manuel cohen

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  • Tarquinius, holding his sceptre, indicates the golden statue he wants Sylvester to worship. Sylvester refuses and is led off to prison. Section of St Sylvester being arrested and made to worship false idols, from the Life of St Sylvester stained glass window, 1210-25, in the ambulatory of Chartres Cathedral, Eure-et-Loir, France. St Sylvester was Pope 314-35 AD during the reign of Constantine the Great (306-37). 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_MC469.jpg
  • General view of the Temple of Pietas Augusta (August Piety), 2nd century, in Dougga, Tunisia, pictured on January 31, 2008, in the afternoon. Dougga has been occupied since the 2nd Millennium BC, well before the Phoenicians arrived in Tunisia. It was ruled by Carthage from the 4th century BC, then by Numidians, who called it Thugga and finally taken over by the Romans in the 2nd century. Situated in the north of Tunisia, the site became a UNESCO World Heritage Site in 1997. The Temple of Pietas Augusta features a semi-circular cella and a tetrastyle Corinthian portico on a podium. The Romans allowed the worship of a number local deities, worshiped in individual temples, and supported its integration in a common religion. Picture by Manuel Cohen.
    LCTunisia_08_MC_132.jpg
  • Altar with 3 vertical stones, in the Sanctuary, used for worship and sacrifices, in the public area of the Phoenician city of Solunto, in Sicily, Italy. The Phoenician village of Solunto was expanded by the Greeks after 396 BC and again by the Romans after 254 BC. It was abandoned soon after and rediscovered by archaeologists in the 16th century. Picture by Manuel Cohen
    LC17_ITALY_MC223.jpg
  • Temple of Diana, dated end of 1st Century BC ? Beginning of 1st Century AD; Identification made by D. Bernabé Moreno de Vargas, local historian, in the 17th Century gave it its name; Excavation in 1971 led the archaeologists to identify it as a Temple dedicated to the Imperial Worship, Merida (Augusta Emerita, Capital of Hispania Ulterior), Extremadura, Spain
    aextrem050656.jpg
  • Block statue of the Vizier Nespeka-Shuty, the highest official under king Sheshonq III, a judge and priest of Amun and Maat, with scenes of worship carved into the body, 3rd intermediate period, 851-799 BC, limestone, from the Karnak temple, in the Luxor Museum, inaugurated 1975, in Luxor, Egypt. Picture by Manuel Cohen
    LC22_EGYPT_MC_0096.jpg
  • Apostles and saints (Paul in green) in worship before Christ as Supreme Judge on Judgement Day, from the open panels of the polyptych altarpiece, 1446-52, by Rogier van der Weyden, 1399-1464, commissioned by Nicolas Rolin in 1443, in Les Hospices de Beaune, or Hotel-Dieu de Beaune, a charitable almshouse and hospital for the poor, built 1443-57 by Flemish architect Jacques Wiscrer, and founded by Nicolas Rolin, chancellor of Burgundy, and his wife Guigone de Salins, in Beaune, Cote d'Or, Burgundy, France. The altarpiece was originally in the Chapel, but is now in the museum. The panels were only opened to patients during holy days. The hospital was run by the nuns of the order of Les Soeurs Hospitalieres de Beaune, and remained a hospital until the 1970s. The building now houses the Musee de l'Histoire de la Medecine, or Museum of the History of Medicine, and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0073.jpg
  • The Virgin Mary in worship before Christ as Supreme Judge on Judgement Day, from the open panels of the polyptych altarpiece, 1446-52, by Rogier van der Weyden, 1399-1464, commissioned by Nicolas Rolin in 1443, in Les Hospices de Beaune, or Hotel-Dieu de Beaune, a charitable almshouse and hospital for the poor, built 1443-57 by Flemish architect Jacques Wiscrer, and founded by Nicolas Rolin, chancellor of Burgundy, and his wife Guigone de Salins, in Beaune, Cote d'Or, Burgundy, France. The altarpiece was originally in the Chapel, but is now in the museum. The panels were only opened to patients during holy days. The hospital was run by the nuns of the order of Les Soeurs Hospitalieres de Beaune, and remained a hospital until the 1970s. The building now houses the Musee de l'Histoire de la Medecine, or Museum of the History of Medicine, and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0075.jpg
  • Apostles and saints (Peter in red) in worship before Christ as Supreme Judge on Judgement Day, from the open panels of the polyptych altarpiece, 1446-52, by Rogier van der Weyden, 1399-1464, commissioned by Nicolas Rolin in 1443, in Les Hospices de Beaune, or Hotel-Dieu de Beaune, a charitable almshouse and hospital for the poor, built 1443-57 by Flemish architect Jacques Wiscrer, and founded by Nicolas Rolin, chancellor of Burgundy, and his wife Guigone de Salins, in Beaune, Cote d'Or, Burgundy, France. The altarpiece was originally in the Chapel, but is now in the museum. The panels were only opened to patients during holy days. The hospital was run by the nuns of the order of Les Soeurs Hospitalieres de Beaune, and remained a hospital until the 1970s. The building now houses the Musee de l'Histoire de la Medecine, or Museum of the History of Medicine, and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0074.jpg
  • St John the Baptist in worship before Christ as Supreme Judge on Judgement Day, from the open panels of the polyptych altarpiece, 1446-52, by Rogier van der Weyden, 1399-1464, commissioned by Nicolas Rolin in 1443, in Les Hospices de Beaune, or Hotel-Dieu de Beaune, a charitable almshouse and hospital for the poor, built 1443-57 by Flemish architect Jacques Wiscrer, and founded by Nicolas Rolin, chancellor of Burgundy, and his wife Guigone de Salins, in Beaune, Cote d'Or, Burgundy, France. The altarpiece was originally in the Chapel, but is now in the museum. The panels were only opened to patients during holy days. The hospital was run by the nuns of the order of Les Soeurs Hospitalieres de Beaune, and remained a hospital until the 1970s. The building now houses the Musee de l'Histoire de la Medecine, or Museum of the History of Medicine, and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0080.jpg
  • Temple of Diana, dated end of 1st Century BC ? Beginning of 1st Century AD; Identification made by D. Bernabé Moreno de Vargas, local historian, in the 17th Century gave it its name; Excavation in 1971 led the archaeologists to identify it as a Temple dedicated to the Imperial Worship, Merida (Augusta Emerita, Capital of Hispania Ulterior), Extremadura, Spain
    aextrem050660.jpg
  • Apostles and saints (Paul in green) in worship before Christ as Supreme Judge on Judgement Day, from the open panels of the polyptych altarpiece, 1446-52, by Rogier van der Weyden, 1399-1464, commissioned by Nicolas Rolin in 1443, in Les Hospices de Beaune, or Hotel-Dieu de Beaune, a charitable almshouse and hospital for the poor, built 1443-57 by Flemish architect Jacques Wiscrer, and founded by Nicolas Rolin, chancellor of Burgundy, and his wife Guigone de Salins, in Beaune, Cote d'Or, Burgundy, France. The altarpiece was originally in the Chapel, but is now in the museum. The panels were only opened to patients during holy days. The hospital was run by the nuns of the order of Les Soeurs Hospitalieres de Beaune, and remained a hospital until the 1970s. The building now houses the Musee de l'Histoire de la Medecine, or Museum of the History of Medicine, and is listed as a historic monument. Picture by Manuel Cohen
    LC16_FRANCE_MC_0081.jpg
  • Columns and Capitals; Temple of Diana, dated end of 1st Century BC ? Beginning of 1st Century AD; Identification made by D. Bernabé Moreno de Vargas, local historian, in the 17th Century gave it its name; Excavation in 1971 led the archaeologists to identify it as a Temple dedicated to the Imperial Worship, Merida (Augusta Emerita, Capital of Hispania Ulterior), Extremadura, Spain
    aextrem050659.jpg
  • Temple of Diana, dated end of 1st Century BC ? Beginning of 1st Century AD; Identification made by D. Bernabé Moreno de Vargas, local historian, in the 17th Century gave it its name; Excavation in 1971 led the archaeologists to identify it as a Temple dedicated to the Imperial Worship, Merida (Augusta Emerita, Capital of Hispania Ulterior), Extremadura, Spain
    aextrem050658.jpg
  • Temple of Diana, dated end of 1st Century BC ? Beginning of 1st Century AD; Identification made by D. Bernabé Moreno de Vargas, local historian, in the 17th Century gave it its name; Excavation in 1971 led the archaeologists to identify it as a Temple dedicated to the Imperial Worship, Merida (Augusta Emerita, Capital of Hispania Ulterior), Extremadura, Spain
    aextrem050657.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
  • Marae Manunu, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. Tane, the god of war and fish, was worshipped on this 2-platformed marae, and it contains the tomb of Raiti, the last high priest of Maeva, who died in 1915. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_168.jpg
  • Marae Anini, a stone courtyard with 2 platforms and standing stones, used as a ceremonial and religious site, built for Ta'aroari'i, son of Mahine, king of Huahine, at the end of the 18th century, at Parea, on land belonging to the royal family, on Huahine-Iti, on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The gods Oro (god of war) and Hiro (deceitful god), were worshipped here, and many human sacrifices were carried out. The ahu or altar consists of small flat stones or ro'i as beds for the gods Oro and Hiro, and upright stones or ofa 'i turui for priests and headmen to lean back on or as memorials for deceased chiefs. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_165.jpg
  • Marae Anini, a stone courtyard with 2 platforms and standing stones, used as a ceremonial and religious site, built for Ta'aroari'i, son of Mahine, king of Huahine, at the end of the 18th century, at Parea, on land belonging to the royal family, on Huahine-Iti, on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The gods Oro (god of war) and Hiro (deceitful god), were worshipped here, and many human sacrifices were carried out. The ahu or altar consists of small flat stones or ro'i as beds for the gods Oro and Hiro, and upright stones or ofa 'i turui for priests and headmen to lean back on or as memorials for deceased chiefs. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_160.jpg
  • Marae Vaiotaha, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. This marae is linked to the Fare-Tou chiefdom and was used for worshipping ancestors and gods, and offerings were made here. They are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_152.jpg
  • Marae Vaiotaha, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. This marae is linked to the Fare-Tou chiefdom and was used for worshipping ancestors and gods, and offerings were made here. They are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_151.jpg
  • Marae Ovarua, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The marae were used for worshipping ancestors and gods, and offerings were made here. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_142.jpg
  • Marae Ovarua, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The marae were used for worshipping ancestors and gods, and offerings were made here. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_141.jpg
  • Marae Ovarua, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The marae were used for worshipping ancestors and gods, and offerings were made here. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_140.jpg
  • Marae Orohaa, a ruined stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, with a pile of fishing nets, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The marae were used for worshipping ancestors and gods, and offerings were made here. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_138.jpg
  • Marae Orohaa, a ruined stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The marae were used for worshipping ancestors and gods, and offerings were made here. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_139.jpg
  • Marae Vaiotaha, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, and behind, Fare Pote'e, a reconstruction of a round communal dwelling, built on stilts with a thatched roof, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. This marae is linked to the Fare Tou chiefdom and was used for worshipping ancestors and gods, and offerings were made here. They are thought to date from 13th - 15th centuries. The Fare Pote'e has been used as a house, meeting room, church, school and museum and has been rebuilt several times, most recently in 2000-01 by the Opu Nui Association. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_134.jpg
  • Marae Ovarua, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The marae were used for worshipping ancestors and gods, and offerings were made here. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_133.jpg
  • Marae Ovarua, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The marae were used for worshipping ancestors and gods, and offerings were made here. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_132.jpg
  • Marae Manunu, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. Tane, the god of war and fish, was worshipped on this 2-platformed marae, and it contains the tomb of Raiti, the last high priest of Maeva, who died in 1915. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_169.jpg
  • Marae Anini, a stone courtyard with 2 platforms and standing stones, used as a ceremonial and religious site, built for Ta'aroari'i, son of Mahine, king of Huahine, at the end of the 18th century, at Parea, on land belonging to the royal family, on Huahine-Iti, on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The gods Oro (god of war) and Hiro (deceitful god), were worshipped here, and many human sacrifices were carried out. The ahu or altar consists of small flat stones or ro'i as beds for the gods Oro and Hiro, and upright stones or ofa 'i turui for priests and headmen to lean back on or as memorials for deceased chiefs. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_167.jpg
  • Marae Anini, a stone courtyard with 2 platforms and standing stones, used as a ceremonial and religious site, built for Ta'aroari'i, son of Mahine, king of Huahine, at the end of the 18th century, at Parea, on land belonging to the royal family, on Huahine-Iti, on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The gods Oro (god of war) and Hiro (deceitful god), were worshipped here, and many human sacrifices were carried out. The ahu or altar consists of small flat stones or ro'i as beds for the gods Oro and Hiro, and upright stones or ofa 'i turui for priests and headmen to lean back on or as memorials for deceased chiefs. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_166.jpg
  • Marae Anini, a stone courtyard with 2 platforms and standing stones, used as a ceremonial and religious site, built for Ta'aroari'i, son of Mahine, king of Huahine, at the end of the 18th century, at Parea, on land belonging to the royal family, on Huahine-Iti, on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The gods Oro (god of war) and Hiro (deceitful god), were worshipped here, and many human sacrifices were carried out. The ahu or altar consists of small flat stones or ro'i as beds for the gods Oro and Hiro, and upright stones or ofa 'i turui for priests and headmen to lean back on or as memorials for deceased chiefs. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_164.jpg
  • Marae Anini, a stone courtyard with 2 platforms  and standing stones, used as a ceremonial and religious site, built for Ta'aroari'i, son of Mahine, king of Huahine, at the end of the 18th century, at Parea, on land belonging to the royal family, on Huahine-Iti, on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The gods Oro (god of war) and Hiro (deceitful god), were worshipped here, and many human sacrifices were carried out. The ahu or altar consists of small flat stones or ro'i as beds for the gods Oro and Hiro, and upright stones or ofa 'i turui for priests and headmen to lean back on or as memorials for deceased chiefs. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_163.jpg
  • Marae Anini, a stone courtyard with 2 platforms and standing stones, used as a ceremonial and religious site, built for Ta'aroari'i, son of Mahine, king of Huahine, at the end of the 18th century, at Parea, on land belonging to the royal family, on Huahine-Iti, on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The gods Oro (god of war) and Hiro (deceitful god), were worshipped here, and many human sacrifices were carried out.  The ahu or altar consists of small flat stones or ro'i as beds for the gods Oro and Hiro, and upright stones or ofa 'i turui for priests and headmen to lean back on or as memorials for deceased chiefs. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_162.jpg
  • Marae Vaiotaha, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. This marae is linked to the Fare-Tou chiefdom and was used for worshipping ancestors and gods, and offerings were made here. They are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_155.jpg
  • Marae Vaiotaha, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. This marae is linked to the Fare-Tou chiefdom and was used for worshipping ancestors and gods, and offerings were made here. They are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_150.jpg
  • Marae Vaiotaha, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. This marae is linked to the Fare-Tou chiefdom and was used for worshipping ancestors and gods, and offerings were made here. They are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_149.jpg
  • Marae Vaiotaha, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. This marae is linked to the Fare-Tou chiefdom and was used for worshipping ancestors and gods, and offerings were made here. They are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_135.jpg
  • Marae Ovarua, a stone courtyard with platform and standing stones, built by a Polynesian civilisation and used as a ceremonial and religious site, on the banks of Lake Fauna Nui or Maeva Lake, at the archaeological site at Maeva village, on Huahine-Nui on the island of Huahine, in the Leeward Islands, part of the Society Islands, in French Polynesia. The marae were used for worshipping ancestors and gods, and offerings were made here. The marae are thought to date from 13th - 15th centuries. Maeva is thought to be an abandoned royal settlement, with many megalithic structures including marae, houses, agricultural structures, stone fish traps and fortification walls. Picture by Manuel Cohen
    LC17_POLYNESIA_MC_127.jpg
  • Prayer hall of the Grand Mosque or Ulu Cami, built 1396-99 under the Ottoman Sultan Bayezid I by the architect Ali Neccar in the Seljuk style, Bursa, Turkey. Here we see some of the 192 monumental wall inscriptions written by the famous calligraphers of that period and the fountain (sadirvan) where worshipers can perform ritual ablutions before prayer. The mosque is a large rectangular building with 2 minarets, and 20 domes supported by 12 columns. Supposedly the 20 domes were built instead of the 20 separate mosques which Sultan Bayezid I had promised for winning the Battle of Nicopolis in 1396. The dome over the sadirvan is capped by a skylight creating a soft light which illuminates the large building. The mosque is in the old city centre of Bursa and remains the largest mosque in the city. Picture by Manuel Cohen
    LC13_Turkey_MC086.jpg
  • Apse and choir decorated with 12th century frescoes, Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC033.jpg
  • Apse and choir decorated with 12th century frescoes, Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC034.jpg
  • Detail of Joseph face in the Nativity scene, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC036.jpg
  • Detail of Virgin Mary in Majesty shown within a diamond and surrounded by two angels, 12th century frescoes of the vaulted ceiling of the apse of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC035.jpg
  • Detail of the face of the Christ in Majesty shown within a mandorla, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC023.jpg
  • The Annunciation and Nativity scenes :  Mary standing on the left and listening to angel Gabriel (not pictured) and Mary lying next to Joseph in the middle and Jesus lying in a bed on the right, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC038.jpg
  • Detail of the Magi, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC039.jpg
  • Detail of the 24 elders, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC024.jpg
  • The 24 elders, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC026.jpg
  • Detail of Matthew the Apostle, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC027.jpg
  • Detail of Mark the Evangelist, flanked by a lion, his symbolic attribute in the desert, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC028.jpg
  • Detail of Luke the Evangelist, flanked by an ox, his symbolic attribute, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC029.jpg
  • Detail of the Magi, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC030.jpg
  • Christ in Majesty shown within a mandorla and surrounded by the four emblematic evangelists holding their book and flanked by their symbolic animal, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC031.jpg
  • The Annunciation and Nativity scenes :  Mary standing on the left and listening to angel Gabriel (not pictured) and Mary lying next to Joseph on the right, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC012.jpg
  • Detail of Virgin Mary in Majesty shown within a diamond and surrounded by two angels, 12th century frescoes of the vaulted ceiling of the apse of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The Christ in Majesty within a mandorla can be seen on the ceiling of the choir. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC013.jpg
  • Detail of Jesus face lying in the Nativity scene, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC015.jpg
  • Detail of the Annunciation : Mary standing and listening to angel Gabriel, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC016.JPG
  • Detail of the Magi, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC018.jpg
  • Detail of the Magi, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC017.jpg
  • Detail of the procession of the Three Kings, carrying frankincense and cythara for the Nativity, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC019.jpg
  • Detail of Matthew the Apostle, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC020.jpg
  • Detail of Mark the Evangelist, flanked by a lion, his symbolic attribute in the desert, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC022.jpg
  • Detail of Mark the Evangelist, flanked by a lion, his symbolic attribute in the desert, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC021.jpg
  • Christ in Majesty shown within a mandorla and surrounded by the four emblematic evangelists holding their book and flanked by their symbolic animal, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC002.jpg
  • Detail of Christ in Majesty shown within a mandorla, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC003.jpg
  • Procession of the Three Kings, carrying frankincense and cythara for the Nativity, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC004.jpg
  • The Magi, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC005.jpg
  • The Annunciation and Nativity scenes :  Mary standing on the left and listening to angel Gabriel (not pictured) and Mary lying next to Joseph on the right, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC006.jpg
  • The 24 elders, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC008.jpg
  • The 24 elders, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC009.jpg
  • Detail of the Annunciation : Mary standing and listening to angel Gabriel (not pictured), 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC011.jpg
  • Detail of the Nativity scene, Jesus lying in a bed, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC010.JPG
  • The Magi, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC001.jpg
  • Detail of the Nativity scene, Jesus lying in a bed, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC037.jpg
  • Detail of the 24 elders, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC025.jpg
  • Detail of Virgin Mary in Majesty shown within a diamond and surrounded by two angels, 12th century frescoes of the vaulted ceiling of the apse of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The Christ in Majesty within a mandorla can be seen on the ceiling of the choir. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC032.jpg
  • Detail of Virgin Mary face lying next to Joseph in the Nativity scene, 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC014.jpg
  • Nativity scene, Mary lying next to Joseph and Jesus on the right lying in a bed, detail of the 12th century frescoes in the choir of the Pre-Romanesque Chapel of Saint Martin de Fenollar (Sant Marti de Fenollar), 9th century, Maureillas Les Illas, Pyrenees Orientales, France. The frescoes are an outstanding piece of work, which greatly impressed modern artists, especially Pablo Picasso and Georges Braque in 1910. Picture by Manuel Cohen
    LC13_Fenollar_MC007.jpg
  • Germanus of Auxerre  and Saint Loup, bishop of Troyes, blessing Sainte Genevieve, fresco in the Northern transept, 1926 - 1927, directed by Maitre Paul Baudoin, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC298.jpg
  • Sainte Genevieve curing her mother Geronce from blindness, fresco in the Northern transept, 1926 - 1927, directed by Maitre Paul Baudoin, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC300.jpg
  • Eucharist, small frescoes by Joseph Radan in the ambulatory, depicting the seven sacraments, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC282.jpg
  • Saint Genevieve (Sainte Geneviève), protecting Paris and France, detail of the monumental fresco of the Northern transept, painted by Leon Toublanc, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC266.jpg
  • Christ in majesty, detail of the monumental fresco on the vault of the choir painted by Leon Toublanc, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC267.JPG
  • Well of Saint Genevieve (Sainte Geneviève), in front of the Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. According to the legend of Saint Genevieve, born at the place of the cathedral circa 422, Saint Genevieve's tears -because of her mother being opposed to her mysticism- shed into the well, would have cured her mother from blindness. Since then it is a place of pilgrimage, including Anne of Austria, future mother of Louis XIV who came to the well in 1636 to grant her wish of maternity. Picture by Manuel Cohen
    LC13_Paris_MC254.jpg
  • Serpent's head, at the top of The Ossuary Pyramid, 800-900 AD, Toltec Architecture, Chichen Itza, Yucatan, Mexico. This pyramid was probably used for the cremations. Picture by Manuel Cohen
    amaya060642.jpg
  • Saint Genevieve (Sainte Geneviève), protecting Paris and France, detail of the monumental fresco of the Northern transept, painted by Leon Toublanc, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC301.jpg
  • Christ in majesty, detail of the monumental fresco on the vault of the choir painted by Leon Toublanc, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC302.jpg
  • One of the seven stained glass windows of the absid, by Louis Barillet, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Every window describes with three symbols one scene of the Passion : the Eucharist, Agony in the Garden, the Sanhedrin trial of Jesus (Christ Before Caiaphas), Pilate's court, crucifixion of Jesus, the entombment of Christ, the Resurrection of Christ.  Picture by Manuel Cohen
    LC13_Paris_MC303.jpg
  • Our lady of the fields (Notre Dame des champs), polychrome statue in the ambulatory, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC304.jpg
  • One of the seven stained glass windows of the absid, by Louis Barillet, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Every window describes with three symbols one scene of the Passion : the Eucharist, Agony in the Garden, the Sanhedrin trial of Jesus (Christ Before Caiaphas), Pilate's court, crucifixion of Jesus, the entombment of Christ, the Resurrection of Christ.  Picture by Manuel Cohen
    LC13_Paris_MC305.jpg
  • Coronation of the Virgin by the Holy Trinity (detail), by Paul Baudoüin and Louis Dussour between 1926 and 1937, altar of the virgin, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC306.jpg
  • Radiant cross surrounded by nine angel, freco of the dome in the nave of Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC307.jpg
  • Monumental door (detail), 13,20m by 6,20m, stamped brass, tin and lead, 1974, by Pierre Sabatier, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC309.jpg
  • Ox, symbolizing Luke the Evangelist, painted cupola of the nave, by Raymond Feuillatte, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC287.jpg
  • Wooden benches and chapel of the northern transept, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC308.jpg
  • Golden cross, with the symbols of the four evangelists, before the fresco of the altar of the Virgin, 20th century, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC288.jpg
  • Radiant cross surrounded by nine angel, freco of the dome in the nave, Christ in Majestyf on the ceiling of the choir of Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC290.JPG
  • Nave and absid, Nanterre Cathedral (Cathédrale Sainte-Geneviève-et-Saint-Maurice de Nanterre), 1924 - 1937, by architects Georges Pradelle and Yves-Marie Froidevaux, Nanterre, Hauts-de-Seine, France. Picture by Manuel Cohen
    LC13_Paris_MC289.JPG
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