Religious Medallions and Artifacts

Detailed depictions of antique religious medallions illustrating biblical scenes, saints, and artistic craftsmanship from different centuries.

Nativity Altarpiece, Church Interior, Altar

Central or North Italian 16th Century, Pax with the Madonna of the Rosary, fourth quarter 16th century Pax with the Madonna of the Rosary

. On a low wall, above which a bunch of shelter, Mary is on her shot the naked child, which grabs a hand to the contents of the box, which offers a kneeling king. On the left a king who decreases his hat and holds a piece of crockery, beside him a bearded king with a spherical dishwell. Joseph, standing oner the shelter, holds his left hand behind the back of Mary; The cap of the kneaded king is in the foreground. The medallion is caught in a profiled silver frame.

Moderno, Madonna and Child with Saints, late 15th early 16th century Madonna and Child with Saints

Saint Francis of Assisi possibly 17th century Spanish. Saint Francis of Assisi. Spanish. possibly 17th century. Gilt bronze. Medals and Plaquettes

Triptych: Jerzy killing the dragon, the Trinity and Mandilion; on the wings of "Prazniki": entry to Jerusalem, meeting of the panel, descended to the abyss, and the gray; Unknown workshop of ancient cockle of poppers; 19th century (1801-00-00-1900-00-00);Jerzy (Saint), Mandilion (iconogr.), Hand of God (iconograph), Meeting of the Lord (iconogr.), Holy Trinity (iconogr.), Entry of Christ to Jerusalem (iconogr.), Assembly (iconogr.) Abyss (iconogr.), Weapons, cherubs, inscriptions, horse (iconogr.), Spears, saints

Icon: Unknown workshop of ancient cockle of poppers; 19th century (1801-00-00-1900-00-00);Jesus Christ, Mandilion (iconogr.), Maria (Mother of Jesus Christ), Mikołaj née Lycska (Saint - Ca 270- Ca 345), bishops, cherub, icons, inscriptions, maforion (iconogr.), Cities, swords, swords, omoformion (iconogr.), Saints

Nativity Altarpiece, Church Interior, Altar

Prayer Bead with the Crucifixion and Jesus before Pilate early 16th century Netherlandish This carving of exquisite complexity was surely intended for prayer during Holy Week, when the full drama of the final days of Jesus life are traced. In the lower half of the bead, Pontius Pilate washes his hands of responsibility for the fate of Jesus. In a master stroke, the carver has made the stream of water stand free of the background. As if to remind us to look carefully, he shows a figure near the front poring over a text with the aid of magnifying glasses. Is the artist also hinting that magnification facilitated his own work? The carving warrants a careful look, for at the back Jesus is led away and then flogged.. Prayer Bead with the Crucifixion and Jesus before Pilate. Netherlandish. early 16th century. Boxwood. Sculpture-Miniature-Wood

Paduan 15th Century, Lamentation Over the Dead Christ, 15th century Lamentation Over the Dead Christ

Pair of Buddhist Manuscript Covers 16th-17th century Nepal (Kathmandu Valley) Carved deeply into these wooden manuscript covers are three shrine-niches occupied by multiarmed tantric female deities wielding an array of ritual utensils and weapons. They are flanked by kneeling donor figures (above) and by Ganesha and a gana (below). This type of cover would have protected a paper manuscript, presumably one devoted to a Tantric Hindu text.. Pair of Buddhist Manuscript Covers 38343

Plaque with Saint Paul 550-600 Byzantine The typical image of Saint Paulwith a long face, receding hairline, and pointed beardwas established during the first centuries of the Christian church. Here Paul holds a book, an appropriate symbol for the author of many of the texts of the New Testament. This plaque and the one showing Saint Peter under a similar arch may have flanked a lost central panel depicting Christ, as parts of an icon, or religious devotional image.. Plaque with Saint Paul. Byzantine. 550-600. Silver, originally partially gilt. Made in Antioch or Kaper Koraon (?). Metalwork-Silver

Plaque with Christ in Majesty 14th century Italian. Plaque with Christ in Majesty 463394

Altar-cloth. unknown, author

Triptych with the Mother of Kazan and scenes from the life of Christ. The object cast in three parts, which was used as a travel icon, consists of a middle slip with a top and two side vessels, on which representations are embossed. The middle plock presents the mother of God with the blessing Christ child (i.e. the mother of God of Kazan), the side shuts: the arrival in Jerusalem, the assignment in the temple, Christ in the pre-borne, and the Ascension of Christ. The upper part represents the head of Christ (the Mandilion), three angels and two seraphims.

Relief with the worship of Jesus, 1700 - 1800 Worship of Christ in the stable. Remains of gold paint visible. marble (rock) Worship of Christ in the stable. Remains of gold paint visible. marble (rock)

The Swoon of the Virgin, from a Calvary Scene, anonymous, c. 1475 - c. 1500 In a rocky landscape, Maria is sunk in the foreground and is supported by Johannes. Behind and next to them the three holy women, who have adorned their hands in worship. The woman on the left in the foreground and John see up (to the cross). At the top right, a soldier helps to aim the blind longinus de Lans. In the middle at the top of the start for the cross of one of the murderers. Maria wears a cloak over her rug and a veil with frowned edge around her head. The other women also wear covers on their dresses and also nursery; Two of them have overlooked the cloak, the left woman is wearing a turban. John is dressed in a cloak over a cover, Longinus in a jacket with short sleeves over a shirt with long sleeves, the soldier in a mali -polder. Both latter wear pointed caps with a bourrelet around it and stockings in high shoes. Utrecht pipe clay In a rocky landscape, Maria is sunk in the foreground and is supp

Francesc Costa, Cruz Procesional, 1414, Iglesia parroquial Santa Coloma de Queralt.

Tiered Offering Mandala of the Goddess of Wealth (Vasudhara) 1801-1900 Nepal. Vasudharaóthe goddess from whom wealth (vasu), gems, abundance, and well-being flow (dhara)ópresides at the center of this multitiered mandala (a graphic symbol of the universe). When a deity appears at the center of a mandala, it serves as a reminder to the devotee of the godís presence in the cosmos, as well as to the fact that the god is the cosmos. Here the concept is expressed by a mandala of three concentric outer circles rising to the space of the square.Identifiable by the pot of life-giving water in her lower-left hand and the gesture of boon granting (varadamudra) of her lower-right hand, Vasudhara also has traits that distinguish her as Nepalese her six encircling arms and the graceful lalitasana pose, with one leg pendent and the other tucked beneath her. (In India and Tibet, she is often shown standing and with two arms.) The goddessís complexion is depicted as golden in sculpture and yellow in p

Icon: unknown workshop of ancient information; 19th century (1801-00-00-1900-00-00);

ARQUETA DE SAN FELIX - DETALLA DE LA TAPA DONDE SE REPRESENTA LA ENTRADA DE JESUS EN JERUSALEN - REALIZADA EN MARFIL A FINALES DEL SIGLO XI. Location: MONASTERIO DE YUSO. SAN MILLAN DE LA COGOLLA. Rioja. SPAIN.

Paduan 15th Century, Funeral of a Bishop, 15th century Funeral of a Bishop

Garuda surrounded by other Buddhist deities; XVIII-XIX century (1701-00-00-1900-00-00);Krakow, so -called REPWINDING ACTION - collection, Zaleski, Władysław - collection, Buddhist and Hindu art, art of Tibetan Buddhism, purchase (provenance)

Abruzzo Teramo Teramo S. Berardo, Cathedral0. Hutzel, Max 1960-1990 Exterior views mainly of the facade: doors and portal sculpture by Deodatus; also views of the bell tower, crossing, and dome. Interior views of the restored nave (12th century): capitals, low-relief sculpture and holy water basins. Choir (14th century): the roof, a paschal candlestick, and a pulpit; also numerous views of a silver altar (1433-1438) with scenes from the Life of Christ and his Passion. Sacristy: (16th century) an elaborately carved altarpiece, paintings, and wood furniture. Baroque chapel of S. Berardo (17th century): a cupola, niched statues, ornate capitals, pendentive sculptures, an altar with a marble sarcophagus and ciborium, and a reliquary in the shape of an arm. Negatives (but no prints) show a silver bust of S. Berardo from this chapel. Other interior views include a holy water font, the coat of arms of the Bishop Micozzi, crucifix (13th century), rose window, fresco fragments, a large ciborium

Silversmith's art, Italy, 15th century. Silver gilt liturgical object called Pace (Peace) or osculum pacis.

Icon: Old Testament Trinity; Unknown Ruthenian workshop; XVII century (1700-00-00-1800-00-00);

Saint Anthony of Padua early 17th century Spanish. Saint Anthony of Padua. Spanish. early 17th century. Gilt bronze. Medals and Plaquettes

Religious medal with the image of P. Jesus on the cross; Münchheimer, Zygmunt Karol (1787-1875); 1816-1875 (1816-00-00-1875-00-00);

Pax table with the apostle Petrus. A slightly curved vertical plate from ivory, with a gate of two cherted columns on the front on which a double braco-shaped bow rests. In the gate, the apostle Peter, the head to the left is used to the left and in his hands a key and a book. The whole against a shaded background.

. Rear tray of a gospel book of gold-plated buyer and email champlevé. In the middle of the midfield, the blessing Christ is depicted on blue ground with sprinkled stars in a Mandorla; in the corners the four evangelist symbols; On the edge alternating amounts of angels and tendrils, on a blue ground of Émail

Our Lady of the Gate of Dawn. Balcewicz, Franciszek Wacław (fl. ca 1748-1760), graphic artist

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

Roma - Basilica di San Giovanni in Laterano, tomba di Papa Martino V. Unknown

Cross: Crucifixion of Christ; unknown workshop of ancient information; 19th century (1801-00-00-1900-00-00);

John the Baptist with Angels, Artist Unknown Mid 15th Century

Saint. Bertrand from Commings

Triptych with Saint Nicholas and the twelve saints, Anonymous, c. 1800 The object cast in three parts, which was used as a travel icon, consists of a central hatch with a top and two side hatches. The middle part represents Saint Nicholas, the side hatches the twelve saints, the top the head of Christ (the mandilion) Russia copper (metal) casting The object cast in three parts, which was used as a travel icon, consists of a central hatch with a top and two side hatches. The middle part represents Saint Nicholas, the side hatches the twelve saints, the top the head of Christ (the mandilion) Russia copper (metal) casting

Diocletian's Palace, Sveti Duje Cathedral, Door, Detail, Interior View, Roman Catholic Archidiocese of Split-Makarska, Split, Splitsko-Dalmatinska, Croatia, Europe

Gold leather panel with crucifixion, Willem van den Heuvel (attributed to), 1655 - 1660 Panel of gold leather, silver colored, on oak carrier, with the crucified Christ with Mary, John and Mary Magdalena. On a banderole on the cross the letters 'Inri' in Hebrew, the Greek and Latin, to the left of the underside of the cross the inscription Mors Redeviva Piis. Amsterdam, ca. 1658, by Willem van den Heuvel or Jacob Hamer. On the back: in black: L 250 (presumably 18th-century hand) and in red: Cat No 28. Amsterdam leather. drager: oak (wood) Panel of gold leather, silver colored, on oak carrier, with the crucified Christ with Mary, John and Mary Magdalena. On a banderole on the cross the letters 'Inri' in Hebrew, the Greek and Latin, to the left of the underside of the cross the inscription Mors Redeviva Piis. Amsterdam, ca. 1658, by Willem van den Heuvel or Jacob Hamer. On the back: in black: L 250 (presumably 18th-century hand) and in red: Cat No 28. Amsterdam leather. drager: oak (wood

Plaque with the Adoration of Trinity 15th century Spanish. Plaque with the Adoration of Trinity 464452

Pax with the Crucifixion ca. 1360-70 South German The pax, meaning "peace," was a tablet that the priest and faithful kissed before taking Communion. This example depicts the Crucifixion with the Virgin, St. John, Longinus, and Stephaton. A sword, placed like a stream of blood flowing from Christ's wound, pierces Mary's breast. This iconographic motif developed out of meditations of Rhenish Dominican mystics on the sorrow of the Virgin at the death of her son. The copper-gilt frame was probably added in the late 15th century.. Pax with the Crucifixion. South German. ca. 1360-70. Ivory and copper gilt. Ivories

PILA DE AGUA BENDITA COBRE DORADO S XVII. Author: DOMENICO FANCELLI. Location: CATEDRAL-INTERIOR. Toledo. SPAIN.

Pendant jewel depcitng the Incredulity of St. Thomas. Dated 17th Century

Afghanistan, Great goddess amidst animal temple pendant, artifacts from Tillya Tepe find, six tombs of Bactrian nomads

Panagia: Matka Boska "Znamienije" i Starotestamentowa Trójca Święta. Nieznany warsztat ruski, factory

Quadriptych depicting Russian Orthodox Christian Feasts. Russian, Brass castings and enamel (Workshop of the priestless Old Believers 19th Century

Notre Dame de la Salette

FRONTAL DE ALTAR. Location: IGLESIA DE SANTA CRUZ. MEDINA DE RIOSECO. Valladolid. SPANIEN.

Greek school. Triptych of Saint Nicolas. Tempera and gold on wood. 17th century. Museum of Fine Arts of the City of Paris, Petit Palais. Byzantine art, religious art, religious iconography, icon, orthodoxy, religious subject

Panaglia Enkolpian, (Religious medallion), Russian Orthodox, Veliky Novgorod, cross. Cast bronze, 15th-16th century

Figure inscribed with hieroglyphic spells and a magical image of the god Horus, as a child. It is covered with spells for healing and shows the god defeating hostile animals. circa 800 BC

Goldsmith's art, Denmark, 12th century. Golden altar frontal from Lisbjerg near Aarhus, 1125-1150. Detail: enthroned Virgin Mary and Angels.

Plates from the procession cross

Fragment of embroidery; 1. PO. 16th century (1501-00-00-1550-00-00);Adoration of the Child (iconogr.), Christmas (iconogr.), Działyńska, Izabela Elżbieta née Czartoryski (1830-1899) - collection, Jakub Wielkier (Saint), Jan Evangelist (Saint), Cover of shepherds (iconogr.), Embroidery , shines

Buddha Shakyamuni Meditating in the Indrashala Cave top and Buddha Dipankara bottom. Present-day Pakistan; Ancient region of Gandhara. Date: 101 AD-300 AD. Dimensions: 60 × 37.1 × 7.3 cm (23 5/8 × 14 5/8 × 2 7/8 in.). Schist. Origin: Gandhara. Museum: The Chicago Art Institute, Chicago, USA.

Dipankara Jataka (The Story of the Ascetic Megha and the Buddha Dipankara). Culture: Pakistan (ancient region of Gandhara, Swat Valley). Dimensions: H. 8 3/4 in. (22.2 cm); W. 8 3/8 in. (21.3 cm); D. 1 1/2 in. (3.8 cm). Date: ca. 2nd century.In this panel the ascetic Megha (the Buddha Shakyamuni in a past life) appears three times: first, standing before the Buddha Dipankara throwing flowers; second, prostrate before the Buddha spreading his matted locks over mud; and third, flying in the upper left of the panel in a gesture of veneration.This story is the critical beginning of the Gandharan narrative cycle, as the Buddha Dipankara predicts that in a future life Megha will reach enlightenment and become the Buddha Shakyamuni. Museum: Metropolitan Museum of Art, New York, USA.

Byzantine's relief of Mary with child from the St. Paul's Cathedral in Liège, set up at an exhibition on religious objects from the Middle Ages and Renaissance in 1864 in Mechelen, Joseph Maes, 1864 photograph Mechelen photographic support albumen print piece of sculpture, reproduction of a piece of sculpture (+ Byzantine art). Mary standing (or half-length), the Christ-child in front of her, close to her bosom Mechelen

Dipankara Jataka (The Story of the Ascetic Megha and the Buddha Dipankara) ca. 2nd century Pakistan (ancient region of Gandhara, Swat Valley) In this panel the ascetic Megha (the Buddha Shakyamuni in a past life) appears three times: first, standing before the Buddha Dipankara throwing flowers; second, prostrate before the Buddha spreading his matted locks over mud; and third, flying in the upper left of the panel in a gesture of veneration.This story is the critical beginning of the Gandharan narrative cycle, as the Buddha Dipankara predicts that in a future life Megha will reach enlightenment and become the Buddha Shakyamuni.. Dipankara Jataka (The Story of the Ascetic Megha and the Buddha Dipankara) 49809

Mission medal with the image of Jesus: Who wants and Behind me Let the cross Mine wears; 1839 (1839-00-00-1839-00-00);

Italian 15th Century, Pax, Virgin and Child Enthroned with Saints Pax, Virgin and Child Enthroned with Saints

. Under a braceway bow an open stable, in which on the right Maria kneels with the hands before the breast crossed and left Joseph's seat. Between them lies the naked Christ child on a cloth held by two angels. Completely top left God-the-father, whose blessing hand rays on the child. The Holy Spirit in the form of a pigeon flies down in the rays. Among God-the-father a tree, before a kneeling shepherd. On the roof of the stole an angel with a spell belt and one with an incense vessel; Due to an opening in the side wall, the heads of OS and donkey stick. Joseph, in monk trij with a travel staff in the left hand, keep a boiler in the judge. The top edge of the table exhibits a sliced band, wounded around a cord; On the bottom edge the inscription: Gloria in Eccelci'deo.

Icon: W. Nikita killing the devil; unknown workshop of ancient information; 19th century (1801-00-00-1900-00-00);

Gold-Plated Buddha Figures (221 BC - AD 581) at The Capital Museum, Beijing, China

Episode in the life of St Mark, Pala d'Oro (Golden Pall) altarpiece, St Mark's Basilica, Venice. Goldsmith art, Italy, 12th-14th century. Detail.

Crucifixion, anonymous, c. 1375 - c. 1400 Under a three -lobe pointed arch, Maria and John stand on either side of the cross with Christ, who has been twisted to Mary. She raises her right hand and she holds a book in the left hand. John has the right hand for the chest and holds a book in the other hand. France ivory. copper (metal) cutting

Panel of a Portable Shrine 5th-6th century Pakistan (ancient region of Gandhara) The upper panel shows the Buddha's first sermon; the lower one shows him surrounded by figures and a tree.. Panel of a Portable Shrine 38223

Africa, Algeria. God Baal with corn sheath for fertility. Supporters or priests carrying flaming torch and globes, Numidia. 3C. AD.

detail of a freize from the Buddhist monastery of gDan-sa-mthil showing dead dancers. 15th century gilded copper. Tibet (origine)

Follower of Filippo Brunelleschi and Masaccio, Christ Healing the Possessed Boy, c 1450 1460 Christ Healing the Possessed Boy

CRISTIANISMO COPTO. IMPERIO ETIOPE (MONARCAS DE AXUM). Reproducción de una CAPILLA COPTA, realizada en piedra. AXUM. ETIOPIA. AFRICA. Museu Etnològic. Barcelona. Cataluña.

The Man of Sorrows last quarter 14th century Italian A monk and a hooded figure, his back bared so that he can whip himself in penitence, kneel before a dreamlike vision of Jesus rising from his tomb. This plaque, with an inscription naming the society of Saint Dominic, was probably intended for private prayer by a member of a Dominican brotherhood. Focus on the crucified Christ and his suffering was widespread in the 1300s. Pope John XXII (reigned 1316-34) declared that the Imago pietatis should be evoked during the celebration of the Mass. Pope Innocent VI (reigned 1352-62) affirmed that devotion to the Instruments of the Passion would reduce punishment for sin after death; seen here are the vinegar-soaked sponge that was offered to Jesus on the cross and the lance that pierced his side.. The Man of Sorrows. Italian. last quarter 14th century. Champlevé enamel, gilded copper. Enamels-Champlevé

Silversmith's art, Italy, 15th century. Nicola Gallucci da Guardiagrele (1385-1462), processional cross of Saint Maximus, 1434, in silver, enamel and copper. Height 90 cm. Front side. Detail: the Deposition.

The Resurrection by Russian icon / Regional Museum of Fine and Applied Art, Smolensk/ 16th century/ Russia, Novgorod School/ Wood, tempera/ Old Russian Art/ 34x28/ Bible

Valerio Belli, Christ Appearing to the Apostles Christ Appearing to the Apostles

Nuns Badge with the Virgin of the Immaculate Conception Nicolás Rodríguez Juárez Mexican ca. 1710 Pictorial medallions like this one were worn by Conceptionist and Jeronymite nuns in Mexico at the time of their profession and on the occasion of important religious feasts. Worn over the heart, the badge was the visible symbol of the nuns pact with the Virgin Mary, an act that referenced the Song of Solomon (8:6): "put me as a seal upon thy heart." The wearing of such badges by Mexican nuns was a practice that emerged in response to dress restrictions imposed by ecclesiastical authorities. Instructed to wear images of the Virgin of the Immaculate Conception on their habits instead of precious adornments that were condemned as contrary to their vows, some nuns responded by wearing large painted badges, often commissioned from leading artists like Nicolás Rodríguez Juárez. View more. Nuns Badge with the Virgin of the Immaculate Conception. Nicolás Rodríguez Juárez (Mexican, 1667-1734). Mex

5th Stations of the Cross, Simon of Cyrene carries the cross, Carthusian monastery in Pleterje, Slovenia 5th Stations of the Cross, Simon of Cyrene carries the cross, Carthusian monastery in Pleterje, Slovenia Copyright: xZoonar.com/ZvonimirxAtletix 20069441

ICONO RUSO. Location: PRIVATE COLLECTION. MADRID. SPAIN. INFANT JESUS. VIRGIN MARY.

Virgin and Child first half 16th century German, possibly Augsburg. Virgin and Child. German, possibly Augsburg. first half 16th century. Bell metal. Medals and Plaquettes

Keman (Flower Garland” Temple Decoration) ca. 1725 Japan Keman (Sanskrit: kusumamala) literally means garland of flowers,” and refers to pendant decorative disks, usually made of bronze in the shape of a round fan (uchiwa), that are suspended from beams of inner sanctuary of a temple, above a Buddhist statue. They are thought to have their origin in the garlands of fresh flowers that were offered to nobles in ancient India.. Keman (Flower Garland” Temple Decoration) 60014

Holy Family with St. John 16th century Italian. Holy Family with St. John 195683

ARQUETA ESMALTADA DE SANTO DOMINGO DE SILOS - FRONTAL ESMALTADO CON LAS FIGURAS DE JESUS Y LOS APOSTOLES - SIGLO XII-XIII. Location: MUSEO DE BURGOS. BURGOS. SPAIN.

Christ Appearing to Saints Catherine of Alexandria andMercurius. Artist, circle of: George Klontzas, Cretan, 16th century

Frame depicting the Annunciation, Baptism of Christ, Entry into Jerusalem, Saints Cecilia and Catherine of Alexandria, Trinity (Gnadenstuhl, Mercy Seat), and four Music-making Angels, Giovanni di Francesco del Cervelliera (circle of), 1450 - 1460 painting List painted with at the top of the Frisian the proclamation to Mary, at the bottom of the basement the baptism of Christ and the entry into Jerusalem. On either side the saints Cecilia and Catharina and four other musician saints or angels. At the top in the Tympanon a representation of the genade chair. Italy poplar (wood). tempera the announcement of Christ's birth (Luke 1:26-38). entry into Jerusalem: people spreading their clothes before Christ on the ass, and waving palm branches (Matthew 21:1-11, 21:14-16; Mark 11:1-11; Luke 19:28-40; John 12:12-19). God the Father holding the crucifix, 'Gnadenstuhl', Mercy-Seat, Throne of Grace. baptism of Christ in the river Jordan: John the Baptist pouring out water on Christ's head: the Ho

The Sun God Surya() in His Chariot with Wives and Attendants 2nd-1st century B.C. India (West Bengal), The sky deity portrayed here is first mentioned in the Vedic hymns of about 1500 B.C. and was eventually incorporated into the Hindu pantheon.. The Sun God Surya() in His Chariot with Wives and Attendants 65011

Notre Dame de la Bénite Pontaine / Mother of God the Comforter

Cruz Procesional, siglo XV, Iglesia parroquial de Conesa.

Carnavalet museum, Sceaux collection Droit Saint Jacques Standing from the front, bearded, wearing a hat and nimpbed, carrying two tunics and a scholarship to a shell, holding a bumblebee and with the left hand a book; Two winged angels supporting its halo and designating the kneeling pilgrims at the feet of the saint (four on the left and three in must); The latter including two women, wearing hooded coats, some of the headdresses, all a scholarship with one, two or three shells.

Stone temple door Jamb from Bihar, India. Dated 11th Century

Legnica polyptych - right wing of the external - Lower headquarters - obverse: the resurrection of Christ; Reverse: final; Obilman, Miko Aj (Flow. 1453-Ca 1485); 1466 (1466-00-00-1466-00-00);The Risen Christ (iconogr.), Christ as a judge (iconogr.), Legnica, church of St. Peter and Paweł, Obilman, Mikołaj, The Resurrection of Christ (iconogr.), Cities, Medieval Art, Von minutes, Alexander

Christ. Culture: Kongo peoples; Kongo Kingdom. Dimensions: H. 6 3/8 in. (16.2 cm), W. 5 3/4 in. (14.6 cm), D. 1 1/8 in. (2.9 cm). Date: 18th-19th century.Kongo artists carefully studied European devotional artifacts and stylized certain features in their own interpretations. In this figure, cast to be attached to a wooden cross, the length of the arms has been given dramatic emphasis and attention has been devoted to the head and wrapper. Deeply incised parallel lines define the beard, moustache, and braided hair. Museum: Metropolitan Museum of Art, New York, USA.

A Female Saint (possibly Rosalia) second half 18th century probably Bohemia or Lower Austria. A Female Saint (possibly Rosalia). probably Bohemia or Lower Austria. second half 18th century. Colorless nonlead glass. Cut, polished, reverse gilt, painted.. Glass

Cruz Procesional, siglo XV, Iglesia parroquial de Olot, Barcelona.

Head of Christ. Culture: Byzantine. Dimensions: Overall: 22 13/16 x 17 1/2 x 1 3/8 in. (58 x 44.5 x 3.5 cm). Date: 12th century.Byzantine churches were often decorated with shimmering mosaics, portraying events from the life of Christ on their upper walls. This fragmentary head of Christ, with its caring expression, is probably from such a scene. Museum: Metropolitan Museum of Art, New York, USA.

Dress on the image of the Mother of God with the Child Lower law part of the dress of the Mother of God

Ermenegildo Hamerani, Saint Luke Painting the Virgin (reverse), 1704 Saint Luke Painting the Virgin reverse

Medallion from Kryszta Crucifiations; 1616 (1616-00-00-1616-00-00);Maria (Mother of Jesus Christ), Maria Magdalena (Saint), Crucifixion (iconogr.), Angels, former collections of MNW, Saint. Jan Evangelist

Panel from a Portable Shrine: The Descent of the Buddha from Trayastrimsha Heaven 7th-8th century India (Jammu and Kashmir, ancient kingdom of Kashmir), This diminutive panel depicts the Buddhas descent from Trayastrimsha heaven, where he visited to preach the Buddhist gospel (dharma) to his mother, who had died soon after his birth. The three steps below his feet indicate the ladder upon which he descended. This miracle was widely depicted in the early Buddhist world. Here, umbrella and flywhisk bearers attend the Buddha, while airborne celebrants present garlands.. Panel from a Portable Shrine: The Descent of the Buddha from Trayastrimsha Heaven 37413

Gold coin of King Samudra Gupta, 4th century. Artist: Unknown

A Female Saint (possibly Rosalia). Culture: probably Bohemia or Lower Austria. Dimensions: H. 9.4 cm. Date: second half 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Buddhist Sutra Container, 1100s-1200s. Korea, Goryeo period (918-1392). Gilt silver with incised Buddhist designs; overall: 9.5 x 6 x 2.3 cm (3 3/4 x 2 3/8 x 7/8 in.). This container was designed to hold sutras, or Buddhist sacred texts. The Four Heavenly Kings, one for each of the cardinal directions, are incised on the exterior of the container. Images of the Four Heavenly Kings can often be found on Korean containers for sacred relics and sutras, and are symbolic of the wish to preserve the Buddhas teachings.

Embroidery; 1. PO. 16th century (1501-00-00-1550-00-00);Arma Christi (iconogr.), Działyńska, Izabela Elżbieta née Czartoryski (1830-1899) - collection, angels, embroidery, tools of the Passion (iconogr.)

of 2