Religious Icons and Crosses

A variety of religious artifacts featuring intricate designs, including crucifixes and icons of saints, showcasing craftsmanship and spiritual themes from different historical periods.

Cross with the imagination of crucifixion, confidential of cherubs; Unknown workshop of ancient cockle of poppers; 1. PO. 19th century (1801-00-00-1850-00-00);

Icon: Getting a ghost with a mandylion on the axis; Unknown Russian workshop (1700-1970); 19th/20th century (1850-00-00-1910-00-00);Jesus Christ, Mandilion (iconogr.), Maria (Mother of Jesus Christ), Pentecost of the Holy Spirit (iconogr.), Apostles, icons, inscriptions, Maphion (iconogr.)

Cross with the imagination of crucifixion, confidential of cherubs; Unknown workshop of ancient cockle of poppers; 1. PO. 19th century (1801-00-00-1850-00-00);

The Virgin and Child. Dated: 16th century. Dimensions: overall (silhouetted contour): 10.5 x 6.3 cm (4 1/8 x 2 7/16 in.) gross weight: 115 gr. Medium: gilt bronze. Museum: National Gallery of Art, Washington DC. Author: North Italian 15th Century.

Goldsmith's art, 13th century. Processional cross in red jasper, gold and gems. Donated by Otto Visconti to Abbot Paolo da Besana, 1296. Front side. Detail: Saint John the Baptist.

Crucifix. Naples, Italy. Date: 1695-1740. Dimensions: 105.4 x 43.5 cm (41 1/2 x 17 1/8 in.). Gilt bronze, lapis lazuli. Origin: Naples. Museum: The Chicago Art Institute, Chicago, USA.

Trimming of Gospel cover. Silver, gilding, embossing. 17th c. Crucifixion. Georgia. The State Hermitage Museum. Saint Petersburg. Russia.

Silversmith's art, Italy, 14th-15th century. Workshop of Bernardo and Marco Da Sesto, processional cross reliquary in engraved silver, rock crystal, silver gilt, 83x36 cm.

Copón sepulcro, siglo XV. Iglesia Prioral de Reus.

Crucifix 1700-1730 Naples. Gilt bronze, lapis lazuli .

Hand Cross (mäsqäl qddase or yäan) 18th century Tigray region This hand cross is a technical tour de force, inscribed with a rare depiction of Christ and the two thieves. Its form and patterns reflect Ethiopia’s unique Orthodox Christian heritage, of which the cross is the ultimate artistic hallmark. The design of this hand cross is subdivided into three distinct parts: the cross, at its summit; the handle; and a square element at the base. Each of its sides is completely covered by unique incised carvings. These decorative and symbolic forms contrast the sharp with the sinuous, creating a remarkable tension and continuity of design throughout the piece. Each face of the cross at the summit features a different design; one, an image of the crucifixion, the other a series of geometric motifs. While images of the cross are nearly concurrent with Ethiopia’s adoption of Christianity in the early fourth century AD, the earliest known images of the crucifixion (sqlät) in Ethiopian Christ

Byzantine artefact- Reliquary of the True Cross, 10-11th cent. TURKEY.

Cruz Procesional, siglo XV. Catedral de Santa Tecla de Tarragona.

Plaque from a Tantric Ritual Apron (Chakrasamvara and Vajravarahi at Center) 16th century or later Nepal. Plaque from a Tantric Ritual Apron (Chakrasamvara and Vajravarahi at Center) 37448

Cruz Procesional, siglo XV, Nº Inv. 31.9. Catedral de Santa Tecla de Tarragona.

Gothic art. Processional cross of Santa Eulalia. By Francesc Vilardell. 1383. Detail. Mark the Evangelist. Gilded silver with enamel. Treasure of the Cathedral of Barcelona. Catalonia. Spain.

Monstrance (ostensoir), c. 1851, Arthur Martin; Manufacturer: Poussielgue-Rusand, Paris, 1851-1889, 34 x 14-11/16 x 14 in. (86.4 x 37.3 x 35.6 cm), Brass, enamel cloisonne, gemstones, glass, Gothic Revival, A monstrance is used to display the consecrated host during the Blessed Sacrament in a Roman Catholic church or in a procession for Adoration of the Blessed Sacrament. This example, or a nearly identical one, was part of an award winning altar service shown by the firm of Poussielgue-Rusand at the London Crystal Palace Exhibition in 1851, an influential exposition of industrial arts from around the world.

Stoup (holy water basin), c. 1715, Giovanni Giardini da Forli, Italian (Rome), Italian, 1646-1722, 28 1/2 x 19 1/2 in. (72.39 x 49.53 cm), Silver, gilt bronze, lapis lazuli, Italy, 18th century, Holy (that is, blessed) Water is used in the Catholic Church in remembrance of the sacrament of Baptism, and for the apotropaic qualities (the power to ward off evil) ascribed to it. Holy Water stoups are most commonly found as pairs at the entrance of churches. These works are often carved in marble or may even encompass large, actual shells to contain the water. Silver Holy Water stoups, such as the one on view here, were extremely precious and were traditionally used in private homes. The glistening surface of the silver echoes and boosts the waters reflective quality. It evokes an impression of dancing light and of purity, which is in line with the cleansing and apotropaic property attributed to the Holy Water.

Icon: Archango Gabriel; Unknown Russian workshop (1700-1970); 19th century (1801-00-00-1900-00-00);Gabriel Archangel (Bible), Archangels, icons, inscriptions, transmission (provenance), wings

Back cover of an Evangeliary with a Salvator mundi (Blessing Christ), anonymous, c. 1200 - c. 1250 Rear flat of a gospel book of gilded copper and email Champlevé. In midfield, the blessing Christ is depicted on blue soil with thrown stars in a mandorla in relief; In the corners the four Evangelistensymboelen; Alternating half -figures of angels and ranks on the edge, on a blue soil of Émail Limoges copper (metal). gilding Rear flat of a gospel book of gilded copper and email Champlevé. In midfield, the blessing Christ is depicted on blue soil with thrown stars in a mandorla in relief; In the corners the four Evangelistensymboelen; Alternating half -figures of angels and ranks on the edge, on a blue soil of Émail Limoges copper (metal). gilding

Processional Cross by Francesec Vilardell, year 1383, silver gilt with images of the Crucifix and Santa Eulalia, adorned with enamels of the four evangelists in the arms of the cross. 14th, Barcelona Cathedral. Gothic.

Central plaque from a Champleve enamel and gilded copper cross. French, Limoges circa 1185-95

The family wing of the triptych: Miko -Aja and the scenes of miracles from his food; Unknown Russian workshop (1700-1970); 18th century (1701-00-00-1800-00-00);

Reliquary element: Christ between the Virgin and Saint John. 2nd half of the 13th century. Museum of Fine Arts of the City of Paris, Petit Palais. 24210-2 Religious art, Catholicism, Christian, Christianity, Crucifie, Christ, Element, Middle Ages, Reliquary, Virgin

Reliquary decorated with Christ, Saints and Angels. Dated 13th Century

German 16th Century, Lamentation Over the Dead Christ, 16th century Lamentation Over the Dead Christ

Monogram of Christ (Chrismon), 500s. Byzantium, Syria, early Byzantine period, 6th century. Gold sheet, gold wire, and garnets; overall: 14.8 x 12.1 x 0.7 cm (5 13/16 x 4 3/4 x 1/4 in.).

Prayer Bead with the Adoration of the Magi and the Crucifixion. Culture: Netherlandish. Dimensions: Open: 4 7/16 × 3 3/16 × 1 1/16 in. (11.2 × 8.1 × 2.7 cm)Closed: 2 5/16 × 2 3/16 × 2 3/16 in. (5.8 × 5.5 × 5.6 cm). Date: early 16th century.Carved with astonishingly minute detail, this rosary bead probably was created with the help of a magnifying lens. When opened, it forms a triptych. On the left is the Journey to Bethlehem and the Nativity; in the center is the Journey of the Magi, complete with horses and camels, followed by their Adoration of the baby Jesus and offering of gifts; and on the right is the Presentation of the Child in the Temple at Jerusalem. The Latin inscription is the text of Psalm 71:10, which refers to kings of Arabia and Saba and is associated by Christians with the Magi.Adam and Eve appear on the outside of the wings. The Crucifixion of Jesus occupies the lower half of the bead. Museum: Metropolitan Museum of Art, New York, USA.

Kammavacany, a Buddhist Manual, 1800s. Burma, 19th century. Cover: wood lacquered red; leaves: copper lacquered red; cover: 13.1 cm (5 3/16 in.).

Saint Mark's church, Beograd, Serbia. Sarcophagus of Emperor Stefan Dušan.

Chasuble with Orphrey Band Made 1475-1525 Spain. This chasubleís motif, the pomegranate, was the predominate textile motif, along with related forms such as pomegranate thistles and pineapples, during the 15th century. Church specification dictated that all chasubles had to be made of silk, the most expensive and most precious of all materials. Quite frequently gold and silver threads were used to embellish the back of the chasuble as seen in this example. The Orphrey band, which was added at a later time, depict the Madonna and child, St. Peter, and an unidentified saint, who was probably a local patron.. Chasuble Silk, plain weave with silk facing wefts and twill interlacings of secondary binding warps, and gilt-metal-strip-wrapped silk facing wefts forming weft loops on cut and uncut, pile-on-pile voided velvet; Orphrey Band Linen, plain weave; embroidered with silk, linen and gilt-metal-strip-wrapped silk in fishbone, herringbone, satin, split, and stem stitches; laid work, couchin

Goldsmith's art, France, 13th century. Reliquary box with Limoges enamel miniatures depicting Christ, Virgin Mary, Angels and Saints.

Goldsmith's art, Spain, 16th century. Ivory devotional diptych depicting Nativity and Adoration of the Magi.

The Sion Gospels Book Cover, made from beech overlaid with plaques of gold and precious stones, enamelled and with sheepskin undercover. Dated 12th Century

Pendant with the Baptism of Christ. Culture: probably Austro-Hungarian (Transylvania) or German. Dimensions: H. 11 cm, W. 5.5 cm.. Date: second half 19th century, and 1920-34. Museum: Metropolitan Museum of Art, New York, USA.

Our Lady of Częstochowa; Saint Joseph. Devotional Plaque unknown

RELICARIO DEL ARBOL DE JESSE -LIGNUM CRUCIS. Location: CATEDRAL-CAPILLA REAL-INTERIOR. GRANADA. SPAIN.

Our Lady of Częstochowa; Figure of a Saint . Devotional Plaque unknown

Pendant Cross Reliquary 12th-14th centuries Byzantine or early Russian () Gilded silver reliquary crosses were popular in the Orthodox world in the Byzantine and post Byzantine centuries. This work survives in its entirety. The two halves of the reliquary display Christ and an enthroned Virgin flanked by medallions with busts of holy figures. The chain from which the reliquary hung is closed by a clasp with an image of a bearded figure, possibly representing God the Father.. Pendant Cross Reliquary. Byzantine or early Russian (). 12th-14th centuries. Silver and gilded silver. Metalwork-Silver

Pendant with Christ Appearing to Saint Mary Magdalene 1575-1625 Europe. Gold, enamel, rock crystal, and pearl .

Gorget with the image of Our Lady of Częstochowa

Taufbecken im Kath. Mariendom Hildesheim Der weise Salomo Copyright: xZoonar.com/HGVorndranx 21484218

The crucifixion around 1200-1210 ". Central plate of a upper binding dish or evangeliary plate, metal, repelled copper, enamel and gold, wooden soul, anonymous. Museum of fine arts of the city of Paris, small Palace. Crucifixion Ame Bois, Binding, Central Flat, Crucify, Crucified, Copper Raves, Christ, Email, Embossed Copper, Enamel, Evangeliaire, Gospel, Or, Centrale, Central Plate, Signior Binding, Upper Part, Wooden Frame, Crucifixion, Gold, Plate, flat

Cover of Saint Isabel's bible, 13th century. Late Byzantine art. Jewelry. ITALY. FRIULI-VENEZIA GIULIA. UDINE. Cividale del Friuli. Archaeological Museum.

TENEBRARIO. Location: CATEDRAL. JAEN. SPAIN.

Relicario de Sant Fructuos i Gregori, siglo XV. Catedral de Santa Tecla de Tarragona.

Icon: Our Lady - I don't assume Kupina; unknown workshop of ancient information; 2. PO. 19th century (1851-00-00-1900-00-00);

. The hunting motifs on the ornamental border suggest that these badges were from a militia company. One badge depicts a bishop flanked by Saint Barbara (on the left) and Saint Catherine (on the right). The other features the Virgin as the Lady of Seven Sorrows (pierced by swords), with Saint James and Saint Christopher on the left and right edges.

Plaque from a Tantric Ritual Apron (Chakrasamvara and Vajravarahi at Center). Culture: Nepal. Dimensions: H. 5 1/2 in. (14 cm). Date: 16th century or later. Museum: Metropolitan Museum of Art, New York, USA.

Arqueta gótica de Alcover, latón estampado sobre lámina de madera, siglo XIV, Iglesia parroquial de Alcover, Tarragona.

DETALLE DE LA PUERTA DE NOGAL DEL MUSEO DIOCESANO - PAREJA DE SALVAJES SOSTENIENDO UNA COPA CON LA LEYENDA "SALVE REGINA MATER" - SIGLO XV. Location: CATEDRAL. Valladolid. SPAIN.

Astylar cross, by Veneto-Byzantine school artist, 15th Century, gold and silver . Italy, Lombardy, Bergamo, Carmine Church. Detail. Astylar cross jewelry praying figure imation mantle: cloak acanthus leaves gold silver.

Goldsmith's art, Italy, 16th century. Piero di Martino Spigliati, processional cross, 1552. Back side. Detail: sacrifice of Isaac.

TESORO RELICARIO. Location: CATEDRAL-INTERIOR. Toledo. SPAIN.

Jeweled Jesus, Mezquita, Cordoba, Spain. Created in 785 as a Mosque, was converted to a Cathedral in the 1500. 850 Columns and Arches

Man's Portable Amulet Shrine (Ga'u) with Case and the Bodhisattva Avalokiteshvara. Eastern Tibet, Kham region, Circa 1900. Jewelry and Adornments; amulets. Silver, parcel-gilt copper, and copper; cloth and leather case; gilt copper alloy

Treasury, Anno Shrine, workshop of Nicholas of Verdun and Cologne, around 1183, Evangelist Lucas as a winged bull

Relicario de la Santa Espina, Marc Canyes hijo, 1453. Catedral de Barcelona.

The Crucifixion ca. 1100 French This medallion, probably from a book cover, can be securely attributed to the celebrated pilgrimage abbey of Conques, Frances richest surviving repository of medieval goldsmiths work. Among the rare works dispersed from its treasury in the nineteenth century, several share a distinctive technique, style, and palette uniquely combined during the abbacy of Bégon III in the late eleventh century. The monkgoldsmiths have here superimposed copper plaques, the lower one set with cloisons (wires) that define features and drapery, and the upper one cut to define the silhouettes of the figures and the cross.. The Crucifixion 474207

Comb with the Goddess Lakshmi and Attendants 18th century Sri Lanka. Comb with the Goddess Lakshmi and Attendants. Sri Lanka. 18th century. Ivory. Ivories

Scapular, Medium: silk, metallic string and tassels, colored glass Technique: embroidery, A scapular decorated with embroidery. On one side the Annunciation and on the other a small medallion with a female saint surrounded by bishops. Metallic cord and tassels. Colored glass beads., Italy, 18th century, costume & accessories, Scapular

Reliquary 16th century Spanish This reliquary takes the architectural form of a two-story altar, with a shell niche in the upper story framing enameled figures of the Crucifixion. In the lower story, a rock-crystal cylinder displays a cross that was believed to incorporate a fragment of the true cross, and the capsule below contains a supposed relic of the sponge held to Christ's mouth when he was on the cross. The upper mount of the cylinder is engraved "LIGNVM.CRVCIS.SPONGIA.SALUTARIS" (The wood of the cross; the alleviating sponge).. Reliquary. Spanish. 16th century. Gold, rock crystal, enamel. Metalwork-Iron

Buddhist Manuscript Cover with the Bodhisattvas Avalokiteshvara and Manjushri. Tibet; Central Tibet. Date: 1301-1400. Dimensions: 73.7 x 26.7 x 2.5 cm (29 x 10 1/2 x 1 in.). Wood with traces of gilding. Origin: Tibet. Museum: The Chicago Art Institute, Chicago, USA.

3rd Stations of the Cross, Jesus falls the first time, Carthusian monastery in Pleterje, Slovenia 3rd Stations of the Cross, Jesus falls the first time, Carthusian monastery in Pleterje, Slovenia Copyright: xZoonar.com/ZvonimirxAtletix 20080038

8th Stations of the Cross,Jesus meets the daughters of Jerusalem, Carthusian monastery in Pleterje, Slovenia 8th Stations of the Cross,Jesus meets the daughters of Jerusalem, Carthusian monastery in Pleterje, Slovenia Copyright: xZoonar.com/ZvonimirxAtletix 21341248

Pendant 17th century probably Spanish or Mexican Pendants with representations of the Virgin of the Immaculate Conception became especially popular as fervor for this belief grew at the beginning of the seventeenth century and pressure mounted to have it codified as dogma. The depiction of the Immaculada in this simply formed jewel is particularly close to that of the Virgin of Guadalupe, the patroness of New Spain. Banners of the confraternities also featured the custodia of the Eucharist, which is enameled on the back of this venera.. Pendant. probably Spanish or Mexican. 17th century. Gold, enamel, pearls

Eremo di Fonte Avellana (Italia, Marche - provincia di Pesaro-Urbino, comune di Serra Sant'Abbondio), monastero. Stauroteca Bizantina (unico residuo di un polittico di scuola belliniana)

The Crucifixion 16th century Italian. The Crucifixion 193641

Processional Cross 15th century Amhara or Tigrinya peoples Metal processional crosses have historically been cast through the lost-wax process, ensuring that each work is by definition a unique and original creation. Over the centuries, the inventiveness of Ethiopian metal casters in their representation of this central motif has known no bounds. In this example, a central lozenge is framed by a series of three concentric circles. Projecting from the top and sides of the outermost band's perimeter are crosses that suggest buds of vegetation.. Processional Cross. Amhara or Tigrinya peoples. 15th century. Copper. Ethiopia, Central and Northern Highlands. Metal

Cruz de Santa Eulalia, 1383. Catedral de Barcelona.

Armenian Kingdom of Cilicia. Armenia Apostolic Church. Reliquary triptych. Silve, gilding, wood, metal, embossing, engraving Skevra Monastery, Cilician Armenia. 1293. Turkey. The State Hermitage Museum. Saint Petersburg. Russia.

DETALLE DEL AGUAMANIL DE CARLOMAGNO - SIGLO VIII-IX. Location: ABADIA DE SAN MAURICIO. Valais. Switzerland.

Deisis (Triptych) unknown

TAPAS DE UN EVANGELIARIO RECUBIERTAS DE PLACAS DE ORO Y PIEDRAS PRECIOSAS - 1140-1150 - REALIZADO EN ALEMANIA. Location: VICTORIA AND ALBERT MUSEUM. LONDON. ENGLAND. CRISTO EN MAJESTAD. CRISTO MAESTRO.

Campania Caserta Capua Museo Campano13. Hutzel, Max 1960-1990 Medieval: Byzantine architectural fragments; parchment fragments with miniatures (12th century) from Montecassino; painted wooden crucifix (13th century); Carolingian crucifixes; Bishop's miter (11th century) of gold and silver damask; fresco (13th century). Post-medieval: Architecture (15th century). Formerly the Palazzo Antignano. Unusual Catalan/Moorish-style portal; Paintings on panel and canvas (15th-18th centuries); marble intarsia (16th century); marble sculpture: busts of Christ and Mary (17th century); sculpture of saints in marble and in wood (15th century); painted and gilded sculpture in wood; marble grave sculpture (16th century); sarcophagus with allegorical carvings; gold reliquary "Rosa d'Oro"; crucifix made of elephant tusk Specific Location: Pianterreno Antiquities: Italic sculpture (seated women holding babies); inscription. Photo campaign #1: 533 photos. Roman relief and sculpture; cinerary urns; Greek an

Chasuble Back with an Orphrey second half 16th century Italian or Spanish. Chasuble Back with an Orphrey. Italian or Spanish. second half 16th century. Silk; metal; linen. Textiles-Ecclesiastical

Dragon Harald Fairhair, a large Viking long ship built in the municipality of Haugesund, Norway. It is the largest Viking ship that travel between Norway and America. Dated 21st Century

Processional cross of Saint Eulalia by Francesc Vilardell. 1383. Gothic. Detail of St. Matthew. Treasure of the Cathedral of Barcelona. Catalonia. Spain.

Capillita de ermita, siglo XIX. Museu Català de les Arts i Tradicions Populars, Casa Pairal de Perpignan.

Golden Chamber, Reliquaries, St., Saint, Saint

Pax late 15th-early 16th century Italian, Venice. Pax 193538

Processional Cross Ethiopia, Lasta region early 15th century This work is an exceptional example of a popular early 15th century cast copper alloy openwork processional cross developed in Ethiopia -- an art form that has been endlessly reinvented by regional artists. In this example, the ornament is freely worked, while the form is highly symmetrical. From the time of the adoption of Christianity -- around 330 A.D. -- crosses have been omnipresent not only as liturgical objects in the region's churches and monasteries, but also in popular devotion and everyday life. Functioning as apotropaic objects to ward off evil spirits and as spiritual emblem of the entire community, members of the clergy carry the large-scale metal processional crosses on poles during processions and liturgical ceremonies. Ethiopian monarchs made gifts of processional crosses to important monasteries whose clergy remembered them in their prayers. In Ethiopia the Cross is perceived of as an emblem of triumph rathe

Alton Towers Triptych. The central panel depicts scene from the New Testament, whilst the other panels depict scene from the Old Testament. Dated 12th Century

Gold Torah Crown which is thought to have come from the court of the Hasidic leader Rabbi Israel Friedman of Ruzhin (1797-1850). Dated 19th Century

Medallion with the Adoration of the Magi, anonymous, c. 1450 - c. 1500 Medallion of gold, email and precious stones. The worship of the three kings is proposed in the middle. Southern Netherlands gold (metal). diamond (mineral) Medallion of gold, email and precious stones. The worship of the three kings is proposed in the middle. Southern Netherlands gold (metal). diamond (mineral)

Cruz Procesional, siglo XV, Iglesia parroquial de Conesa.

Processional Cross. Artist: Ezra. Culture: Tigrinya peoples. Dimensions: H. 18 x W. 17 in. (45.7 x 43.2cm). Date: ca. 1500.This cross was created in the province of Tigray, near the Red Sea, the birthplace of Ethiopia's earliest kingdom and of Christianity in Africa. A small corpus of Ethiopian Christian works from before the seventeenth century has survived. This exceptional creation, in which a highly unusual interplay of materials affords rich tonal contrasts, is a tour de force. The solidity of the carved-wood structure is permeated by finely applied metal inlays. The complexity of this work, with each side elaborately distinct, is unrivaled. It has been attributed to Ezra (ca. 1460-1522), a member of the Stephanite monastic order. The Stephanites came to be recognized as the foremost carvers of crosses and illuminators of manuscripts. During a period of the order's exile in Egypt, Ezra is reputed to have enhanced his training as a craftsman and learned the technique of marquetry

Icon of the Virgin Mary in the German Blade Museum, detail of the medallion

La Merced Church, built around 1762, Leon, Nicaragua, Colourful mural of the seventh station of the cross in a church, Central America, Central America -, Central America

Embroidered altar-cloth. unknown, author

Cornelius Chapel, reliquary, St., Saint, Saint

Processional Cross 14th-15th century Tigrinya peoples Ethiopian crosses are unique among Christian art for their variety of form. The cross became the object of intense devotion soon after the conversion of the Aksumite empire to Christianity around 330 A.D. Despite the antiquity of Ethiopian Christian art, processional crosses antedating the seventeenth century are rare due to sixteenth-century Islamic incursions that devastated the region. A metal socket surrounded by two loops was used to affix this processional cross to a wooden staff, permitting it to be carried and held aloft during liturgical services and processions. The loops held colorful cloths symbolizing the veil of Mary.Emanating from a central square inscribed with a pattée cross, two short side arms and two longer vertical arms with rectangular openings terminate in stepped forms. Three of these terminal points are punctuated by cruciform openings, and support additional pattée crosses at their summits. Shallow lines en

Medallion with St. Józef and Jesus

Copón sepulcro, siglo XIV. Catedral de Santa Tecla de Tarragona.

Ritual Crown with the Five Transcendent Buddhas late 14th-early 15th century Tibet Such crowns were worn by monks conducting rituals and were often part of dance costumes used in public ceremonial performances. Each of the five registers contains one of the Tathagata Buddhas (right to left): Ratnasambhava (yellow), Amitabha (red), Vairochana (white), Amoghasiddhi (green), and Akshobhya (blue). With Vairochana at center, these Buddhas preside over the directional Pure Lands. A Newari artist working in Tibet probably was responsible for this amazing crown, which is one of the earliest examples to survive.. Ritual Crown with the Five Transcendent Buddhas. Tibet. late 14th-early 15th century. Opaque watercolor and gold on board. Paintings

Ivory Stoup font 10th century. Fountain of the Emperor. Holy Water. Aachen cathedral treasure, Westphalia. Germany. Old 19th century engraved illustration from Jesus Christ by Veuillot 1890

Abakh Khoja (Apaq Xoja, or more properly afaq Khwaja ( - 1693/94) was a religious and political leader in Kashgaria (in modern-day southern Xinjiang). He was also known as Khwaja Hidayat Allah (Hidayetullah Khoja). He was a great-grandson of the famous Naqshbandi Sufi teacher, Ahmad Kasani (1461-1542) and was revered as a Sufi teacher in his own right. Abakh Khoja seized power from the Chagatay dynasty of Yarkand by inviting Dzungar invaders through the secret diplomacy of the Dalai Lama. Abakh Khoja was a powerful ruler, controlling East Turkistan including Khotan, Yarkand, Korla, Kucha and Aksu as well as Kashgar. Abakh Khoja's mausoleum is considered the holiest Muslim site in Xinjiang. It is located in Haohan Village, a northeastern suburb some 5 km from the city centre of Kashgar. First built c.1640, initially as Muhammad Yusuf tomb, the beautiful tiled mausoleum contains the tombs of five generations of the Afaqi family, providing resting places for its 72 members, both men and

Monstrance, 1854-1874. Designer: John Francis Bentley. Manufacturer: Hart & Son

Devotional Diptych with the Annunciation, the Virgin and Child, and the Crucifixion. Culture: Italian. Dimensions: H. 3 11/16 in. (9.3 cm). Date: 1400-1425. Museum: Metropolitan Museum of Art, New York, USA.

Vladimir Madonna / Solnzev

CALIZ DE SAN SEGUNDO - SIGLO XIV - DETALLE DE LA INSCRIPCION ALUSIVA AL AUTOR DEL CALIZ. Author: PETRUCCI ANDREA-ORFEBRE (SIGLO XIV). Location: CATEDRAL-INTERIOR. AVILA. SPAIN.

of 2