manuel cohen

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  • Peter and the handmaiden, detail from Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of and scenes from the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_274.jpg
  • Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of the Passion (lance, sponge, cross, column), Judas kissing Christ, Peter and the handmaiden, the mocking of Christ, and with St Dominic and the Virgin below as witnesses. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_322.jpg
  • Virgin Mary, detail from Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_276.jpg
  • Mocking of Christ, detail from Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of and scenes from the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_324.jpg
  • Homo Pietatis or Man of Sorrow, detail, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of the Passion (lance, sponge, cross, column), Judas kissing Christ, Peter and the handmaiden, the mocking of Christ, and with St Dominic and the Virgin below as witnesses. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_323.jpg
  • Mocking of Christ, detail from Homo Pietatis or Man of Sorrow, Renaissance fresco, by Fra Angelico, 1395-1455, in Cell 26, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is depicted in his tomb bearing the stigmata, with the Instruments of and scenes from the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_275.jpg
  • Emperor Charlemagne, 742-814, turns around on his horse to hear Baldwin announce the death of Roland, and his last exploits and words. His hand gesture indicates great sorrow. Section of Baldwin announcing the death of Roland, from the Charlemagne window, early 13th century, in the ambulatory of Chartres Cathedral, Eure-et-Loir, France. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC448.jpg
  • Adoration of the Magi and Man of Sorrows, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_319.jpg
  • Man of Sorrows, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. This recessed fresco shows Christ in his sepulchre with his wounds and stigmata, wearing a crown of thorns, alongside Instruments of the Passion. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_256.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sad, sorrowful man. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC533.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sorrowful face. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC511.jpg
  • Virgen de los Dolores, or Virgin of Sorrows, Baroque sculpture, 1718, by Juan Prieto, in the Church of los Dolores in the San Jacinto Hospital, Cordoba, Andalusia, Southern Spain. Also known as La Senora de Cordoba, the sculpture is carried round the streets on Good Friday in the Semana Santa celebrations as part of a huge procession. The historic centre of Cordoba is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC15_SPAIN_MC359.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a solemn, sorrowful face of a young woman. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC535.jpg
  • Detail of the crucifixion scene, with Nicodemus with sorrowful expression gesturing to Christ on the cross, from the Altarpiece of the Passion, late 15th century, in the Eglise de Saint-Roch, Ternant, Nievre, Burgundy, France. The altarpiece was commissioned by Charles de Ternant, son of Philippe de Ternant, and depicts scenes of the Passion and the Glorification of Christ, including a sculpted triptych of the Entombment, Crucifixion and Pieta. It was made by Brabant and Flemish workshops in painted and gilded carved wood. The altarpiece has been restored many times and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0445.jpg
  • Carved face of a woman with a sorrowful expression, possibly with small wings on her forehead, from the underside of the slab topping a large temple-type monumental Lycian tomb at the acropolis at Sydima, a Lycian site at Dorduga village, Fethiye, Antalya, Turkey. The tomb is raised on two steps and originally had 2 columns.  The top slab has beautiful carved reliefs of human heads, believed to be women, and flowers, which were originally painted. The ruins at Sydima date from the earliest classical Lycian period around the 5th century BC, although many of the remaining structures are Roman. Picture by Manuel Cohen
    LC13_Turkey_MC712.jpg
  • St Andrew is seated as he announces to a group of his disciples that he has had a vision foretelling his own martyrdom. Their faces are sorrowful. Section of Andrew announcing his martyrdom, from the Life of St Andrew stained glass window, 1210-25, in the Apostles chapel in the ambulatory of Chartres Cathedral, Eure-et-Loir, France. This window has been altered many times, significantly in 1872 but also previously. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC540.jpg
  • Mask and garland frieze from the Portico of Tiberius on the Southern portico of the Agora, 1st century AD, Aphrodisias, Aydin, Turkey. The Sculpture School at Aphrodisias was an important producer of carved marble sarcophagi and friezes from the 1st century BC until the 6th century AD. The Portico of Tiberius was built under the reign of Tiberius and has many examples of mask and garland friezes, consisting of the heads of gods, goddesses, theatrical characters, mythological figures or masks, each with a distinct facial expression, between hanging garlands of leaves, fruit and flowers. This example shows a sorrowful female face. Aphrodisias was a small ancient Greek city in Caria near the modern-day town of Geyre. It was named after Aphrodite, the Greek goddess of love, who had here her unique cult image, the Aphrodite of Aphrodisias. The city suffered major earthquakes in the 4th and 7th centuries which destroyed most of the ancient structures. Picture by Manuel Cohen
    LC13_Turkey_MC523.jpg
  • Magi, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_260.jpg
  • Worshippers in procession, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_263.jpg
  • Worshippers in procession, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_262.JPG
  • Worshippers in procession, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_261.jpg
  • Virgin and child, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_259.jpg
  • King worshipping the Christ child, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_258.jpg
  • King worshipping the Christ child, detail from Adoration of the Magi, Renaissance fresco, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455, in Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_257.jpg
  • Meditation, or Girl, marble statue, 1925, by Josep Llimona, 1864-1934, on the Rahola family tomb in the Cadaques Cemetery in Portlligat, on the Cap de Creus peninsula, Catalonia, Spain. Cap de Creus is a rocky peninsula near the French border in the northern Costa Brava, with headlands, cliffs and coves, protected as a natural park since 1998. Picture by Manuel Cohen
    LC20_SPAIN_MC_0582.jpg
  • Meditation, or Girl, marble statue, 1925, by Josep Llimona, 1864-1934, on the Rahola family tomb in the Cadaques Cemetery in Portlligat, on the Cap de Creus peninsula, Catalonia, Spain. Cap de Creus is a rocky peninsula near the French border in the northern Costa Brava, with headlands, cliffs and coves, protected as a natural park since 1998. Picture by Manuel Cohen
    LC20_SPAIN_MC_0583.jpg
  • The Bride and the Mother, or The Consolation, relief, detail, from the Monument aux Morts, commissioned 1922 and inaugurated 1933, by Aristide Maillol, 1861-1944, on the Place Dina-Vierny in Banyuls-sur-Mer, Pyrenees-Orientales, Catalogne du Nord, France. The monument consists of a wall of grey marble carved with reliefs. It is 1 of 4 monuments to the war dead made free of charge in Pyrenees-Orientales by Maillol. The monument is listed as a historic monument. Banyuls-sur-Mer is a small seaside town first settled by the Greeks in 400 BC, on the Vermilion Coast near the Spanish border, where Maillol was born and lived. Picture by Manuel Cohen
    LC20_FRANCE_MC_0491.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0353.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0345.jpg
  • Martha and Mary mourn the death of their brother Lazarus, from the Life of Mary Magdalene stained glass window, 13th century, in the nave of Chartres cathedral, Eure-et-Loir, France. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC14_France_MC800.jpg
  • Mary lies in her deathbed surrounded by the 12 apostles, who have been miraculously transported from their missions to her bedside. John leans over the Virgin and Paul is at the foot of the bed, all with expressions of sadness. The Death of the Virgin, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC757.jpg
  • Meditation, or Girl, marble statue, 1925, by Josep Llimona, 1864-1934, on the Rahola family tomb in the Cadaques Cemetery in Portlligat, on the Cap de Creus peninsula, Catalonia, Spain. Cap de Creus is a rocky peninsula near the French border in the northern Costa Brava, with headlands, cliffs and coves, protected as a natural park since 1998. Picture by Manuel Cohen
    LC20_SPAIN_MC_0581.jpg
  • Meditation, or Girl, marble statue, 1925, by Josep Llimona, 1864-1934, on the Rahola family tomb in the Cadaques Cemetery in Portlligat, on the Cap de Creus peninsula, Catalonia, Spain. Cap de Creus is a rocky peninsula near the French border in the northern Costa Brava, with headlands, cliffs and coves, protected as a natural park since 1998. Picture by Manuel Cohen
    LC20_SPAIN_MC_0765.jpg
  • Lament of King David over his son Absalom whose revolt against his father ended in his death, mosaic, 19th century, by Santi Cardini and Pietro Casamassima, commissioned by Ferdinando III, on the entrance facade to the Palatine Chapel or Cappella Palatina, the royal chapel of the Norman Palace in Palermo, Sicily, Italy. The chapel was built for Roger II of Sicily in 1132 and consecrated in 1143, and is decorated with Byzantine mosaics. The chapel is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC20_ITALY_MC_461.jpg
  • Christ Blessing, detail of Christ's face, weeping and bleeding from the Crown of Thorns, oil painting on wood, early 16th century Portuguese painting by an unknown artist, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. Picture by Manuel Cohen
    LC16_FRANCE_MC_0150.jpg
  • Christ Blessing, detail of Christ's face, weeping and bleeding from the Crown of Thorns, oil painting on wood, early 16th century Portuguese painting by an unknown artist, in the Musee des Beaux-Arts de Dijon, opened 1787 in the Palace of the Dukes of Burgundy in Dijon, Burgundy, France. Picture by Manuel Cohen
    LC16_FRANCE_MC_0151.JPG
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0347.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0349.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0337.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0344.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0332.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0418.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0421.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0400.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0404.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0396.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0390.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0387.jpg
  • Nuestra Senora de la Paz y Esperanza, or Our Lady of Peace and Hope, sculpture, 1939, by Juan Martinez Cerillo, in the Iglesia conventual del Santo Angel de Cordoba, the Church of the convent of Capuchines, Cordoba, Andalusia, Southern Spain. The historic centre of Cordoba is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC15_SPAIN_MC360.jpg
  • Nuestra Senora de la Paz y Esperanza, or Our Lady of Peace and Hope, sculpture, 1939, by Juan Martinez Cerillo, in the Iglesia conventual del Santo Angel de Cordoba, the Church of the convent of Capuchines, Cordoba, Andalusia, Southern Spain. The historic centre of Cordoba is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC15_SPAIN_MC361.jpg
  • Face of statue of Joan of Arc (Jeanne d'Arc), 'Jehanne au sacre', 1901, by Prosper díEpinal, in an apsidal chapel in the Cathedrale Notre-Dame de Reims or Reims Cathedral, Reims, Champagne-Ardenne, France. Her armour is bronze, her face ivory, and her tunic is yellow marble with fleurs de lys incrusted with lapis lazuli. The cathedral was built 1211-75 in French Gothic style with work continuing into the 14th century, and was listed as a UNESCO World Heritage Site in 1991. Picture by Manuel Cohen
    LC15_FRANCE_MC0529.jpg
  • Statue on an altar possibly representing Our Lady of Reims, the Virgin Mary holding Christ on the cross, in the Cathedrale Notre-Dame de Reims or Reims Cathedral, Reims, Champagne-Ardenne, France. The cathedral was built 1211-75 in French Gothic style with work continuing into the 14th century, and was listed as a UNESCO World Heritage Site in 1991. Picture by Manuel Cohen
    LC15_FRANCE_MC0522.jpg
  • The 12 apostles, with expressions of grief, lower the body of Mary into her tomb, one swings incense while an angel descends on the scene from above. The Entombment of the Virgin, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC761.jpg
  • A female saint and a woman to the left of the scene of the apostles at the deathbed of Mary, The Death of the Virgin, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC766.jpg
  • Four apostles to the left of the scene of 2 thurifers or incense-bearer angels swinging censers, pointing down to the funeral procession of Mary, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC768.jpg
  • A female saint and a woman to the right of the scene of the apostles at the deathbed of Mary, The Death of the Virgin, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC772.jpg
  • An angel and 3 apostles to the right of the scene of Jesus, flanked by 2 angels, collecting the soul of Mary depicted as a naked child, to take her to heaven, or the Elevation of the Soul, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC773.jpg
  • Two apostles, with expressions of sadness, to the right of the scene of the apostles carrying the coffin of Mary, from the Funeral of Mary in the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC774.jpg
  • Statue called Le DÈnicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC108.jpg
  • Detail of the statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC475.jpg
  • Close-up view of the statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC465.jpg
  • Close-up view of the statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC466.jpg
  • Statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC467.jpg
  • Close-up view of the statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC468.jpg
  • Mid-length view from below of the statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC568.jpg
  • Virgin Mary in thought, detail from Mocking of Christ, with the Virgin and St Dominic, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 7, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Christ is blindfolded and crowned with thorns, and jeering soldiers appear as disembodied hands, a spitting head, cap raised in sarcasm, a hand and beating stick. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_227.jpg
  • St Peter Penitent, oil painting on canvas, attributed to Hendrik Ter Brugghen, 1588-1629, in a private collection, Paris, France. Ter Brugghen was a Dutch painter in the Utrecht Caravaggisti group, influenced by the heavy chiaroscuro of Caravaggio. The painting depicts Peter repenting his triple denial of Christ after His arrest. Beside his clasped hands are the keys, his most common attribute. Picture by Manuel Cohen
    LC21_FRANCE_MC_0774.jpg
  • Joseph's cloak, stained with blood, is given to his father, from the stained glass window of Joseph the Patriarch, son of Jacob, 1215-25, in bay 24, in the ambulatory of Bourges Cathedral or the Cathedrale Saint-Etienne de Bourges, built 1195-1230 in French Gothic style and consecrated in 1324, in Bourges, Centre-Val de Loire, France. 22 of the original 25 medieval stained glass windows of the ambulatory have survived. The cathedral is listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC17_FRANCE_MC_0181.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0356.jpg
  • Weeping angel, one of six above columns between the prophets, from the Puits de Moise, or Well of Moses, 1395-1403, sculpted by Claus Sluter, 1340-1406, and his studio, and painted by Jean Malouel, 1365-1415, in the courtyard of the Chartreuse de Champmol, the burial site of Philippe le Hardi duc de Bourgogne, or Philip the Bold Duke of Burgundy, now the Hospital de la Chartreuse, Dijon, Burgundy, France. The angels serve to help the viewer understand the Passion of Christ. The sculpture was commissioned by Jean sans Peur or John the Fearless, and consists of a crucifixion scene surrounded by 6 prophets (Moses, David, Jeremiah, Zachariah, Daniel and Isaiah), with 6 weeping angels. The hexagonal building surrounding the sculpture was added in the 17th century. Picture by Manuel Cohen
    LC16_FRANCE_MC_0423.jpg
  • Statue on an altar possibly representing Our Lady of Reims, the Virgin Mary holding Christ on the cross, in the Cathedrale Notre-Dame de Reims or Reims Cathedral, Reims, Champagne-Ardenne, France. The cathedral was built 1211-75 in French Gothic style with work continuing into the 14th century, and was listed as a UNESCO World Heritage Site in 1991. Picture by Manuel Cohen
    LC15_FRANCE_MC0551.jpg
  • Statue of Nuestra Senora de la Antigua dressed in a cape with an aurora crown, in the Chapel of Nuestra Senora de la Antigua, the family chapel of Don Gines de Garranza, a knight from Santiago who is buried here, designed by Pedro de Mena, 1628-88, son of Alonso de Mena, in the Monasterio de San Jeronimo, or Monastery of St Jerome, 16th century Roman Catholic church and Hieronymite monastery founded by the Catholic monarchs in Santa Fe, Granada, Andalusia, Southern Spain. Granada was listed as a UNESCO World Heritage Site in 1984. Picture by Manuel Cohen
    LC14_GRANADA_MC278.jpg
  • Four apostles to the right of the scene of 2 thurifers or incense-bearer angels swinging censers, pointing down to the funeral procession of Mary, from the Glorification of the Virgin stained glass window, in the nave of Chartres Cathedral, Eure-et-Loir, France. This window depicts the end of the Virgin's life on earth, her dormition and assumption, as told in the apocryphal text the Golden Legend of 1260. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
    LC13_FRANCE_MC775.jpg
  • The Descent from the Cross, showing the body of Christ, having been removed from the Cross, with the Virgin Mary kissing his hand, and other mourners, from the main altarpiece by Jaume Cicera and Guillem Talarn, 1450-51, in the Church of Sant Miquel, or Church of St Michael, churches of Sant Pere (St Peter), Terrassa, Catalonia, Spain. The church is a simple stone structure of Greek cross plan with 8 reused visigothic columns supporting arches around the central gallery. The Sant Pere complex consists of 2 churches (Sant Pere and Santa Maria) and a baptistery (Sant Miquel, following the Byzantine model. They were built close to the site of old Egara to be the seat of the Egara diocese, founded c. 450 AD. The buildings were completed in the 11th and 12th centuries in Romanesque style, on the site of pre-Romanesque buildings from the Visigothic period. Picture by Manuel Cohen
    LCSPAIN13_MC078.jpg
  • Statue called Le DÈnicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC109.jpg
  • Close-up view from below of the statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC474.jpg
  • Mid-length view from below of the statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution.
    JDP_MCohen_MNHN+_Choix19.jpg
  • Mid-length view of the statue called Le Denicheur d'ourson (The Bear Cub Thief) created by Emmanuel Fremiet in 1884 and cast by Thiebaut Freres, located in the Jardin des Plantes, Paris, 5th arrondissement, France. Founded in 1626 by Guy de La Brosse, Louis XIII's physician, the Jardin des Plantes, originally known as the Jardin du Roi, opened to the public in 1640. It became the Museum National d'Histoire Naturelle in 1793 during the French Revolution. Picture by Manuel Cohen
    LC_JDP_10_MC567.jpg
  • Man of Sorrows, detail, fresco transferred to canvas, of Christ in his tomb, c. 1370, by Niccolo di Tommaso, Italian, from a monastery in Florence, Italy, 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 Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC047.jpg
  • Virgin of Sorrows, from a Triptych of the Virgin of the Calvary, 1514-17, by Quentin Metsys, 1466-1530, originally for the Mosteiro de Santa Clara, in the Museu Nacional de Machado de Castro, Coimbra, Portugal. The triptych was commissioned by King Dom Manuel I, 1469-1521. The museum was opened in 1913 and renovated 2004-2012. The city of Coimbra dates back to Roman times and was the capital of Portugal from 1131 to 1255. Its historic buildings are listed as a UNESCO World Heritage Site. Picture by Manuel Cohen
    LC16_PORTUGAL_MC_180.jpg
  • Man of Sorrows, fresco transferred to canvas, of Christ in his tomb, c. 1370, by Niccolo di Tommaso, Italian, from a monastery in Florence, Italy, 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 Cloisters collection includes Byzantine, Romanesque, Gothic and Renaissance works from 12th to 15th centuries. Picture by Manuel Cohen
    LC20_NYC_USA_MC155.jpg
  • Virgin of Sorrows, painted 16th century in Spanish Renaissance style by the Llanos School, in the Metropolitan Cathedral-Basilica of the Assumption of Our Lady of Valencia, Valencia, Spain. The cathedral is a Roman Catholic parish church consecrated in 1238 and reworked several times over the centuries. Picture by Manuel Cohen
    LCSPAIN14_MC028.jpg
  • Vierge de Douleur, or Virgin of Sorrows, detail, polychrome stone statue, Renaissance, c. 1530, originally accompanied by 2 angels on the main altar of the church, in the Eglise Saint-Pantaleon, built 16th - 18th century, in Troyes, Aube, Grand Est, France. The church is listed as a historic monument. Picture by Manuel Cohen
    LC22_FRANCE_MC_0454.jpg
  • Statue of a mater dolorosa or weeping Virgin Mary, Our Lady of Sorrows, with aurora halo in a gilded niche in the Iglesia del Sagrario or Church of the Tabernacle, built 1704 in Baroque style after designs by Francisco Hurtado Izquierdo and Jose de Bada y Navajas, adjacent to Granada Cathedral, or the Cathedral of the Incarnation, Granada, Andalusia, Southern Spain. Granada was listed as a UNESCO World Heritage Site in 1984. Picture by Manuel Cohen
    LC14_GRANADA_MC211.jpg
  • Virgin of Sorrows, or Mater Dolorosa, oil painting on wood, by workshop of Louis Morales, 1515-86, in the Musee des Beaux-Arts de Lyon, a fine arts museum opened 1801 in a former convent on the Place des Terreaux in Lyon, Rhone, France. Picture by Manuel Cohen
    LC22_FRANCE_MC_0796.jpg
  • Our Lady of Sorrows, polychrome statue, c. 1530, under Gothic canopy, in the Eglise Saint-Pantaleon, built 16th century by Jean Bailly and rebuilt 1527-33 by Maurice Favereau after a fire, in Troyes, Aube, Grand Est, France. The church is listed as a historic monument. Picture by Manuel Cohen
    LC21_FRANCE_MC_2650.jpg
  • Vierge de Douleur, or Virgin of Sorrows, polychrome stone statue, Renaissance, c. 1530, originally accompanied by 2 angels on the main altar of the church, in the Eglise Saint-Pantaleon, built 16th - 18th century, in Troyes, Aube, Grand Est, France. The church is listed as a historic monument. Picture by Manuel Cohen
    LC22_FRANCE_MC_0463.jpg
  • Adoration of the Magi and Man of Sorrows, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 39, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_318.jpg
  • Adoration of the Magi and Man of Sorrows, Renaissance fresco, 1441-42, by Fra Angelico, 1395-1455, in Cell 39, seen through the doorway of Cell 38, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_264.jpg
  • Sculptural group maintained by the Confrerie du Sanch (Brotherhood of the precious blood of Christ), including Holy Sepulchre, Virgin of Sorrows, Cross of Passion and Christ, in the Apse of St Peter (South Western apse) of the Abbaye Sainte-Marie d'Arles sur Tech, in Arles-sur-Tech, Pyrenees-Orientales, France. The current abbey was begun in the 11th century, although the site was used from the 9th century, and the cloister added in the 13th century. The abbey is listed as a historic monument. Picture by Manuel Cohen
    LC20_FRANCE_MC_1403.jpg
  • Transfixion of the Virgin of Sorrows, detail, painting by Francisco Pancorbo, from the Baroque 18th century altarpiece in the Capilla de la Virgen de los Dolores y Santo Sepulcro, in the Catedral de la Asuncion de Jaen, or Santa Iglesia Catedral de la Asuncion de la Virgen, in Jaen, Andalusia, Spain. The painting depicts Mary with Christ and the cross, with her chest pierced by a sword, surrounded by disciples and angels, with God and the Holy Spirit above. The current cathedral was built in the 16th century on the site of an older building, and is known for its Renaissance chapter house and sacristy by Andres de Vandelvira and its Baroque facade by Eufrasio Lopez de Rojas. Picture by Manuel Cohen
    LC20_SPAIN_MC_045.jpg
  • Transfixion of the Virgin of Sorrows, painting by Francisco Pancorbo, from the Baroque 18th century altarpiece in the Capilla de la Virgen de los Dolores y Santo Sepulcro, in the Catedral de la Asuncion de Jaen, or Santa Iglesia Catedral de la Asuncion de la Virgen, in Jaen, Andalusia, Spain. The painting depicts Mary with Christ and the cross, with her chest pierced by a sword, surrounded by disciples and angels, with God and the Holy Spirit above. The current cathedral was built in the 16th century on the site of an older building, and is known for its Renaissance chapter house and sacristy by Andres de Vandelvira and its Baroque facade by Eufrasio Lopez de Rojas. Picture by Manuel Cohen
    LC20_SPAIN_MC_065.jpg
  • Statue from the Capilla de la Virgen de los Dolores y Santo Sepulcro, in the Catedral de la Asuncion de Jaen, or Santa Iglesia Catedral de la Asuncion de la Virgen, in Jaen, Andalusia, Spain. The current cathedral was built in the 16th century on the site of an older building, and is known for its Renaissance chapter house and sacristy by Andres de Vandelvira and its Baroque facade by Eufrasio Lopez de Rojas. Picture by Manuel Cohen
    LC20_SPAIN_MC_071.jpg
  • Effigy on the tomb of Simon Matifas de Bucy, d. 1304, bishop of Paris 1290-1304, marble, early 14th century, in the Chapel of Our Lady of Sorrows, in the ambulatory of the Cathedrale Notre-Dame de Paris, or Notre-Dame cathedral, built 1163-1345 in French Gothic style, on the Ile de la Cite in the 4th arrondissement of Paris, France. Picture by Manuel Cohen
    LC19_PARIS_MC_0327.jpg
  • Louis XIV (1638 - 1715) surrounded by two mourners, memorial to Louis XIV, marble medallion created in accordance with Girardon in the 17th century, Abbey church of Saint Denis, Seine Saint Denis, France. Picture by Manuel Cohen
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  • Julian has swapped his sword for a pilgrim's staff. He leaves to live a life of seclusion, in search of God's pardon. But his wife follows him with her own staff, to share in his sorrow. Section of Julian leaving with his wife, 1215-25, from the Life of St Julian the Hospitaller window in the chapel of St Julian in the ambulatory of Chartres Cathedral, Eure-et-Loir, France. Chartres cathedral was built 1194-1250 and is a fine example of Gothic architecture. Most of its windows date from 1205-40 although a few earlier 12th century examples are also intact. It was declared a UNESCO World Heritage Site in 1979. Picture by Manuel Cohen
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  • Painted panel of Christ of Sorrows, surrounded by the instruments of the Passion, detail, from the lower section of the Altarpiece of the Transfiguration of Christ, late 15th century, by Jaume Huguet, 1412-92, in the Cathedral of St Mary, designed by Benito Dalguayre in Catalan Gothic style and begun 1347 on the site of a Romanesque cathedral, consecrated 1447 and completed in 1757, Tortosa, Catalonia, Spain. The altarpiece was originally in the Transfiguration Chapel but is now in the Cathedral Museum. The cathedral has 3 naves with chapels between the buttresses and an ambulatory with radial chapels. Picture by Manuel Cohen
    LC16_SPAIN_MC519.jpg
  • Painted panel of Christ of Sorrows, surrounded by the instruments of the Passion, from the lower section of the Altarpiece of the Transfiguration of Christ, late 15th century, by Jaume Huguet, 1412-92, in the Cathedral of St Mary, designed by Benito Dalguayre in Catalan Gothic style and begun 1347 on the site of a Romanesque cathedral, consecrated 1447 and completed in 1757, Tortosa, Catalonia, Spain. The altarpiece was originally in the Transfiguration Chapel but is now in the Cathedral Museum. The cathedral has 3 naves with chapels between the buttresses and an ambulatory with radial chapels. Picture by Manuel Cohen
    LC16_SPAIN_MC518.jpg
  • Entrance to Cell 39, the private cell of Cosimo de Medici, in the Dominican Convent of St Mark, now the Museo Nazionale di San Marco, in Florence, Tuscany, Italy. Cell 39 is painted with the Adoration of the Magi and Man of Sorrows, Renaissance frescoes, 1440-41, by Benozzo Gozzoli, 1421-97, a student of Fra Angelico, 1395-1455. The original convent was rebuilt 1437-52 for Cosimo I de Medici by Michelozzo di Bartolomeo Michelozzi, 1396-1472, in Renaissance style. The interior walls were painted 1439-44 with frescoes by Fra Angelico and his assistants. The convent is part of the Florence UNESCO World Heritage Site. Picture by Manuel Cohen
    LC21_ITALY_MC_255.jpg
  • Body of Christ, detail of the sculptural group maintained by the Confrerie du Sanch (Brotherhood of the precious blood of Christ), including Holy Sepulchre, Virgin of Sorrows, Cross of Passion and Christ, in the Apse of St Peter (South Western apse) of the Abbaye Sainte-Marie d'Arles sur Tech, in Arles-sur-Tech, Pyrenees-Orientales, France. The current abbey was begun in the 11th century, although the site was used from the 9th century, and the cloister added in the 13th century. The abbey is listed as a historic monument. Picture by Manuel Cohen
    LC20_FRANCE_MC_1404.jpg
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