Religious Plaquettes and Crosses

Intricate metallic religious artifacts including depictions of the Virgin, saints, and angels, showcasing detailed craftsmanship and historical significance.

Icon: Virgin Mary ("Stastnaja"); Unknown Russian workshop (1700-1970); 18th century (1701-00-00-1800-00-00);

Pietà, with the Virgin, Saint John, and an angel ca. 1510 Moderno (Galeazzo Mondella) Italian The plaquette, surmounted by a smaller plaquette with God the Father, is mounted as a pax.. Pietà, with the Virgin, Saint John, and an angel 196744

Icon press to the image of Acheropoietos; Unknown Russian workshop (1700-1970); 18th/19th century (1750-00-00-1850-00-00);Gabriel Archangel (Bible), Jesus Christ, Mandilion (iconogr.), Michael Archangel (Saint), Paul from Tarsus (Saint - -A 66), Piotr the Apostle (Saint - - Ca 64), Angels, Apostles , Archangels, icons, inscriptions, saints

Processional Cross (detail), Parroquia de San Martín, Perelada. 17th century.

Gianfrancesco Enzola, The Virgin and Child with Two Angels The Virgin and Child with Two Angels

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. Back side. Detail: Saint Mark the Evangelist.

Relief with the Deposition, anonymous, c. 1400 - c. 1420 In a sloping landscape, in the middle the cross between those of the two murderers is, of whom the judge with a beard with their backs to Christ has turned. Two men opposed the cross placed ladders are busy transferring the weak overhanging body of Christ to a man standing downstairs, who extends his arms to it. More in the foreground, John Mary stops, who eliminates her arms to Christ. On the far left a holy woman with raised arms, at the foot of the cross another, sitting, as well as in prayer, and Mary Magdalena with her arms raised frontal in front of the cross. To the right of the cross two Pharisees in conversation and behind them a third figure. More in the foreground a half on the back -seen soldier with cash, a second with angular shield, a morning star and a dagger by his side. A soldier, which is visible to the right, holds one foot against the relief. On top of the cross the titulus. The background with a tree on the

French 16th Century, The Nativity, 16th century The Nativity

Watch in the shape of a cross. Watch from rock crystal and gold, in the form of a Latin cross.

Icon: Virgin Mary ("Stastnaja"); Unknown Russian workshop (1700-1970); 18th century (1701-00-00-1800-00-00);

Cross with the imagination of the crucifixion of Christ and the scenes of great church; Unknown workshop of ancient cockle of poppers; 19th century (1801-00-00-1900-00-00);

Guanyin (Avalokiteshvara) Standing before Flaming Aureole and Holding a Water Bottle. China. Date: 501 AD-600 AD. Dimensions: 16.5 × 4.7 × 3.7 cm (6 1/2 × 1 7/8 × 1 1/2 in.). Gilt copper alloy. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

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

Cross - "Ango Great advice"; Unknown Russian workshop (1700-1970); 19th century (1801-00-00-1900-00-00);Angel of the Great Council (iconogr.), Jesus Christ, Mandilion (iconogr.), Angels, inscriptions, crosses, wings

Vajracharya Priests Crown 13th-early 14th century Nepal Elaborate crowns such as this were worn by Vajracarya priests, the highest rank in the Nepalese Buddhist community. The conical crown is unique to Newari Buddhism and embodies a memory of older and now lost Indian Buddhist practices. The term Vajracarya denotes both a caste and a family name, and the designation entitles its holders to perform reserved priestly functions, analogous to the privileges held by Brahmans in Hinduism. This crown is exceptional in its complexity: It is dominated by a series of diadem plaques depicting emanations of the wisdom bodhisattva Manjushri, benign and wrathful. All is surmounted by a five-pronged thunderbolt scepter, or vajra. This unique iconography points to the crown being designed for enacting rites dedicated to invoking Manjushri.. Vajracharya Priests Crown. Nepal. 13th-early 14th century. Gilt-copper alloy inlaid with semiprecious stones, lapis lazuli, and turquoise. Early Malla period. S

Saint Jerome Praying model 16th century (cast 17th century or later) Spanish or Northern Italian The plaquette depicts Saint Jerome in the wilderness, kneeling and holding a crucifix. A lion, an attribute of the saint, lies at his feet. The open book is an allusion to Jerome's role as a biblical scholar and translator of the Bible into Latin (known as the Vulgate). The book is inscribed "S I", for Sanctus Ieronymus. This aftercast has some loss of detail.. Saint Jerome Praying 461377

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

Icon: Unknown Russian workshop (1700-1970); 19th century (1801-00-00-1900-00-00);John the Baptist (Saint), Mikołaj née Lycyska (Saint - Ca 270- Ca 345), icons, inscriptions, wings, saints

Cross

Crozier head, anonymous, c. 1375 - c. 1400 A leafy twig of a vine eagle sprouts from a lion owl sprouts, which turns into a curl and ends in a dragon, the head of which connects to the lower part of the twig with the head with outstanding tongue and the tops of his outstanding wings. The claws of the dragon rest on the shoulders of a bent forward, from the twig -stem -slamming youngsters, who puts the hands in praying position and stands with both feet on the lower jaw of the lion's mouth. In the curl there are Christ with aureool on the cross between Mary and John. The sagging body of Christ has been pouring to Mary who, to him, keeps both hands open. John wears a book and stares with the fingers of the right hand against the chin to Christ. Above the cross against the curvature of the vine and moon. On the downside, Maria and the child stand on the left arm and with a fruit in the right hand, between two hair -bearing angels. The child has put his arm around her shoulders and holds a

Vajracharya Priest's Crown. Culture: Nepal. Dimensions: H. 12 in. (30.5 cm); W. 9 in. (22.9 cm); D. 8 1/4 in. (21 cm). Date: 13th-early 14th century.Elaborate crowns such as this were worn by Vajracarya priests, the highest rank in the Nepalese Buddhist community. The conical crown is unique to Newari Buddhism and embodies a memory of older and now lost Indian Buddhist practices. The term Vajracarya denotes both a caste and a family name, and the designation entitles its holders to perform reserved priestly functions, analogous to the privileges held by Brahmans in Hinduism. This crown is exceptional in its complexity: It is dominated by a series of diadem plaques depicting emanations of the wisdom bodhisattva Manjushri, benign and wrathful. All is surmounted by a five-pronged thunderbolt scepter, or vajra. This unique iconography points to the crown being designed for enacting rites dedicated to invoking Manjushri. Museum: Metropolitan Museum of Art, New York, USA.

Giuseppe Cerbara, Saint Romuald, Founder of the Camaldolese Order (reverse), 1831 Saint Romuald, Founder of the Camaldolese Order reverse

. 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.

Reliquary of Charlemagne. 1215. GERMANY. Aachen. Cathedral. Made in gold, enamel and preicous stones. Gothic art. Jewelry.

Center part of plates from the gravestone of Gijsbert Willemsz. Raet in Gouda. The middle part consists of a triangle placed on a point, the sides of which are broken by accolade bows. On the field a barrevus ranging angel is against a vegetative background and with aure at the head. He holds two coats of arms with the help of belts. The right weapon is shared: 1. In red the holy grave with a Jerusalem Kruis above. 2. A Catharinarad, cross-piercing with two swords. The left weapon: a mislift between two palm branches donated towards each other. On the edge, the following from the Vulgata to Job XVII, 12 and 13 librated in tiny, text: in Tenebris Stra VI Lectulum Meum et Rursum Post Tenebras Spe Ro Lucem (Vert.: In Darkness I spread my bed and after darkness I expect light again). The upper accolade bow is deposited with high.

Morse ca. 1250 French A morse is a clasp attached to a liturgical vestment to prevent the garment from slipping from the shoulders. Gilded copper is at once heavy enough to support the weight of the fabric yet resplendent enough to be suitably ceremonial in appearance.. Morse 464662

Guanyin (Avalokiteshvara) Standing before Flaming Aureole and Holding a Water Bottle 501 CE-600 CE China. Gilt copper alloy .

Fireback proclamation to Mary, Annunciation, hob plate cast iron, cast Bottom rectangular bow at the top showing pomegranate and two dolphins Edge between frame and pearl necklace adorned with leaf motif. In the middle scene of the Annunciation with Mary and angel Background 17th century living room with four-poster bed lectern and triumphal arch living environment interior heating religion Christianity Annunciation bible Mary

Two wings of the prayer triptych: Dymitr, and church images; Unknown Russian workshop (1700-1970); 18th century (1701-00-00-1800-00-00);

Golden book cover of a Carolingian Gospel Book. Cologne, c. 1160-1180. Germany. Gilt silver with enamel, studded with stones. Museum Schnu_tgen. Cologne, Germany.

Fireback biblical representation: David and Saul, Year 1665, cast Rectangular with arch at the top. On top of shell flanked by two dolphins Edge between frame and pearl necklace with leaf decoration. In the middle picture of two men: one with book the other with crown and sword The men are visited by an angel with skull and sword Bottom left stone altar with sacrificed bull In the middle below harp Bottom: HS 1665 living environment interior heating Christianity religion bible king David Saul Jechizkia 2 Chronicles 29

Paduan 15th Century, Madonna and Child with Angels, c 1475 Madonna and Child with Angels

Pius XI (1922 1939), Holy Year 1933

Diptych 1736 Master BP This traveling Diptych is decorated with images of saints which are quiet common to the period of the early Ukrainian baroque.The painter combines old (a somewhat simplified version of the depiction of the Mother of God of the Sign and full inscriptions of the names of the saints) and entirely new language of painting techniques and decorative elements (Roman military attires embellished with strongly pronounced baroque details and obviously individualized characterization of a smooth-faced and young face of Saint Nestor).The text and canonic text abbreviations in Cyrillic are archaically divided into two lines:Line 1: Saint Martyr, Saint Joan, Saint NicolasLine2: Nestor, Warrior, Miracle workerAll inscriptions could be read St. Martyr Nestor, St. Warrior Joan, St. Nicolas Miracle worker.Devotional images of selected saints are frequently found in Russian icon painting. The figures depicted might be patrons saints particularly venerated in a given region. Saint M

Moderno, Madonna and Child Enthroned with Saint Anthony Abbot and Saint Jerome, 1490 Madonna and Child Enthroned with Saint Anthony Abbot and Saint Jerome

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. Back side. Detail: Saint John the Evangelist.

Cruz Procesional, siglo XV. Museo Diocesano de Barcelona.

Cruz Procesional, siglo XV. Museo Diocesano de Barcelona.

Icon: Great Deesis; unknown workshop of ancient information; 18th/19th century (1750-00-00-1850-00-00);Deesis (iconogr.), John the Baptist (Saint), Jesus Christ, Maria (Mother of Jesus Christ), Paul of Tarsus (Saint - - -A 66), Piotr the Apostle (Saint - - Ca 64), Sawwatij Sołowiecki (Saint - -1435), Zosima Sołowiecki (Saint - -1478), Angels, icons, inscriptions, MAFORION (iconogr.)

Domestic altar with the Last Supper, anonymous, c. 1550 The altar is made up of a postament, a square center piece and a main frame, on which a crown with a second main frame and pediment. On the postament, which has been caught in the corners, two columns rest, which carry the main frame with the pilasters behind it. They close the relief with the Last Supper, above and aside in a flat frame. The Supper takes place in a Renaissance interior, of which the back wall shows two images in Nissen, placed between isolated columns, on which the consoles rest for the ceiling. Christ sits on a throne under a semicircular canopy between Peter and John at a set table, which the other apostles are also tied around. He reaches the bread to Judas, who sits opposite him on a Sgabello and holds the stock market in the left hand. In addition to this an apostle on a stool, which bends sideways and grabs the vase with the right hand and holds a crucible in the other. Still others are wrapped in mutual co

Fragment of devotional embroidery hierogram of the Virgin Mary unknown

Báculo pastoral de marfil procedente del ajuar funerario del obispo Arnau de Jardí, siglo XIII. Catedral de Tortosa.

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: Virgin Mary.

LIGNUM CRUCIS EN ESMALTE - SIGLO XVII. Location: CONVENTO DE LAS CLARISAS / MUSEO DE ARTE SACRO. MONFORTE DE LEMOS. LUGO. SPANIEN.

Venetian 16th Century, Madonna and Child with Saint John, mid 16th century Madonna and Child with Saint John

Paduan 15th Century, The Dead Christ between the Virgin and Saint John, 15th century The Dead Christ between the Virgin and Saint John

Giovanni Hamerani, Saint Veronica (obverse), c 1675 Saint Veronica obverse

CETRO DE ORO - SIGLO XVI. Author: ENRIQUE DE ARFE (1475-1545). Location: CATEDRAL DE SAN SALVADOR-INTERIOR. Oviedo. ASTURIAS. SPAIN.

The Vatopedi monastery, Greece , 1918 - Greece - Fernand Cuville - (September) (French - Le monastère de Vatopedi , Grèce). Christianity, monastery, object of worship, accessory, Middle Ages, jewelry, Religion, clothing, art, Turkey, Mont Athos, Vatopedi, Byzantine jewelry

Cruz del Monasterio de Santa María de Vilabertrán, siglo XIV.

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

Angel from the Lid of an Incense Boat ca. 1325-50 Italian This image of the angel Gabrielappearing to the Virgin Mary to announce that she will become the mother of Jesusonce decorated the lid of a boat-shaped vessel used to hold incense. Reversing the standard color scheme of manuscript illumination, the heavenly image of Gabriel is golden, while blue is reserved for highlights and the background.. Angel from the Lid of an Incense Boat 476612

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

Plaque, Silver, Vertical plaque with three registers. At center, the Last Supper at a round table with Christ in the middle; above, sky with two flying angels in the clouds; below, two cherubim holding garland., Italy, late 17th-early 18th century, metalwork, Decorative Arts, Plaque

Venetian 15th Century, Christ Appearing to the Apostles, c 1550 Christ Appearing to the Apostles

Frontal of San Cristobal by Mestre de Soriguerola, 13th Century unknown painter active in low Cerdanya, Catalonia. Dated 13th Century

Byzantine reliquary of 10th century. Religious item brought from the Christian orthodox monastery of Mount Athos in Greece. The Arts of the Middle Ages and at the Period of the Renaissance by Paul Lacroix, 1874

Icon: Covers of the Mother of God and the New Testament Trinity; Unknown Russian workshop (1700-1970); 19th/20th century (1890-00-00-1910-00-00);Andrzej Jurodiwy (Saint-870-Ca 936), Holy Spirit (iconogr.), Epiphanius (Fl. Ca 850-Ca 950), Leon VI philosopher (866-912), Maria (Mother of Jesus Christ), Coars (iconogr. ), Roman Melodos (Saint - -556), Tarasius (Saint - Ca 730-806), Holy Trinity (iconogr.), Zoe (iconogr.), Angels, Evangelists Symbols (iconogr.), Icons, inscriptions, inscriptions, MAFORION (iconogr.), Omoforion (iconogr.), Transfer (provenance)

Pax with the Risen Christ Appearing to the Apostles 1566-77 Probably by Guglielmo della Porta Italian The pax was used liturgically at the ritual kiss of peace.. Pax with the Risen Christ Appearing to the Apostles 197046

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

medallion, Christ crowning Peter and Paul, VI century, Musei Vaticani, State of the Vatican City, Roma, Lazio, Italia.

TAPA DE BIBLIA - NOGAL TALLADO - S XII. Location: CATEDRAL-MUSEO DIOCESANO. GERONA. SPAIN. JESUS. VIRGIN MARY. CRISTO CRUCIFICADO. SAN JUAN EVANGELISTA Y APOSTOL.

Flemish 15th Century, Christ in Tomb with Virgin and Saint John, 15th century Christ in Tomb with Virgin and Saint John

Reliquary Pendant 10th-11th century Byzantine Copper alloy reliquary crosses were popular in the Orthodox world in the Byzantine and post Byzantine centuries. The two halves of the reliquary were joined by a hinge and were meant to be worn on a chain. On the face of this work the crucified Christ appears flanked by the Virgin and John the Evangelist. He wears the colobium, an iconographic type established in the Early Christian centuries. On the reverse, the Virgin Mary (Mother of God) stands in an orant prayer pose with upraised hands. Flanking her on the arms of the cross are medallions with busts of the four evangelists holding their gospels. This face is similar to TR167.3.2017.. Reliquary Pendant. Byzantine. 10th-11th century. Copper alloy. Metalwork-Copper alloy

PILA BAUTISMAL DET BAUTISMO DE CRISTO POR S JUAN. Location: France. JESUS. SAN JUAN BAUTISTA.

Triptych: Crucifixion, resurrection and Our Lady of "Midy"; unknown workshop of ancient information; 19th century (1801-00-00-1900-00-00);Adam (Bible), Ewa (Bible), John the Evangelist (Saint), John theologian (Saint), Jesus Christ, Longin (legend.), Maria (Mother of Jesus Christ), Our Lady iconogr.), The Resurrection of Christ (iconogr.), Setting to the Abyss (iconogr.), Angels, Inscriptions, Crosses, Maphion (iconogr.), Mandorla (iconogr.), Orantki, message (provenance)

Angel Gabriel; Virgin Annunciate; Virgin and Child in Half-Figure among the Clouds. Medium: niello plate. Museum: National Gallery of Art, Washington DC. Author: Italian 15th Century.

Goldsmith's art, France, 13th century. Gold, enamel and precious stones book binding depicting Crucifixion, around 1200.

Two-Sided Pendant with the Archangel Michael and Daniel in the Lions Den 1200 or later Byzantine This personal icon shows the archangel Michael on one side and the prophet Daniel on the other. To the Byzantine faithful, Daniel symbolized the salvation promised to believers.. Two-Sided Pendant with the Archangel Michael and Daniel in the Lions Den 466155

Cruz Procesional, 1415. Iglesia parroquial de Verdú, Lleida.

The Attarouthi Treasure - Chalice 500-650 Byzantine With a youthful Christ with a cruciform halo, a long-haired Saint John the Forerunner, the Virgin Mary in orant pose, and a saint holding a Gospel bookInscribed in Greek: Of Saint John of the village of Attarouthis 1986.3.8 Chalices were used for offering the Eucharistic wine to the entire congregation during the Divine Liturgy.. The Attarouthi Treasure - Chalice 466142

Bishop figure, St. Afra Catholic Parish Church, Betzigau, Allgaeu, Bavaria, Germany, Europe

Liturgical devices of the Middle Ages, antependium, panel for covering the front of the altar, Germany, digitally restored reproduction of an original...

Manuscript Cover Interior with Mahasiddhas, Bodhisattvas, and Protectors ca. late 14th century Tibet The scene on this vibrant red manuscript cover would only have been visible to monastic practitioners reading the enclosed text. The top row features the fierce protector Mahakala, followed by four mahasiddhas (quasi-mythic tantric masters) and, finally, the goddess Tara, who holds her hand in a gesture of giving (varada mudra). The figures on the bottom are all auspicious and include another version of Tara, Jambala (the god of wealth), and four bodhisattvas. Together, this set of deities empowered and protected the manuscript.. Manuscript Cover Interior with Mahasiddhas, Bodhisattvas, and Protectors. Tibet. ca. late 14th century. Distemper and gold on wood. Paintings

Benedictory cross, by Byzantine Work, 16th Century, carved wood, gold and silver, enamels, coral and pearls, stones. Italy: Umbria: Perugia: Assisi: Treasury Museum of San Francesco Basilica. Detail. Upper part cross carved wood gold light blue/azure rinceaux birds episodes Gospel scenes

Austria, Klosterneuburg Convent. Noah's Ark, the dove returns. Verduner Altar. 12th cent.

After Giuliano di Scipione, Paul II (Pietro Barbo, 1417 1471), Pope 1464 (obverse), 1470 Paul II (Pietro Barbo, 1417-1471), Pope 1464 obverse

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. Back side. Detail: Saint Matthew the Evangelist.

Museum of the Orient. Way of the cross. 4th Station: Jesus meets His Mother. Lisbon. Portugal.

Devotional gutter

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

Reliquary in the form of a triptych, anonymous, c. 1400 - 1410 Triptych of gold and email. In the center of Christ, as a man of sorrows. On the shutters on the inside, John the Evangelist and Maria. On the outside, John the Baptist and St. Catharina. Paris gold (metal). casting / engraving Triptych of gold and email. In the center of Christ, as a man of sorrows. On the shutters on the inside, John the Evangelist and Maria. On the outside, John the Baptist and St. Catharina. Paris gold (metal). casting / engraving

Square with Christ for Pilate. Square, round, stained glass presentation in Sepia and Yellow of Christ for Pilate.

Chalice of Peter of Sassoferrato ca. 1341-42 Italian This opulent chalice, with richly colored and exquisitely drawn enamels, represents the Crucifixion, the Virgin, and Saints John the Evangelist, Louis of Toulouse, John the Baptist, and Anthony of Padua (). Seraphim decorate the spandrels and collar above. On the knop are Saints Michael, Francis, Mary Magdalene (), Catherine of Alexandria (), and Elizabeth of Hungary (). The inscription refers to the donor, Brother Peter of the Penitentiary, and the town of Sassoferrato in Umbria (Marche) and warns that the chalice should not be sold or destroyed. Brother Peter was appointed to the Sacred Order of the Penitentiary by Pope Benedict XII in December 1341. The cup is a replacement, perhaps of the fifteenth century.. Chalice of Peter of Sassoferrato. Italian. ca. 1341-42. Silver-gilt, translucent enamels. Made in Siena, Italy. Metalwork-Silver

Sculpture group. The seven Buddhas of the past, resting on the ends of stylized tendrils.

. Square, silver plaque with shallow stealed representation of Christ sat on a sarcophagus flanked by two angels. Originally the plaque has been covered with translucid email.

Silversmith's art, 13th century. Silver gilt processional cross, made by a goldsmith from Casamari Abbey (Lazio Region) under Abbot Giovanni Bove, 1291. Front side. Detail, Saint John.

Fides (belief); Seven virtues. Elongated, from above rounded, Loden plaque with symbols imagined women's figure with attribute representative fides (belief). A woman is used to left for a river landscape with buildings and trees. She looks at the Crucifix in her right hand, in her left hand she holds an open book.

John Paul II / Our Lady of Częstochowa

Nicolas Gabriel Jacquet, Justice and Piety at an Altar (reverse), 1601 Justice and Piety at an Altar reverse

Angels Victorian Christmas Card

Reliquary Casket of Saints Adrian and Natalia 1100-1200 Spain. This rare casket was made to contain the sacred relics of Saint Adrian. It was fashioned like a miniature tomb, complete with a tiled roof and Romanesque columns. Adrian was revered as the patron saint of soldiers and a protector against the plague. A Roman officer in charge of the persecution of Christians, Adrian so admired the virtues of those whom he oppressed that he converted to their faith. After declaring himself a Christian, Adrian was arrested and brutally martyred in the early fourth century. Unflinchingly illustrated on the sides of this reliquary (and reinforced by the inscription) is the story of Adrianís trial, his dismemberment, and the transport of his remains to a city near Constantinople by his devoted wife, Saint Natalia.The casketís design was hammered out from the reverse on thin sheets of silver, a technique called repoussÈ. The figures were reduced to simple, monumental forms composed of convex bulge

Holy Ampoule was a glass vial which, from its first recorded use by Pope Innocent II for the anointing of Louis VII in 1131 to the coronation of Louis XVI in 1774, held the chrism or anointing oil for the coronation of the kings of France, Europe. Old 19th century engraved illustration from Histoires de l'Ancien Temps 1889

Wing with St. Judyta and Kirył, Katarzyna, Paraskawa and Barbara and two Saints (fragment of the triptych) unknown

Consecration of the Church of St. Joseph in Mikołajewo. Meissner, Jan (1866-1905), creator, Gerlach i Meissner (Warszawa ; zakład medalierski ; fl. ca 1886-1910), creator

Chromolithograph by F. Dreher depicting a golden thurible made by the order of Tsar Feodor Alekseevich. The thurible is housed in the Arkhangel'skii Cathedral in Moscow. The artwork dates from 1849 to 1853 and was published by Tip. A. Semena in Moscow

Shah of the Cross; Konrad von Jungingen (Grand Master; 1393-1407); 1393-1407 (1393-00-00-1407-00-00);

PALIA DEL S XVII EN ORO Y ESMALTES. Location: IGLESIA DE SAN MATEO. TARIFA. Cadiz. SPAIN.

Torah presented by the Jewish community of Alkmaar in Holland. This object would sit on the top of the torch covering before it was taken from the ark to be read in the synagogue. Dated 1883.

Shah of the Cross; Jan von Tiefen (Grand Master; 1489-1497), Wesner, Hans (Flow. 1480-); 1489-1497 (1489-00-00-1497-00-00);

Crucified Christ. Culture: South Netherlandish. Dimensions: Overall: 3 13/16 x 3 7/16 x 11/16 in. (9.7 x 8.8 x 1.7 cm). Date: ca. 1160.The base for the cross is decorated with images of the four evangelists, shown as they write the Gospels. Their symbols--angel, lion, ox, and eagle--appear to the right of each. Such crosses were common on altars in the eleventh and twelfth centuries, and elaborate examples became a specialty of goldsmiths working in the area of the Meuse valley. Museum: Metropolitan Museum of Art, New York, USA.

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