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RF2R6FF2T–The Baroque Stockalper Palace or Stockalperpalast, built in the 1600s at Brig, near the foot of the Simplon Pass, in Valais Canton, Switzerland. Its exterior is austere and has minimal ornamentation.
RF2R6FF2K–The Baroque Stockalper Palace or Stockalperpalast, its three square towers each topped by a gilded onion dome, at Brig in Valais Canton, Switzerland. Built in the 1600s by fabulously wealthy entrepreneur, Kaspar Stockalper, the palace was the largest secular building in Switzerland at the time of its construction.
RF2R6FF2F–One of three square towers, each topped by a gilded onion dome, of the Stockalper Palace or Stockalperpalast at Brig in Valais Canton in alpine southern Switzerland. The palace was built in the 1600s by a fabulously wealthy entrepreneur, Kaspar von Stockalper, and the onion domes were once said to have been covered in gold to proclaim Stockalper’s immense riches.
RF2R6FF27–Gilded onion dome on one of the towers of the Stockalper Palace or Stockalperpalast at Brig in Valais Canton in alpine southern Switzerland. The palace was built in the 1600s by a fabulously wealthy entrepreneur, Kaspar von Stockalper, and the onion dome (one of three) was once said to have been covered in gold to proclaim Stockalper’s immense riches.
RF2R6FF20–Three square towers, each topped by a gilded onion dome, of the Stockalper Palace or Stockalperpalast, built in the 1600s at Brig in Valais Canton in alpine southern Switzerland. The domes were once said to be covered with gold; however, in the 1800s they were described by John Ruskin as covered with sheets of tin tarnished yellow.
RF2R6FF1P–The Stockalper Palace or Stockalperpalast at Brig in Valais Canton in alpine southern Switzerland. This Baroque palace was built in the 1600s by a fabulously wealthy entrepreneur, Kaspar Stockalper. Its three square towers, each topped with a gilded onion dome, are each named after one of the Three Wise Men or Biblical Magi. Of course, the tallest tower is named “Kaspar” or “Caspar”.
RF2R5YK1A–Farmsteads overlooking the pond and village green in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJTE–Pointed gables of properties in Holašovice, South Bohemia, Czech Republic or Czechia, reflected in the still water of a pond on the village green. Holašovice is a well-preserved example of a traditional Central European village with a ground plan dating from the Middle Ages and a number of 1700s AD and 1800s AD vernacular buildings in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJXK–Gable of farmer’s house built in 1861 in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK56–Row or terrace of 19th century farmers’ houses in Holašovice, South Bohemia, Czechia or Czech Republic. Holašovice is a well-preserved example of a traditional Central European village with many houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK0E–Stucco decoration on front of house in Holašovice, South Bohemia, Czech Republic or Czechia, displays the date of the house’s foundation, 1855. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJT8–Pointed gables of farmsteads in Holašovice, South Bohemia, Czech Republic or Czechia, reflected in the still water of a pond on the village green. Holašovice is a well-preserved example of a traditional Central European village with a ground plan dating from the Middle Ages and a number of 1700s AD and 1800s AD vernacular buildings in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK14–Decorated front of house dated 1943 in Holašovice, South Bohemia, Czech Republic or Czechia, a traditional village included in the UNESCO World Cultural Heritage List.
RF2R5YK1M–Farmsteads beside the pond and village green in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK3R–Houses or farmsteads, with the years they were built displayed on their facades, in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJX4–Stucco decoration featuring the year of the property’s foundation, 1852, on house gable in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YKF2–Historic houses in evening sunshine in Holašovice, South Bohemia, Czechia or Czech Republic. Holašovice is a well-preserved example of a traditional Central European village with many houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK7B–Beware of the dog sign on locked wide entrance in Holašovice, South Bohemia, Czechia or Czech Republic. Holašovice is a well-preserved example of a traditional Central European village with many houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJWF–Facade of farmstead in Holašovice, South Bohemia, Czech Republic or Czechia, reflected in the still water of a pond on the village green. Holašovice is a well-preserved example of a traditional Central European village with a ground plan dating from the Middle Ages and a number of 1700s AD and 1800s AD vernacular buildings in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK3Y–House with the year it was built, 1831, displayed on its gable. In Holašovice, South Bohemia, Czech Republic or Czechia, a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK0X–Stucco decoration on house in Holašovice, South Bohemia, Czech Republic or Czechia, indicates the profession of the farmer owner as well as giving the date the property was built, 1861. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK5D–Houses in historic village of Holašovice, South Bohemia, Czechia or Czech Republic. Holašovice is a well-preserved example of a traditional Central European village with many houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJXA–Stucco decoration on house gable in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJWW–This image has been rotated by 180 degrees. Houses in Holašovice, South Bohemia, Czech Republic or Czechia, reflected in the still water of a pond on the village green. Holašovice is a well-preserved example of a traditional Central European village with a ground plan dating from the Middle Ages and a number of 1700s AD and 1800s AD vernacular buildings in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK33–Date of 1855 and other stucco decoration on front of house in Holašovice, South Bohemia, Czech Republic or Czechia, displays the date of the house’s foundation, 1855. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK0A–Gable of farmer’s house built in 1855 in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK41–Stucco decoration on facade of house indicates the owner’s profession of farmer as well as displaying the date the house was built, 1852, and the owner’s initials. In Holašovice, South Bohemia, Czech Republic or Czechia, a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque.
RF2R5YK0P–Stucco decoration on farmer’s house displays date built, 1861, in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJT5–This image has been rotated by 180 degrees. Pointed gables of farmsteads in Holašovice, South Bohemia, Czech Republic or Czechia, reflected in the still water of a pond on the village green. Holašovice is a well-preserved example of a traditional Central European village with a ground plan dating from the Middle Ages and a number of 1700s AD and 1800s AD vernacular buildings in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK05–Stucco decoration featuring the year of the property’s foundation, 1863, on house gable in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YK50–Decorated facades and vibrant red roofs of 19th century farmers’ houses in Holašovice, South Bohemia, Czechia or Czech Republic. Holašovice is a well-preserved example of a traditional Central European village with many houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJTD–This image has been rotated by 180 degrees. Pointed gables of properties in Holašovice, South Bohemia, Czech Republic or Czechia, reflected in the still water of a pond on the village green. Holašovice is a well-preserved example of a traditional Central European village with a ground plan dating from the Middle Ages and a number of 1700s AD and 1800s AD vernacular buildings in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJXE–Stucco decoration featuring the year of the property’s foundation, 1861, on house gable in Holašovice, South Bohemia, Czech Republic or Czechia. Holašovice is a well-preserved example of a traditional Central European village with many farmers’ houses rebuilt in the 1800s AD in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R5YJWN–Window boxes and pointed gable of farmstead in Holašovice, South Bohemia, Czech Republic or Czechia, reflected in the still water of a pond on the village green. Holašovice is a well-preserved example of a traditional Central European village with a ground plan dating from the Middle Ages and a number of 1700s AD and 1800s AD vernacular buildings in a style known as South Bohemian Folk Baroque, Rural Baroque or Rustic Baroque. In 1997 the village was included in the UNESCO World Cultural Heritage List.
RF2R526E6–Madonna wearing a crown and Christ Child with cruciform halo. Among hastily painted frescoes decorating the interior of medieval tombs in the Cathedral of St Saviour, Bruges, West Flanders, Belgium. The idea was that these paintings would be the first thing the person would see when they arose from the dead. The frescoes were discovered during 1989-1993 restoration work and are now displayed, still in situ, under glass in the west porch of the cathedral.
RF2R526EG–Madonna and red-robed Christ Child. Among hastily painted frescoes decorating the interior of medieval tombs in the Cathedral of St Saviour, Bruges, West Flanders, Belgium. The idea was that these paintings would be the first thing the person would see when they arose from the dead. The frescoes were discovered during 1989-1993 restoration work and are now displayed, still in situ, under glass in the west porch of the cathedral.
RF2R526BN–Christ nailed to the cross, painted in haste to greet soul of departed on rising from the dead. Among frescoes decorating the interior of medieval tombs, discovered during 1989-1993 restoration work. The frescoes are now displayed, still in situ, under glass in the west porch of the Cathedral of St Saviour, Bruges, West Flanders, Belgium.
RF2R52670–Baldwin III of Anjou, King of Jerusalem, gives relic of Holy Blood to Thierry of Alsace, Count of Flanders, in 1148, in return for the Count's heroism during the Second Crusade. Depicted in 1800s stained glass in the Chapel of the Holy Blood, the upper chapel of the Heilig Bloed Basiliek or Basilica of the Holy Blood in the Burg, Bruges, West Flanders, Belgium.
RF2R526DF–Madonna and Child close view. Among hastily painted frescoes decorating the interior of medieval tombs in the Cathedral of St Saviour, Bruges, West Flanders, Belgium. The idea was that these paintings would be the first thing the person would see when they arose from the dead. The frescoes were discovered during 1989-1993 restoration work and are now displayed, still in situ, under glass in the west porch of the cathedral.
RF2R52679–Angel in red, painted in haste to greet soul of departed on rising from the dead. Among frescoes decorating the interior of medieval tombs, discovered during 1989-1993 restoration work. The frescoes are now displayed, still in situ, under glass in the west porch of the Cathedral of St Saviour, Bruges, West Flanders, Belgium.
RF2R5267E–Christ on the cross with Saint Mary and Saint John, painted in haste to greet soul of departed on rising from the dead. Among frescoes decorating the interior of medieval tombs, discovered during 1989-1993 restoration work. The frescoes are now displayed, still in situ, under glass in the west porch of the Cathedral of St Saviour, Bruges, West Flanders, Belgium.
RF2R526CD–Blessing Christ depicted as Salvator Mundi with a globe. Among hastily painted frescoes decorating the interior of medieval tombs in the Cathedral of St Saviour, Bruges, West Flanders, Belgium. The idea was that these paintings would be the first thing the person would see when they arose from the dead. The frescoes were discovered during 1989-1993 restoration work and are now displayed, still in situ, under glass in the west porch of the cathedral.
RF2R526A7–Crucifixion of Christ witnessed by Saint Mary and Saint John. Among hastily painted frescoes decorating the interior of medieval tombs in the Cathedral of St Saviour, Bruges, West Flanders, Belgium. The idea was that these paintings would be the first thing the person would see when they arose from the dead. The frescoes were discovered during 1989-1993 restoration work and are now displayed, still in situ, under glass in the west porch of the cathedral.
RF2R52675–The Crucified Christ flanked by Saint Mary and Saint John. Among hastily painted frescoes decorating the interior of medieval tombs in the Cathedral of St Saviour, Bruges, West Flanders, Belgium. The idea was that these paintings would be the first thing the person would see when they arose from the dead. The frescoes were discovered during 1989-1993 restoration work and are now displayed, still in situ, under glass in the west porch of the cathedral.
RF2R5266R–Scourging of Christ and Crucifixion. Depicted in 1800s stained glass in the Chapel of the Holy Blood, the upper chapel of the Basilica of the Holy Blood in Bruges, West Flanders, Belgium.
RF2R526CX–Enthroned and red-robed Madonna with Christ Child, painted in haste to greet soul of departed on rising from the dead. Among frescoes decorating the interior of medieval tombs, discovered during 1989-1993 restoration work. The frescoes are now displayed, still in situ, under glass in the west porch of the Cathedral of St Saviour, Bruges, West Flanders, Belgium.
RF2R5266J–Saint Francis of Assisi receiving the stigmata. Depicted in stained glass in a church dedicated to St Elizabeth of Hungary, the Begijnhofkerk Sint Elisabeth, which serves the Béguinage or Begijnhof, a walled religious house, in Bruges, West Flanders, Belgium.
RF2R3C784–In the historic port of Honfleur in Calvados, Normandy, France, at the entrance to the Vieux Bassin, a white Christmas tree stands sentinel beside the Lieutenance, a group of buildings incorporating the former residence of the King’s Lieutenant. The Lieutenance also incorporates vestiges of medieval ramparts built to defend Honfleur in the 1200s and 1300s, including remnants of the Porte de Caen, one of the town’s two medieval gateways. The Vieux Bassin was begun in 1668 as a new harbour for Honfleur.
RF2R3C7N1–The Quai Sainte-Catherine beside the Vieux Bassin at Honfleur, Calvados, Normandy, France, where distinctive tall and narrow houses dating from the 1600s and 1700s form a backdrop to yachts moored in the harbour. The Vieux Bassin (Old Basin, Harbour or Dock) was begun in 1668 as a new harbour for Honfleur.
RF2R3C7KM–Tall and narrow tile-hung townhouses line the Quai Sainte Catherine in the town of Honfleur in Calvados, Normandy, France, The 17th and 18th century houses are dominated by the roof of an historic church, the Église Sainte-Catherine, which rises behind. This image was captured from the other side of the Vieux Bassin (Old Basin, Harbour or Dock), begun in 1668 as a new harbour for Honfleur.
RF2R3C7MK–Yachts moored in the Vieux Bassin at Honfleur, Calvados, Normandy, France, against a backdrop of tall and narrow houses dating from the 1600s and 1700s that line the Quai Sainte-Catherine. The Vieux Bassin (Old Basin, Harbour or Dock) was begun in 1668 as a new harbour for Honfleur.
RF2R3C7M1–Reflected in water ruffled by a winter breeze, tall and narrow houses dating from the 1600s and 1700s that line the Quai Sainte Catherine, beside the Vieux Bassin, in the town of Honfleur in Calvados, Normandy, France, The Vieux Bassin (Old Basin, Harbour or Dock) was begun in 1668 as a new harbour for Honfleur.
RF2R3C7M8–In Honfleur, Calvados, Normandy, France, tall and narrow houses dating from the 1600s and 1700s line the Quai Sainte-Catherine and form the backdrop to yachts moored in the Vieux Bassin (Old Basin, Harbour or Dock), begun in 1668 as a new harbour for Honfleur.
RF2R3C7DX–In Honfleur in Calvados, Normandy, France, tile-hung townhouses lining the Quai Sainte Catherine are dominated by the roof of an historic church, the Église Sainte-Catherine, which rises behind. This image was captured from the other side of the Vieux Bassin (Old Basin, Harbour or Dock), begun in 1668 as a new harbour for Honfleur.
RF2R30XW3–Built in the late 1100s in Provençal Romanesque style, the Pont d’Avignon or Pont Saint-Bénézet, a medieval bridge over the River Rhône. On the left is the Saint-Bénézet or Saint Nicholas chapel, also built in the 1100s but redesigned later. At Avignon, capital of the Vaucluse department in the Provence-Alpes-Côte-d’Azur region of France. The bridge is listed as a World Heritage Site by UNESCO. This photograph was shot on an early July morning, between 7am and 8am.
RF2R30XR7–The Pont d’Avignon or Pont Saint-Bénézet, a medieval bridge over the River Rhône at Avignon, capital of the Vaucluse department in the Provence-Alpes-Côte-d’Azur region of France. On the left is the Saint-Bénézet or Saint Nicholas chapel. Both the Pont d’Avignon and its chapel were built in the late 1100s in the Provençal Romanesque style, although the chapel was re-designed later. The bridge is listed as a World Heritage Site by UNESCO. This photograph was shot on an early July morning, between 7am and 8am.
RF2R30XWE–The ruined Pont d’Avignon or Pont Saint-Bénézet, a medieval bridge over the River Rhône where only four arches out of an original 22 have survived, the rest swept away by floods or destroyed in war. At Avignon, capital of the Vaucluse department in the Provence-Alpes-Côte-d’Azur region of France. This photograph was shot on an early July morning, between 7am and 8am.
RF2R30XW7–The Saint-Bénézet or Saint Nicholas chapel on the Pont d’Avignon, a medieval bridge over the River Rhône at Avignon, capital of the Vaucluse department in the Provence-Alpes-Côte-d’Azur region of France. Both the chapel and bridge were built in the late 1100s but the chapel was redesigned later. This photograph was shot on an early July morning, between 7am and 8am.
RF2R30XWK–Tourists and sightseers on a July afternoon on the Pont d’Avignon or Pont Saint-Bénézet, a medieval bridge over the River Rhône, with some stopping to view the Saint-Bénézet or Saint Nicholas chapel. Both the chapel and bridge were built in the late 1100s in Provençal Romanesque style, but the chapel was redesigned later. At Avignon, capital of the Vaucluse department in the Provence-Alpes-Côte-d’Azur region of France.
RF2R30XTG–An important crossing of the River Rhône in the middle ages, the Pont d’Avignon or Pont Saint-Bénézet, built in the 1100s. On the left is the Saint-Bénézet or Saint Nicholas chapel, also built in the 1100s but redesigned later. At Avignon, capital of the Vaucluse department in the Provence-Alpes-Côte-d’Azur region of France. The bridge is listed as a World Heritage Site by UNESCO. This photograph was shot on an early July morning, between 7am and 8am.
RF2R30XRC–The medieval Pont d’Avignon or Pont Saint-Bénézet over the River Rhône with, on the left, the Saint-Bénézet or Saint Nicholas chapel. Both the bridge and chapel were built in the late 1100s in Provençal Romanesque style, although the chapel was re-designed later. At Avignon, capital of the Vaucluse department in the Provence-Alpes-Côte-d’Azur region of France. The bridge is listed as a World Heritage Site by UNESCO. This photograph was shot on an early July morning, between 7am and 8am.
RF2R2DC77–Face of an angel with blue eyes. Renaissance fresco in the Cathédrale St.-Lazare d’Autun (Cathedral of Saint Lazarus of Autun), founded circa 1120 AD at Autun, Saône-et-Loire, Bourgogne-Franche-Comté, France.
RF2R2DC6K–Weeping angel with golden wings and gold-flecked hair. Renaissance fresco in the Cathédrale St-Lazare d’Autun (Cathedral of Saint Lazarus of Autun), founded circa 1120 AD at Autun, Saône-et-Loire, Bourgogne-Franche-Comté, France.
RF2R2DC72–Face of an angel with downcast eyes. Renaissance fresco in the Cathédrale St.-Lazare d’Autun (Cathedral of Saint Lazarus of Autun), founded circa 1120 AD at Autun, Saône-et-Loire, Bourgogne-Franche-Comté, France.
RF2R2DC68–Golden stars stud the blue-painted face of this one-handed astronomical clock of 1751, painted on stone under an ogee-arched Gothic canopy. On an exterior wall of the Cathédrale St-Lazare d’Autun (Cathedral of Saint Lazarus of Autun), founded circa 1120 AD at Autun, Saône-et-Loire, Bourgogne-Franche-Comté, France. This clock replaced a much older clock of 1484.
RF2R2DCAW–Marble effigy of Anne Guéniot on the tomb she shares with her husband, French statesman Pierre Jeannin (1542 - 1622), an adviser to King Henri IV. In the Cathédrale St.-Lazare d’Autun (Cathedral of Saint Lazarus of Autun), founded circa 1120 AD at Autun, Saône-et-Loire, Bourgogne-Franche-Comté, France.
RF2R2DC6R–An angel with downcast eyes, wearing both right-handed and left-handed swastikas. Renaissance fresco in the Cathédrale St-Lazare d’Autun (Cathedral of Saint Lazarus of Autun), founded circa 1120 AD at Autun, Saône-et-Loire, Bourgogne-Franche-Comté, France.
RF2R258B4–Matera, Basilicata, Italy, founded in about 250 BC, where troglodytes lived in two ‘underground cities’, together known as the Sassi di Matera, that were later joined by rock-hewn churches.
RF2R25AP0–Matera, Basilicata, Italy, founded in about 250 BC, where the cave dwellings of two ‘underground cities’, known as the Sassi di Matera, have been enhanced by new facades and roof terraces.
RF2R254JM–Sunlight on the Sasso Barisano, one of two ‘underground cities’ in Matera, Basilicata, Italy. Troglodyte dwellings have been re-faced and transformed, many with the addition of conventional facades and roof terraces.
RF2R257KB–Matera, Basilicata, Italy, founded in about 250 BC, where troglodyte homes were cut in two underground cities, Sasso Caveoso and Sasso Barisano, together known as the Sassi di Matera.
RF2R25ADM–Matera, Basilicata, Italy, founded in about 250 BC, where troglodyte dwellings were cut in two ‘underground cities’, together known as the Sassi di Matera. Today, the Sassi attract tourists and many cave dwellings have been enhanced, for example with the addition of new frontages, and are inhabited.
RF2R253WC–The Sasso Barisano, one of two ‘underground cities’ in Matera, Basilicata, Italy. Troglodyte dwellings have been re-faced and transformed, many with the addition of conventional facades and roof terraces.
RF2R259YP–Matera, Basilicata, Italy, founded in about 250 BC, where cave dwellings were cut in two ‘underground cities’, together known as the Sassi di Matera, later joined by rock-hewn churches. The Sassi have been regenerated by tourism and many cave dwellings have been sensitively converted into private homes and holiday apartments.
RF2R2568X–Matera, Basilicata, Italy, where troglodyte homes cut in two underground cities, the Sasso Caveoso and Sasso Barisano, together known as the Sassi di Matera, were later joined by rock-hewn Christian churches and chapels.
RF2R0BM02–Edward Sackville (1591-1652), 4th Earl of Dorset, Lord Chamberlain to the French wife of King Charles I of England, Queen Henrietta Maria. After the trial and execution of King Charles I in 1649, Dorset was said never to have left his house in Fleet Street, London, until his own death. Square detail of engraving created in the 1700s by Michael Vandergucht (1660-1725), after a portrait by Sir Anthony Van Dyck.
RF2R0BGB1–Philip Herbert (1584-1650), 4th Earl of Pembroke, whose Puritan sympathies prompted him to support Parliament during the English Civil War and who was re-installed as Chancellor of Oxford University after Parliament’s victory. Square detail of an engraving created in the 1700s by George Vertue (1683-1756), after a portrait by Sir Anthony van Dyck (1599-1641).
RF2R0BN56–Photograph taken in the 1930s of Beck Isle Cottage, also known as The Thatched Cottage, in Thornton-le-Dale, Yorkshire, England. The cottage was built in the 1600s of cruck construction. In this image, the thatch is rotten and the roof in need of re-thatching. Bushes and grass appear to be growing out of the roof ridge.
RF2R0BMEX–William Fiennes (1582-1662), 1st Viscount Saye & Sele, English Puritan, parliamentarian and privy counsellor, who earned the nickname 'Old Subtlety' for intrigue against the Crown prior to the English Civil War but, after the restoration of King Charles II in 1660, served as Lord Privy Seal. Square detail of an engraving created in the 1700s and used in the 1740 edition of Clarendon's Rebellion, the 'History of the Rebellion and Civil Wars in England' by Edward Hyde, Secretary of State for Foreign Affairs to King Charles I, who was later raised to the peerage as 1st Earl of Clarendon.
RF2R0BH8B–Henry Burton (1578-1648), English Puritan and radical preacher who, in 1637, was placed in a pillory and had his ears cut off. In a sermon that Burton preached in 1636, he called bishops ‘caterpillars’ and ‘anti-christian mushrumps’. Square detail of an engraving used in the 1740 edition of 'History of the Rebellion and Civil Wars in England' by Edward Hyde (1609-1674), raised to the peerage as 1st Earl of Clarendon.
RF2R0BHW0–Thomas Howard (1585-1646), 14th Earl of Arundel, 4th Earl of Surrey, and 1st Earl of Norfolk, an English patron of the arts known as the 'collector earl'. On the eve of the first English Civil War, in 1642, the earl’s Roman Catholic sympathies prompted him into self-imposed exile. After donating £54,000 to the king's cause, he ended his days living in a villa near Padua, Italy. Square detail of an engraving created in the 1700s after a portrait by Sir Anthony Van Dyck (1599-1641).
RF2R0BGPK–Sir Thomas Coventry (1578-1640), 1st Baron Coventry, Lord Keeper of the Great Seal of England from 1625 to 1640 and firm supporter of King Charles I in the run-up to the English Civil War. Square detail of an engraving created in the 1700s by Michael Vandergucht (1660-1725), after a portrait by Cornelius Johnson (1593-1661).
RF2PYTN6N–William Prynne (1600-1669), an English Puritan who published tracts criticising the Anglican church and, in 1637, was placed in a pillory and had his ears cut off for attacking the views of the Archbishop of Canterbury. Square detail of engraving used in the 1740 edition of 'History of the Rebellion and Civil Wars in England' by Edward Hyde (1609-1674), raised to the peerage as 1st Earl of Clarendon.
RF2PYTXD5–Edward Montagu (1602-1671), Baron Kimbolton and 2nd Earl of Manchester, Major-General of Parliament's Eastern Army in the first English Civil War and Parliament's Supreme Commander at the 1644 Battle of Marston Moor. Square detail of engraving created in the 1700s by Michael Vandergucht (1660-1725).
RF2PYTRXX–Richard Weston (1577-1635), 1st Earl of Portland, Chancellor of the Exchequer under two Stuart kings, James I of England and VI of Scotland and Charles I. Square detail of engraving created in the 1700s by George Vertue (1683-1756), after a portrait by Sir Anthony Van Dyck (1599-1641), and used in the 1740 edition of 'History of the Rebellion and Civil Wars in England' by Edward Hyde (1609-1674), raised to the peerage as 1st Earl of Clarendon.
RF2PYTTGY–English Civil War turncoat: Henry Rich (1590-1649), 1st Earl of Holland, an English Peer, courtier and soldier who changed sides twice during the English Civil Wars. Square detail of engraving created in the 1700s, after a portrait by Sir Anthony Van Dyck (1599-1641), and used in the 1740 edition of 'History of the Rebellion and Civil Wars in England' by Edward Hyde (1609-1674), raised to the peerage as 1st Earl of Clarendon.
RF2PYTPHR–Queen Elizabeth I of England (1533 - 1603). Square detail of engraving created in the 1700s by Michael van der Gucht (1660-1725), after a portrait by Sir Anthony More (c. 1520 - c. 1576).
RF2PYTRCW–John Bastwick (1593-1654), an English Puritan who published anti-Roman Catholic treatises and, in 1637, was placed in a pillory and had his ears cut off for attacking the views and policies of the Archbishop of Canterbury. In the English Civil War, Bastwick fought for Parliament as Captain of the Leicester Trained Bands. Square detail of engraving used in the 1740 edition of 'History of the Rebellion and Civil Wars in England' by Edward Hyde (1609-1674), raised to the peerage as 1st Earl of Clarendon.
RF2PYTR3R–Prince Rupert of the Rhine (1619-1682), Count Palatine and 1st Duke of Cumberland, a nephew of King Charles I of England and Royalist cavalry commander during the English Civil War. Square detail of a stipple engraving created in the 1700s by John Keyse Sherwin (1751-1790), after a miniature watercolour portrait by Samuel Cooper (1609-1672).
RF2PYTE0W–John Finch (1584-1660), Lord Finch of Fordwich, Royalist Speaker of the House of Commons prior to the English Civil War. In 1637, as Chief Justice of the Court of Common Pleas, Finch presided over the trial of MP John Hampden, a leading parliamentarian and opponent of the king, for failing to pay 'Ship Money', a hated tax. Square detail of engraving created in the 1700s by George Vertue (1683-1756), after a portrait by Cornelius Johnson (1593-1661).
RF2PYBCEK–Edward Hyde (1609-1674), 1st Earl of Clarendon, whose ‘History of the Rebellion and Civil Wars in England’ was the first detailed eyewitness account of the period. Square detail of engraving created, after a portrait by Sir Peter Lely (1618-1680), for the 1740 edition of Clarendon's ‘History’. The full title of Clarendon’s ‘History’ is often shortened to ‘Clarendon’s Rebellion’.
RF2PYB621–Renaissance Medici Pope, Leo X (1474-1521). Square detail of engraving created by William Faithorne the Elder (1620 - 1691) for Johan Sleidan's 'History of the Reformation', published in 1689.
RF2PYARYE–Sir John Coke (1563-1644), Staunch royalist and Secretary of State to King Charles I of England prior to the English Civil War, during the period from March 1629 to April 1640 when the king ruled without Parliament. Square detail of engraving created in the 1700s by English engraver and artist, John Sturt (1658-1730).
RF2PYB2KF–Sir Henry Vane the Younger (1613-1662), an ally of Oliver Cromwell during the English Civil Wars and an advocate of religious tolerance. Convicted of treason and beheaded at Tower Hill in 1662 after the Restoration of King Charles II. Square detail of engraving created in the 1700s for ‘History of the Grand Rebellion’ by Edward Ward and re-used in later editions of ‘History of the Rebellion and Civil Wars in England’ by Edward Hyde, 1st Earl of Clarendon
RF2PYAGJ4–Nathaniel Fiennes (1608 - 1669), Member of the English Parliament for Banbury in Oxfordshire and a Puritan who fought for Parliament in the English Civil War. He was condemned to death in 1643 for surrendering Bristol to the King's nephew, Prince Rupert, but exonerated by Oliver Cromwell and other Parliamentary generals. Square detail of engraving created in the 1700s by Flemish engraver, Michael van der Gucht (1660-1725).
RF2PYAXBX–William Herbert, 3rd Earl of Pembroke (1580-1630), founder of Pembroke College, Oxford, and patron of the arts. Square detail of engraving created in the 1700s by George Vertue (1683-1756), after a portrait by Daniel Mytens (1590-1647), which was in turn based on a painting by Sir Anthony van Dyck (1599-1641)
RF2PYBEMX–Lucius Cary (1610-1643), 2nd Viscount Falkland, author, idealist, intellectual and politician, who despite being a man of peace fought and died for the royalist cause in the first English Civil War. Square detail of engraving created in the 1700s by Guillaume Philippe Benoist (1725-1770), after a portrait by an unknown artist.
RF2PYB9GM–Gilbert Sheldon (1598-1677), a Royalist during the English Civil Wars who collected funds for exiled King Charles II. After the restoration of the monarchy in 1660, Sheldon was consecrated Archbishop of Canterbury in 1663 and became Chancellor of Oxford University in 1667. The Sheldonian theatre in Oxford was built and endowed at Sheldon's expense. Square detail of engraving created in the 1700s by George Vertue (1683-1756), after a portrait by Sir Peter Lely (1618-1680).
RF2PWT30R–George Villiers, 1st Duke of Buckingham (1592-1628), said to be 'the most handsomest-bodied man in all of England', a favourite of both King James I of England and VI of Scotland and of his son, King Charles I. Square detail of engraving created in the 1700s after a portrait painted by Cornelius Johnson (1593-1661).
RF2PWTNRD–William Juxon (1582 - 1663), best remembered for offering last rites to King Charles I before the king's execution in 1649. Prior to the English Civil War, Juxon was Lord High Treasurer of England and First Lord of the Admiralty. At the Restoration of King Charles II in 1660, Juxon was appointed Archbishop of Canterbury. Square detail of engraving created in the 1700s by George Vertue (1683-1756).
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