manuel cohen

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  • 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
  • Descent from the Cross, 1250, polychrome wood, Romanesque sculptural group, on the altar in the apse of the church, at the Monestir Sant Joan de les Abadesses, in San Juan de las Abadesas, Ripolles, Catalonia, Spain. The sculpture is also known as Holy Mystery, as in 1426 relics were found hidden in a secret reliquary in the head of Christ. The monastery was founded in 885 by Guifre el Pilos, or count Wilfred the Hairy, originally as a female monastery, for his daughter Emma. Picture by Manuel Cohen
    LC21_SPAIN_MC_0588.jpg
  • Descent from the Cross, 1250, polychrome wood, Romanesque sculptural group, on the altar in the apse of the church, at the Monestir Sant Joan de les Abadesses, in San Juan de las Abadesas, Ripolles, Catalonia, Spain. The sculpture is also known as Holy Mystery, as in 1426 relics were found hidden in a secret reliquary in the head of Christ. The monastery was founded in 885 by Guifre el Pilos, or count Wilfred the Hairy, originally as a female monastery, for his daughter Emma. Picture by Manuel Cohen
    LC21_SPAIN_MC_0579.jpg
  • Descent from the Cross, 1250, polychrome wood, Romanesque sculptural group, on the altar in the apse of the church, at the Monestir Sant Joan de les Abadesses, in San Juan de las Abadesas, Ripolles, Catalonia, Spain. The sculpture is also known as Holy Mystery, as in 1426 relics were found hidden in a secret reliquary in the head of Christ. The monastery was founded in 885 by Guifre el Pilos, or count Wilfred the Hairy, originally as a female monastery, for his daughter Emma. Picture by Manuel Cohen
    LC21_SPAIN_MC_0577.jpg
  • Mystery of the Nativity, detail of a fresco by Charles Soulacroix, 1825-99, in the second apse chapel, in the Basilique Notre-Dame-de-l'Immaculee-Conception or Basilica of Notre-Dame de Boulogne, a Roman Catholic cathedral built 1827-63 in Neoclassical style by Benoit-Agathon Haffreingue, in Boulogne, Pas de Calais, France. The fresco depicts the child Virgin on a throne with 2 angels celebrating her birth. Charles Soulacroix, a sculptor, was commissioned in 1863-65 by Haffreingue to decorate the 6 apse chapels, these being his first frescoes. The cathedral is listed as a national monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_1489.jpg
  • Descent from the Cross, 1250, polychrome wood, Romanesque sculptural group, on the altar in the apse of the church, at the Monestir Sant Joan de les Abadesses, in San Juan de las Abadesas, Ripolles, Catalonia, Spain. The sculpture is also known as Holy Mystery, as in 1426 relics were found hidden in a secret reliquary in the head of Christ. The monastery was founded in 885 by Guifre el Pilos, or count Wilfred the Hairy, originally as a female monastery, for his daughter Emma. Picture by Manuel Cohen
    LC21_SPAIN_MC_0576.jpg
  • The Prostitute on the Beast, with the angel explaining to St John the mystery of the woman, who represents sin and Babylon, detail of the fifth piece depicting the 7 Cups, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    LC21_FRANCE_MC_0421.jpg
  • The Prostitute on the Beast, with the angel explaining to St John the mystery of the woman, who represents sin and Babylon, detail of the fifth piece depicting the 7 Cups, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    LC21_FRANCE_MC_0420.jpg
  • Mystery of the Immaculate Conception, detail of a fresco by Charles Soulacroix, 1825-99, in the first apse chapel, in the Basilique Notre-Dame-de-l'Immaculee-Conception or Basilica of Notre-Dame de Boulogne, a Roman Catholic cathedral built 1827-63 in Neoclassical style by Benoit-Agathon Haffreingue, in Boulogne, Pas de Calais, France. The fresco depicts the Virgin in Glory, surrounded by clouds, angels and rays of light, crushing a snake with her foot. Below are 2 angels with weapons and to the right is St Michael the archangel. Charles Soulacroix, a sculptor, was commissioned in 1863-65 by Haffreingue to decorate the 6 apse chapels, these being his first frescoes. The cathedral is listed as a national monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_1488.jpg
  • Mystery of the Nativity, detail of a fresco by Charles Soulacroix, 1825-99, in the second apse chapel, in the Basilique Notre-Dame-de-l'Immaculee-Conception or Basilica of Notre-Dame de Boulogne, a Roman Catholic cathedral built 1827-63 in Neoclassical style by Benoit-Agathon Haffreingue, in Boulogne, Pas de Calais, France. The fresco depicts the child Virgin on a throne with 2 angels celebrating her birth. Charles Soulacroix, a sculptor, was commissioned in 1863-65 by Haffreingue to decorate the 6 apse chapels, these being his first frescoes. The cathedral is listed as a national monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_1490.jpg
  • Mystery of the Visitation, detail of a fresco by Charles Soulacroix, 1825-99, in the second apse chapel, in the Basilique Notre-Dame-de-l'Immaculee-Conception or Basilica of Notre-Dame de Boulogne, a Roman Catholic cathedral built 1827-63 in Neoclassical style by Benoit-Agathon Haffreingue, in Boulogne, Pas de Calais, France. The fresco depicts St Elizabeth before the Virgin, who rejoices at her words. Zachariah and Joseph are to the right. Charles Soulacroix, a sculptor, was commissioned in 1863-65 by Haffreingue to decorate the 6 apse chapels, these being his first frescoes. The cathedral is listed as a national monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_1491.jpg
  • Mystery of the Visitation, detail of a fresco by Charles Soulacroix, 1825-99, in the second apse chapel, in the Basilique Notre-Dame-de-l'Immaculee-Conception or Basilica of Notre-Dame de Boulogne, a Roman Catholic cathedral built 1827-63 in Neoclassical style by Benoit-Agathon Haffreingue, in Boulogne, Pas de Calais, France. The fresco depicts St Elizabeth before the Virgin, who rejoices at her words. Zachariah and Joseph are to the right. Charles Soulacroix, a sculptor, was commissioned in 1863-65 by Haffreingue to decorate the 6 apse chapels, these being his first frescoes. The cathedral is listed as a national monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_1492.jpg
  • Mystery of the Immaculate Conception, detail of a fresco by Charles Soulacroix, 1825-99, in the first apse chapel, in the Basilique Notre-Dame-de-l'Immaculee-Conception or Basilica of Notre-Dame de Boulogne, a Roman Catholic cathedral built 1827-63 in Neoclassical style by Benoit-Agathon Haffreingue, in Boulogne, Pas de Calais, France. The fresco depicts the Virgin in Glory, surrounded by clouds, angels and rays of light, crushing a snake with her foot. Below are 2 angels with weapons and to the right is St Michael the archangel. Charles Soulacroix, a sculptor, was commissioned in 1863-65 by Haffreingue to decorate the 6 apse chapels, these being his first frescoes. The cathedral is listed as a national monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_1505.jpg
  • Fresco of Cupid holding up a mirror to reflect a woman dressing her hair, from a series depicting the initiation ceremonies of a religious or Bacchian cult, in the triclinium of the Casa dei Misteri, or Villa of the Mysteries, a large villa in a suburb of Pompeii, in the Parco Archeologico di Pompei, or Archaeological Park of Pompeii, Campania, Italy. 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
    LC18_ITALY_MC_012.jpg
  • Fresco of a woman wearing yellow, preparing her hairstyle, with a maid, from a series depicting the initiation ceremonies of a religious or Bacchian cult, in the triclinium of the Casa dei Misteri, or Villa of the Mysteries, a large villa in a suburb of Pompeii, in the Parco Archeologico di Pompei, or Archaeological Park of Pompeii, Campania, Italy. 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
    LC18_ITALY_MC_013.jpg
  • Frescoes depicting the initiation ceremonies of a religious or Bacchian cult, in the triclinium of the Casa dei Misteri, or Villa of the Mysteries, a large villa in a suburb of Pompeii, in the Parco Archeologico di Pompei, or Archaeological Park of Pompeii, Campania, Italy. 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
    LC18_ITALY_MC_011.jpg
  • Fresco of a woman with purple fabric, from a series depicting the initiation ceremonies of a religious or Bacchian cult, in the triclinium of the Casa dei Misteri, or Villa of the Mysteries, a large villa in a suburb of Pompeii, in the Parco Archeologico di Pompei, or Archaeological Park of Pompeii, Campania, Italy. 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
    LC18_ITALY_MC_070.jpg
  • Fresco of a young satyr being offered a bowl of wine by Silenus, in which he sees the reflection of a frightening mask held aloft by another satyr, from a series depicting the initiation ceremonies of a religious or Bacchian cult, in the triclinium of the Casa dei Misteri, or Villa of the Mysteries, a large villa in a suburb of Pompeii, in the Parco Archeologico di Pompei, or Archaeological Park of Pompeii, Campania, Italy. 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
    LC18_ITALY_MC_069.jpg
  • The Prostitute on the Beast, with the angel explaining to St John the mystery of the woman, who represents sin and Babylon, detail of the fifth piece depicting the 7 Cups, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    _CC_2398.jpg
  • The Prostitute on the Beast, with the angel explaining to St John the mystery of the woman, who represents sin and Babylon, detail of the fifth piece depicting the 7 Cups, from the Tenture de l'Apocalypse or Apocalypse Tapestry, made 1373-82 by Nicolas Bataille in the workshop of Robert Poincon after preparatory drawings by Hennequin de Bruges, in the Musee de la Tapisserie de l'Apocalypse, in the Chateau d'Angers, Angers, Maine-et-Loire, France. The tapestry was commissioned by Louis I duc d'Anjou and depicts the Apocalypse of John. It measures 140m and is divided into 6 pieces with 90 scenes. Although bequeathed to Angers Cathedral by King Rene in the 15th century, the tapestry was reconstructed and restored in the 19th century, listed as a historic monument and exhibited in the castle. Picture by Manuel Cohen
    _CC_2394.jpg
  • Le Soleil, or The Sun, card no. 18, (right), 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. The sun is a life force which lifts our spirits, and is represented as a bird, the closes animal to the sun, in the tradition of Mexican or American Indian legends. On the left is Le Hierophant, card no. 5, representing a teacher, a guru, a prophet or a pope, he deciphers mysteries and spreads sacred knowledge. 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_222.jpg
  • Le Hierophant, card no. 5, 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. This figure represents a teacher, a guru, a prophet or a pope, he deciphers mysteries and spreads sacred knowledge. 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_183.jpg
  • Le Hierophant, card no. 5, 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. This figure represents a teacher, a guru, a prophet or a pope, he deciphers mysteries and spreads sacred knowledge. 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_204.jpg
  • Le Hierophant, card no. 5, 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. This figure represents a teacher, a guru, a prophet or a pope, he deciphers mysteries and spreads sacred knowledge. 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_182.jpg
  • Jar of mummification preparation, in the Apothecaire de Bauge, an apothecary built in 1675, in the Hotel-Dieu de Bauge, a hospital opened 1650 by Marthe de la Beausse and Anne de Melun, princess of Epinoy, in Bauge-en-Anjou, Maine-et-Loire, France. The apothecary is lined in oak paneling with dressers storing over 650 jars and boxes with mysterious contents. It has an oak parquet floor and chestnut wood ceiling painted in red and white faux marble on a blue ground. It is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_0762.jpg
  • Jars of medicinal ingredients in the Apothecaire de Bauge, an apothecary built in 1675, in the Hotel-Dieu de Bauge, a hospital opened 1650 by Marthe de la Beausse and Anne de Melun, princess of Epinoy, in Bauge-en-Anjou, Maine-et-Loire, France. The apothecary is lined in oak paneling with dressers storing over 650 jars and boxes with mysterious contents. It has an oak parquet floor and chestnut wood ceiling painted in red and white faux marble on a blue ground. It is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_0760.jpg
  • Jar of crayfish eyes, in the Apothecaire de Bauge, an apothecary built in 1675, in the Hotel-Dieu de Bauge, a hospital opened 1650 by Marthe de la Beausse and Anne de Melun, princess of Epinoy, in Bauge-en-Anjou, Maine-et-Loire, France. The apothecary is lined in oak paneling with dressers storing over 650 jars and boxes with mysterious contents. It has an oak parquet floor and chestnut wood ceiling painted in red and white faux marble on a blue ground. It is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_0761.jpg
  • Jars of medicinal ingredients in the Apothecaire de Bauge, an apothecary built in 1675, in the Hotel-Dieu de Bauge, a hospital opened 1650 by Marthe de la Beausse and Anne de Melun, princess of Epinoy, in Bauge-en-Anjou, Maine-et-Loire, France. The apothecary is lined in oak paneling with dressers storing over 650 jars and boxes with mysterious contents. It has an oak parquet floor and chestnut wood ceiling painted in red and white faux marble on a blue ground. It is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_0759.jpg
  • Ball of fire on the credence carved with many symbols related to alchemy, such as balls of fire, dolphins, a shell representing mercury, rose and cornucopia and the mysterious letters RERE (possibly related to genealogy and found repeatedly on Lallemant family prayer books and objects), detail in the Lallemant family chapel in the Oratory of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. Fulcanelli wrote extensively on the significance of the letters R and E in terms of alchemy, with RE being dry and wet matters and RERE double matters. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0688.jpg
  • Apothecaire de Bauge, an apothecary built in 1675, in the Hotel-Dieu de Bauge, a hospital opened 1650 by Marthe de la Beausse and Anne de Melun, princess of Epinoy, in Bauge-en-Anjou, Maine-et-Loire, France. The apothecary is lined in oak paneling with dressers storing over 650 jars and boxes with mysterious contents. It has an oak parquet floor and chestnut wood ceiling painted in red and white faux marble on a blue ground. It is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_0758.jpg
  • Dolphin and ball of fire on the credence carved with many symbols related to alchemy, such as balls of fire, dolphins, a shell representing mercury, rose and cornucopia and the mysterious letters RERE (possibly related to genealogy and found repeatedly on Lallemant family prayer books and objects), detail in the Lallemant family chapel in the Oratory of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. Fulcanelli wrote extensively on the significance of the letters R and E in terms of alchemy, with RE being dry and wet matters and RERE double matters. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0687.jpg
  • Niche of the credence carved with many symbols related to alchemy, such as balls of fire, dolphins, a shell representing mercury, rose and cornucopia and the mysterious letters RERE (possibly related to genealogy and found repeatedly on Lallemant family prayer books and objects), detail in the Lallemant family chapel in the Oratory of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. Fulcanelli wrote extensively on the significance of the letters R and E in terms of alchemy, with RE being dry and wet matters and RERE double matters. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0686.jpg
  • Credence carved with many symbols related to alchemy, such as balls of fire, dolphins, a shell representing mercury, rose and cornucopia and the mysterious letters RERE (possibly related to genealogy and found repeatedly on Lallemant family prayer books and objects), in the Lallemant family chapel in the Oratory of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. Fulcanelli wrote extensively on the significance of the letters R and E in terms of alchemy, with RE being dry and wet matters and RERE double matters. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0685.jpg
  • Angels holding phylacteries on a starry sky, painted on the ceiling of the chapel, c. 1450, by an unknown artist, possibly Jacob de Littemont and Henri Mullein who worked for the Coeur family, uncovered in the 19th century and restored by Alexandre Denuelle in 1869, in the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. The angels hold phylacteries with verses of the mysteries of the Virgin Mary. Fulcanelli stated that Jacques Coeur was an alchemist and the Virgin is a traditional hermetic symbol. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0298.jpg
  • Angels holding phylacteries on a starry sky, painted on the ceiling of the chapel, c. 1450, by an unknown artist, possibly Jacob de Littemont and Henri Mullein who worked for the Coeur family, uncovered in the 19th century and restored by Alexandre Denuelle in 1869, in the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. The angels hold phylacteries with verses of the mysteries of the Virgin Mary. Fulcanelli stated that Jacques Coeur was an alchemist and the Virgin is a traditional hermetic symbol. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0297.jpg
  • Angels holding phylacteries on a starry sky, painted on the ceiling of the chapel, c. 1450, with cross vaults and decorative bosses, by an unknown artist, possibly Jacob de Littemont and Henri Mullein who worked for the Coeur family, uncovered in the 19th century and restored by Alexandre Denuelle in 1869, in the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. The angels hold phylacteries with verses of the mysteries of the Virgin Mary. Fulcanelli stated that Jacques Coeur was an alchemist and the Virgin is a traditional hermetic symbol. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0277.jpg
  • Decorative gilded bosse in the form of an angel, and angels holding phylacteries on a starry sky, painted on the ceiling of the chapel, c. 1450, with cross vaults, by an unknown artist, possibly Jacob de Littemont and Henri Mullein who worked for the Coeur family, uncovered in the 19th century and restored by Alexandre Denuelle in 1869, in the Palais Jacques Coeur, huge manor house built 1443-51 in Flamboyant Gothic style, on the Place Jacques Coeur, Bourges, France. The angels hold phylacteries with verses of the mysteries of the Virgin Mary. Fulcanelli stated that Jacques Coeur was an alchemist and the Virgin is a traditional hermetic symbol. Jacques Coeur, 1395-1456, was a wealthy merchant and was made master of the mint to King Charles VII in 1438. The building is listed as a historic monument. Picture by Manuel Cohen
    LC17_FRANCE_MC_0256.jpg
  • Oil lamp 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
    LC17_FRANCE_MC_0225.jpg
  • 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
    LC17_FRANCE_MC_0224.jpg
  • Winged hourglass 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
    LC17_FRANCE_MC_0223.jpg
  • 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
    LC17_FRANCE_MC_0222.jpg
  • Dove in flames, representing the philosophical soul, and the descent of the terrestrial fire in Christian tradition, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0683.jpg
  • Armillary sphere in flames with a blank scroll, representing the raw material antimony and its extraction by the skill of the alchemist, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0679.JPG
  • Walkers on a path on top of Glastonbury Tor, Glastonbury, Somerset, England. Glastonbury Tor is a hill with symmetrical terraces in its sides, in the Summerland Meadows on the Somerset Levels, and evidence of human activity has been found here dating from the Bronze Age. The site is managed by the National Trust. The tor is strongly associated with Arthurian Legend, believed by some to be Avalon. Picture by Manuel Cohen
    LC17_ENGLAND_MC_112.jpg
  • Transept crossing the nave in the ruins of Glastonbury Abbey, a Benedictine monastery founded in the 7th century, enlarged in the 10th century, destroyed by fire in the 12th century and rebuilt then sacked in the Dissolution of the Monasteries, in Glastonbury, Somerset, England. Christian legend claims it was founded by Joseph of Arimathea in the 1st century AD, and it has many ties to Arthurian legend, including that he was buried here. The building is a Scheduled Ancient Monument. In the distance is the Retreat House, a Tudor Gothic house was built 1829-30 by John Buckler from stones from abbey ruins, for John Fry Reeves. Picture by Manuel Cohen
    LC17_ENGLAND_MC_028.jpg
  • Lady Chapel, built 1189, at Glastonbury Abbey, a Benedictine monastery founded in the 7th century, enlarged in the 10th century, destroyed by fire in the 12th century and rebuilt then sacked in the Dissolution of the Monasteries, in Glastonbury, Somerset, England. Christian legend claims it was founded by Joseph of Arimathea in the 1st century AD, and it has many ties to Arthurian legend, including that he was buried here. The building is a Scheduled Ancient Monument. Picture by Manuel Cohen
    LC17_ENGLAND_MC_027.jpg
  • Reproduction of the Jewel of the Order of the Golden Fleece, 2010, by Herbert Horovitz and his team of jewellers in Geneva, taking 600 hours of work, based on the original drawing by Pierre Andre Jacquemin, 1720-73, Jeweller to the King and Keeper of the Crown Jewels under Louis XV. The blue diamond set in this piece was brought to France from India by Jean-Baptiste Tavernier in 1668 and sold to Louis XIV. It was cut by Jean Pittan in a new 'rose de Paris' design and set in the Grand Insignia of the Order of the Golden Fleece in 1749 for Louis XV. In 1792 this piece and many others were stolen by a revolutionary mob from the Garde-Meuble Royal in Paris. The blue diamond was later re-cut to become the Hope Diamond, now in the Smithsonian Museum in Washington DC, USA, as proved by Francois Farges in 2008. Picture by Manuel Cohen
    LC_HISTORY_MC_0390.jpg
  • Reproduction of the Jewel of the Order of the Golden Fleece, 2010, by Herbert Horovitz and his team of jewellers in Geneva, taking 600 hours of work, based on the original drawing by Pierre Andre Jacquemin, 1720-73, Jeweller to the King and Keeper of the Crown Jewels under Louis XV. The blue diamond set in this piece was brought to France from India by Jean-Baptiste Tavernier in 1668 and sold to Louis XIV. It was cut by Jean Pittan in a new 'rose de Paris' design and set in the Grand Insignia of the Order of the Golden Fleece in 1749 for Louis XV. In 1792 this piece and many others were stolen by a revolutionary mob from the Garde-Meuble Royal in Paris. The blue diamond was later re-cut to become the Hope Diamond, now in the Smithsonian Museum in Washington DC, USA, as proved by Francois Farges in 2008. Picture by Manuel Cohen
    LC_HISTORY_MC_0389.jpg
  • Drawing of the Jewel of the Order of the Golden Fleece, by Pierre Andre Jacquemin, 1720-73, Jeweller to the King and Keeper of the Crown Jewels under Louis XV. The jewel was reproduced in 2010 by Herbert Horovitz and his team of jewellers in Geneva, taking 600 hours of work. The blue diamond set in this piece was brought to France from India by Jean-Baptiste Tavernier in 1668 and sold to Louis XIV. It was cut by Jean Pittan in a new 'rose de Paris' design and set in the Grand Insignia of the Order of the Golden Fleece in 1749 for Louis XV. In 1792 this piece and many others were stolen by a revolutionary mob from the Garde-Meuble Royal in Paris. The blue diamond was later re-cut to become the Hope Diamond, now in the Smithsonian Museum in Washington DC, USA, as proved by Francois Farges in 2008. Picture by Manuel Cohen
    LC_HISTORY_MC_0388.jpg
  • Detail of the golden fleece of the ram, encrusted with jewels, hanging from the reproduction of the Jewel of the Order of the Golden Fleece, 2010, by Herbert Horovitz and his team of jewellers in Geneva, taking 600 hours of work, based on the original drawing by Pierre Andre Jacquemin, 1720-73, Jeweller to the King and Keeper of the Crown Jewels under Louis XV. The blue diamond set in this piece was brought to France from India by Jean-Baptiste Tavernier in 1668 and sold to Louis XIV. It was cut by Jean Pittan in a new 'rose de Paris' design and set in the Grand Insignia of the Order of the Golden Fleece in 1749 for Louis XV. In 1792 this piece and many others were stolen by a revolutionary mob from the Garde-Meuble Royal in Paris. The blue diamond was later re-cut to become the Hope Diamond, now in the Smithsonian Museum in Washington DC, USA, as proved by Francois Farges in 2008. Picture by Manuel Cohen
    LC_HISTORY_MC_0383.JPG
  • Detail of the golden fleece of the ram, encrusted with jewels, hanging from the reproduction of the Jewel of the Order of the Golden Fleece, 2010, by Herbert Horovitz and his team of jewellers in Geneva, taking 600 hours of work, based on the original drawing by Pierre Andre Jacquemin, 1720-73, Jeweller to the King and Keeper of the Crown Jewels under Louis XV. The blue diamond set in this piece was brought to France from India by Jean-Baptiste Tavernier in 1668 and sold to Louis XIV. It was cut by Jean Pittan in a new 'rose de Paris' design and set in the Grand Insignia of the Order of the Golden Fleece in 1749 for Louis XV. In 1792 this piece and many others were stolen by a revolutionary mob from the Garde-Meuble Royal in Paris. The blue diamond was later re-cut to become the Hope Diamond, now in the Smithsonian Museum in Washington DC, USA, as proved by Francois Farges in 2008. Picture by Manuel Cohen
    LC_HISTORY_MC_0384.jpg
  • Reproduction of the Jewel of the Order of the Golden Fleece, 2010, by Herbert Horovitz and his team of jewellers in Geneva, taking 600 hours of work, based on the original drawing by Pierre Andre Jacquemin, 1720-73, Jeweller to the King and Keeper of the Crown Jewels under Louis XV. The blue diamond set in this piece was brought to France from India by Jean-Baptiste Tavernier in 1668 and sold to Louis XIV. It was cut by Jean Pittan in a new 'rose de Paris' design and set in the Grand Insignia of the Order of the Golden Fleece in 1749 for Louis XV. In 1792 this piece and many others were stolen by a revolutionary mob from the Garde-Meuble Royal in Paris. The blue diamond was later re-cut to become the Hope Diamond, now in the Smithsonian Museum in Washington DC, USA, as proved by Francois Farges in 2008. Picture by Manuel Cohen
    LC_HISTORY_MC_0380.jpg
  • Reproduction of the Jewel of the Order of the Golden Fleece, 2010, by Herbert Horovitz and his team of jewellers in Geneva, taking 600 hours of work, based on the original drawing by Pierre Andre Jacquemin, 1720-73, Jeweller to the King and Keeper of the Crown Jewels under Louis XV. The blue diamond set in this piece was brought to France from India by Jean-Baptiste Tavernier in 1668 and sold to Louis XIV. It was cut by Jean Pittan in a new 'rose de Paris' design and set in the Grand Insignia of the Order of the Golden Fleece in 1749 for Louis XV. In 1792 this piece and many others were stolen by a revolutionary mob from the Garde-Meuble Royal in Paris. The blue diamond was later re-cut to become the Hope Diamond, now in the Smithsonian Museum in Washington DC, USA, as proved by Francois Farges in 2008. Picture by Manuel Cohen
    LC_HISTORY_MC_0381.jpg
  • Porcupine with a crown, representing King Louis XII, and candelabra, relief on a fireplace in the Lower Room of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The fireplace is carved with coats of arms and also royal emblems representing Louis XII and Anne of Brittany (the ermine), who both visited Bourges in 1506. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0695.jpg
  • Winged cherub with a coquille St-Jacques shell resting on fire, symbol of the pilgrimage to Santiago de Compostela, of secrets, of the feminine principle of mercury and of the crucible, so this relief represents the joining of mercury and fire in the processes of alchemy, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0682.jpg
  • Winged cherub blowing fire from a horn, representing the role of breath or the wind in the alchemy, in contrast to the section depicting fire contained in a cup, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0680.jpg
  • The broken pot, with a cup covered in parchment and attached to a ring by a rope, with a hole in its side releasing 3-pointed volatile crystals, possibly cerusite (a mineral composed of natural carbonate of lead), meant as a warning of the dangers of experimentation, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0676.jpg
  • Winged cherub carrying a cup of fire, with one knee on the ground, representing a controlled and contained fire which feeds the mind, and the calcination of the inner fire with the outer fire, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0678.jpg
  • Winged cherub urinating into a clog, representing the process in alchemy of washing the mercury with urine, one of the first phases of creation of the philosopher's stone, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0675.JPG
  • Phoenix pecking at the fruits in a horn of plenty,  with the bird representing fire and the philosopher's stone, also rebirth and returning to oneself, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0674.jpg
  • A hand surrounded by flames emerging from a rock wall, holding a branch from the Tree of Knowledge in the Garden of Eden, or possibly feathers representing dry work, and with a scroll wrapped around, thought to represent the culmination of an alchemist's work, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0672.jpg
  • Winged cherub hunting nature, with a garland of plants around his neck and holding a bell associated with a madman, symbolising the alchemist's power over nature, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0673.jpg
  • A flaming arm reaching out to collect chestnuts in their spiky cases, with a blank scroll above, representing the separation and multiplication of materials in the creation of the philosopher's stone, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0670.jpg
  • The pilgrim praying, a crowned cherub with no wings reads from a book searching for enlightenment, while a snake eats his own tail, killing himself with his own venom, while making the sign of infinity with his curled tail, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0671.jpg
  • Winged cherub praying with his prayer beads, representing pilgrimage to Jerusalem and the link between the Church and esotericism, or between the holy trinity and metals (gold is God, money is the Virgin and mercury is Jesus), from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0669.jpg
  • Winged cherub with a pilgrim's staff, representing the difficult path of alchemy - the staff is a symbol of masculinity and overcoming dangers, protecting the bearer, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The staff can also represent the alembic or alchemical still. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0667.jpg
  • Lion's head with a vase, tipping due to the tearing of a string held in the lion's mouth, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. This section represents the successful fixing of sulphur and the warning of not pushing the multiplication of elements too far (the lion still holds the string). The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0668.jpg
  • Shell and scorpion, with the scorpion representing darkness and disgust, eating a scroll which is crossed over, with letter E all around, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. This section is thought to represent mercury (the shell) needing the addition of sulphur or gold, with the wrapped scroll representing the crucible, although the meaning of the letter E is disputed. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0666.jpg
  • Letter E burning in a fire, with the 3 branches of the letter representing sulphur, mercury and salt, and a scroll above, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0664.jpg
  • Winged cherub unwinding a thread on a reel topped with a Greek cross, representing the work of spinners which signifies coagulation, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0663.jpg
  • Winged cherub sitting on a giant shell and sowing 7 shells from a basket (7 is a symbolic number in alchemy), with the basket and the shell representing the philosophical mercury and the appearance of sulphur, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0665.jpg
  • Winged cherub with a hobby horse, hitting it with a whip, representing childhood games and the fact that everything is not what it at first seems - we must look beyond the virtual to reality, from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0662.jpg
  • Ball of fire, possibly a burning stone, in a carved cup, with 3R representing the extraction of igneous sulphur by a triple reiteration and possibly a pomegranate representing fertility (a symbol also found elsewhere in the building), from the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0661.JPG
  • Two winged creatures with human heads drinking from a vase, sculptural detail from the facade on the Rue Bourbonnoux, above the doorway to the vaulted passageway, at the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0659.jpg
  • Man holding a matras, a long necked jar used by alchemists, sculptural detail in the vaulted passageway of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0660.jpg
  • Terracotta shell with a classical figure, sculptural detail in the Upper courtyard of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. These classical and mythological references are typical of the Renaissance period (others include a faun and a Medusa). The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0657.jpg
  • Man with a bag over his shoulder, thought to possibly represent Jean Lallemant, sculptural detail from the facade of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0656.jpg
  • Terracotta shell with a mythological figure, sculptural detail in the Upper courtyard of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. These classical mythological references are typical of the Renaissance period (others include a faun and a Medusa). The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0655.jpg
  • Winged beast with a scroll, one of many fantastic creatures decorating the building, sculptural detail flanking a window in the Upper Courtyard of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0654.jpg
  • Upper courtyard with main entrance and corner turret of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0652.jpg
  • Coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0651.jpg
  • Detail of the coffered ceiling of the Oratory, carved in stone with 30 sections, each relating to a process in alchemy, in the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0650.jpg
  • Hooded man holding a scroll, sculptural detail in the vaulted passageway of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0648.jpg
  • Man bearing his thigh, an alchemical symbol, sculptural detail in the vaulted passageway of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0646.jpg
  • Hooded man holding a scroll, sculptural detail in the vaulted passageway of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0645.jpg
  • Madman with a necklace of bells, sticking out his tongue and wearing the winged helmet of Mercury (mercury is one of the base metals used in alchemy), holding a broken sceptre and a dog. Below the fool is a smaller figure holding a vial, sculptural detail on a corbel below the corner turret in the Upper courtyard of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0635.jpg
  • Madman with a necklace of bells, sticking out his tongue and wearing the winged helmet of Mercury (mercury is one of the base metals used in alchemy), holding a broken sceptre and a dog. Below the fool is a smaller figure holding a vial, sculptural detail on a corbel below the corner turret in the Upper courtyard of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0636.jpg
  • Winged stag with a crown, thought to be a homage to King Charles VIII, showing the Lallemant brothers' closeness to the King, one of many fantastic creatures decorating the building, flanking a window in the Upper Courtyard of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. Similarly, Jacques Coeur also paid homage to Charles VII on the tympanum to the Salle des Festins in his Palais Jacques Coeur. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0634.jpg
  • Corbel with a figure holding a vial, situated below a sculpture of a madman with a necklace of bells, sticking out his tongue and wearing the winged helmet of Mercury, holding a broken sceptre and a dog. Sculptural detail below the corner turret in the Upper courtyard of the Hotel Lallemant, a mansion built 1495-1518 in French Renaissance style by the Lallemant merchant family, in Bourges, Centre Val de Loire, France. The sculptural decoration on the building, made by both French and Italian sculptors, has been interpreted by Fulcanelli and others as having an alchemical symbolism. Since 1951 the building has housed the Musee des Arts Decoratifs and it was listed as a historic monument in 1840. Picture by Manuel Cohen
    LC17_FRANCE_MC_0633.jpg
  • Entrance to St Michael's Tower on Glastonbury Tor, Glastonbury, Somerset, England. The tower is the remains of the 11th century St Michael's Church which was destroyed by an earthquake in 1275 and rebuilt in the 14th century and demolished in 1539, leaving just the tower. Glastonbury Tor is a hill with symmetrical terraces in its sides, in the Summerland Meadows on the Somerset Levels, and evidence of human activity has been found here dating from the Bronze Age. The site is managed by the National Trust. The tor is strongly associated with Arthurian Legend, believed by some to be Avalon. Picture by Manuel Cohen
    LC17_ENGLAND_MC_114.jpg
  • St Michael's Tower on Glastonbury Tor, Glastonbury, Somerset, England. The tower is the remains of the 11th century St Michael's Church which was destroyed by an earthquake in 1275 and rebuilt in the 14th century and demolished in 1539, leaving just the tower. Glastonbury Tor is a hill with symmetrical terraces in its sides, in the Summerland Meadows on the Somerset Levels, and evidence of human activity has been found here dating from the Bronze Age. The site is managed by the National Trust. The tor is strongly associated with Arthurian Legend, believed by some to be Avalon. Picture by Manuel Cohen
    LC17_ENGLAND_MC_117.JPG
  • Visitor at St Michael's Tower on Glastonbury Tor, Glastonbury, Somerset, England. The tower is the remains of the 11th century St Michael's Church which was destroyed by an earthquake in 1275 and rebuilt in the 14th century and demolished in 1539, leaving just the tower. Glastonbury Tor is a hill with symmetrical terraces in its sides, in the Summerland Meadows on the Somerset Levels, and evidence of human activity has been found here dating from the Bronze Age. The site is managed by the National Trust. The tor is strongly associated with Arthurian Legend, believed by some to be Avalon. Picture by Manuel Cohen
    LC17_ENGLAND_MC_116.jpg
  • St Michael's Tower on Glastonbury Tor, Glastonbury, Somerset, England. The tower is the remains of the 11th century St Michael's Church which was destroyed by an earthquake in 1275 and rebuilt in the 14th century and demolished in 1539, leaving just the tower. Glastonbury Tor is a hill with symmetrical terraces in its sides, in the Summerland Meadows on the Somerset Levels, and evidence of human activity has been found here dating from the Bronze Age. The site is managed by the National Trust. The tor is strongly associated with Arthurian Legend, believed by some to be Avalon. Picture by Manuel Cohen
    LC17_ENGLAND_MC_115.jpg
  • Path to St Michael's Tower on Glastonbury Tor, Glastonbury, Somerset, England. The tower is the remains of the 11th century St Michael's Church which was destroyed by an earthquake in 1275 and rebuilt in the 14th century and demolished in 1539, leaving just the tower. Glastonbury Tor is a hill with symmetrical terraces in its sides, in the Summerland Meadows on the Somerset Levels, and evidence of human activity has been found here dating from the Bronze Age. The site is managed by the National Trust. The tor is strongly associated with Arthurian Legend, believed by some to be Avalon. Picture by Manuel Cohen
    LC17_ENGLAND_MC_113.jpg
  • St Michael's Tower on Glastonbury Tor, Glastonbury, Somerset, England. The tower is the remains of the 11th century St Michael's Church which was destroyed by an earthquake in 1275 and rebuilt in the 14th century and demolished in 1539, leaving just the tower. Glastonbury Tor is a hill with symmetrical terraces in its sides, in the Summerland Meadows on the Somerset Levels, and evidence of human activity has been found here dating from the Bronze Age. The site is managed by the National Trust. The tor is strongly associated with Arthurian Legend, believed by some to be Avalon. Picture by Manuel Cohen
    LC17_ENGLAND_MC_110.jpg
  • St Michael's Tower on Glastonbury Tor, Glastonbury, Somerset, England. The tower is the remains of the 11th century St Michael's Church which was destroyed by an earthquake in 1275 and rebuilt in the 14th century and demolished in 1539, leaving just the tower. Glastonbury Tor is a hill with symmetrical terraces in its sides, in the Summerland Meadows on the Somerset Levels, and evidence of human activity has been found here dating from the Bronze Age. The site is managed by the National Trust. The tor is strongly associated with Arthurian Legend, believed by some to be Avalon. Picture by Manuel Cohen
    LC17_ENGLAND_MC_111.jpg
  • Transept crossing the nave in the ruins of Glastonbury Abbey, a Benedictine monastery founded in the 7th century, enlarged in the 10th century, destroyed by fire in the 12th century and rebuilt then sacked in the Dissolution of the Monasteries, in Glastonbury, Somerset, England. Christian legend claims it was founded by Joseph of Arimathea in the 1st century AD, and it has many ties to Arthurian legend, including that he was buried here. The building is a Scheduled Ancient Monument. Picture by Manuel Cohen
    LC17_ENGLAND_MC_036.jpg
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