then age their work with a small scalpel at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC039.jpg
  • Graphic retouchers highlight the gilt painting with golden ink and then age their work with a small scalpel at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC037.jpg
  • Sergio is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC032.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC030.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC026.jpg
  • Jose Vicente highlights the gilt painting with golden ink and then age his work with a small scalpel at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC040.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC022.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC028.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC025.jpg
  • Alberto is assembling the folios of the facsimile with natural string at the printing studio of Scriptorium SL in Valencia, Spain. Picture by Manuel Cohen
    30052014_Scriptorium_MC029.jpg
  • Romanesque cloister, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC045.jpg
  • Sculpted capital from the Romanesque cloister representing 3 shepherds with a flock of sheep including one possibly feeding a sheep with a bottle, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC046.jpg
  • Sculpted capital from the Romanesque cloister representing a harvest scene, with wine makers carrying a jar and barrel of wine or grape press and vine scroll motifs, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC049.jpg
  • Sculpted capital from the Romanesque cloister representing a rabbit, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC047.jpg
  • Sculpted capital from the Romanesque cloister representing a harvest scene, with wine makers carrying a jar and barrel of wine or grape press and vine scroll motifs, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC048.jpg
  • Sculpted capital from the Romanesque cloister representing seated stone masons at work and a seated man on the left, possibly a bishop, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC050.jpg
  • Sculpted capital from the Romanesque cloister representing Noah's Ark, Noah's wife and sons entering the ark and 2 fantastic birds with intricate scale and feather detail, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC052.jpg
  • Sculpted capital from the Romanesque cloister representing seated stone masons at work, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC051.jpg
  • Sculpted capital from the Romanesque cloister representing the torture of the damned in hell, being boiled alive in cauldrons surrounded by horned devils, and others being sodomized by devils, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC053.jpg
  • Sculpted capital from the Romanesque cloister representing the torture of the damned in hell, being boiled alive in cauldrons surrounded by horned devils, and others being sodomized by devils, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC054.jpg
  • Romanesque cloister, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC055.jpg
  • Sculpted capital from the Romanesque cloister representing a man pouring a liquid, possibly water, from a jar, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC062.jpg
  • Sculpted capital from the Romanesque cloister representing a man pouring water, shepherds watching their flock of sheep and a couple embracing, 11th century, Santa Maria Cathedral or Cathedral of St Mary of Girona, in the town of Girona, at the confluence of the rivers Ter, Onyar, Galligants and Guell, Catalonia, Spain. The colonnade of the cloister is made of Romanesque arches supported by double columns with over 70 capitals carved with fantastic creatures and vegetal motifs. Master craftsmen were brought in from the Roussillon and Italy to carve the capitals, inspired by medieval illuminated manuscripts. The surrounding galleries are home to tombs of rich members of the monastery, dating to the 14th - 18th centuries. The cathedral was begun in the 11th century in Romanesque style, and later continued in the 14th century in Catalan Gothic style, redesigned by Pere Sacoma in 1312 and built by the school of Mallorcan architect Jaume Fabre. Of the original Romanesque building only the 12th century cloister and a bell tower remain. The cathedral was completed in the 18th century. Picture by Manuel Cohen
    LCSPAIN13_MC063.jpg
  • Scriptorium or Monks' hall, Fontenay Abbey, Marmagne, Cote d'Or, France. This Cistercian abbey was founded by Saint Bernard of Clairvaux in 1119, built in the Romanesque style. The abbey itself housed 300 monks from 1200, but was sacked during the French Revolution. The Monks' hall is 30m long with 12 ribbed vaults and was used primarily by the abbots. One section was reserved for the copyist monks, who copied and illuminated manuscripts. Picture by Manuel Cohen
    LC13_FRANCE_MC256.jpg
  • Famous Men and Women from Classical and Biblical Antiquity, from the Universal Chronical, also known as the Cockerell Chronicle, c. 1450, pen and ink with watercolour on paper, attributed to Barthelemy D'Eyck, 1420-70, Dutch painter and manuscript illuminator, from the Metropolitan Museum Of Art, New York, USA. The figures depicted are Minos, Jephthah sacrificing his daughter, Agamemnon, Menelaus, Priam, Helen of Troy, Paris, Jason with the Golden Fleece, and Hector. Picture by Manuel Cohen
    LC15_ART_MC004.jpg
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