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  • Mediaeval conception of Demons from An encyclopaedia of occultism : a compendium of information on the occult sciences, occult personalities, psychic science, magic, demonology, spiritism and mysticism by Lewis Spence, Published in London by George Routledge & sons, ltd. in 1920
    IR_f_Occult_0151.jpg
  • Types of mediaeval weapons 1. Voulge (pole cleaver); 2. Halbard; 3. Glaive; 4. Ranseur or Spetum; 5. Partizan; 6. Spontoon; 7. Gisarme; 8. Pike; 9. Mace; 10. Lockaber axe; 11. Pole axe; 12. Holy Water Sprinkler; 13. Bill; 14. Lance and Vamplate; 15. Lance points for war and joust; 16. Section of Lance shafts from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0109.jpg
  • Mediaeval conception of Demons from An encyclopaedia of occultism : a compendium of information on the occult sciences, occult personalities, psychic science, magic, demonology, spiritism and mysticism by Lewis Spence, Published in London by George Routledge & sons, ltd. in 1920
    IR_f_Occult_0159.jpg
  • Miniature representing King Conrad of Bohemia, with an attendant, hawking; from a manuscript of the fourteenth century, showing the influence of French art. From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0160-crop.jpg
  • Miniature from a Byzantine manuscript of the eleventh century ; a remarkable example of artistic decadence From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0090-crop.jpg
  • Miniature of Duke Baldwin, painted about the year 1450 by an illuminator of the school of the Van Eycks of Bruges From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0204.jpg
  • An initial S, illuminated with foliage of the Northumbrian type, from a German manuscript of the twelfth century From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0189-crop.jpg
  • Painting on panel by a fifteenth century artist of the Prague school; it represents St Augustine as an Episcopal scribe. The background and the ornaments of the dress are stamped in delicate relief on the gesso ground and then gilt. This picture, which is now in the Vienna Gallery, was originally part of the painted wall-panelling in the Chapel of the Castle of Karlstein. From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0018-crop.jpg
  • Miniature of the Annunciation from a German manuscript of the beginning of the thirteenth century From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0190-crop.jpg
  • Miniature of the Evangelist St Mark; from a manuscript of the Gospels From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0107.jpg
  • A Pompeian painting of Hellenic style, as an example of Greek drawing and composition From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0071-crop.jpg
  • Scene of the martyrdom of Saint Benedicta from a Martyrology of about 1312 From the book ' Illuminated manuscripts in classical and mediaeval times : their art and their technique ' by Middleton, J. H. (John Henry), 1846-1896 Published in 1892
    IR_f_Mediaeval-Manuscripts_0162-crop.jpg
  • ATHLIT [Atlit], FROM THE SOUTH. Called Castellum Peregrinorum by Mediaeval writers. It was one of the most important landing-places for pilgrims during the thirteenth century. It stands on a rocky promontory which projects, a quarter of a mile westward into the sea. Wood engraving of from 'Picturesque Palestine, Sinai and Egypt' by Wilson, Charles William, Sir, 1836-1905; Lane-Poole, Stanley, 1854-1931 Volume 3. Published in by J. S. Virtue and Co 1883
    IR_f_picturesque-030136.jpg
  • The new life of Dante Alighieri; by Dante Alighieri, 1265-1321; translated into English by Dante Gabriel Rossetti, 1828-1882; and illustrated by Evelyn Paul, Publication date 1915 Publisher Coventry George G. Harrap. La Vita Nuova (The New Life) or Vita Nova (Latin title) is a text by Dante Alighieri published in 1294. It is an expression of the medieval genre of courtly love in a prosimetrum style, a combination of both prose and verse.
    IR_f_Vida-Nova_0035.jpg
  • The new life of Dante Alighieri; by Dante Alighieri, 1265-1321; translated into English by Dante Gabriel Rossetti, 1828-1882; and illustrated by Evelyn Paul, Publication date 1915 Publisher Coventry George G. Harrap. La Vita Nuova (The New Life) or Vita Nova (Latin title) is a text by Dante Alighieri published in 1294. It is an expression of the medieval genre of courtly love in a prosimetrum style, a combination of both prose and verse.
    IR_f_Vida-Nova_0008.jpg
  • Illustrated Yiddish version of Had Gadya children's book illustrated by El Lissitzky (Lazar Markovich Lissitzky), and published in Kiev in 1919 Chad Gadya or Had Gadya ("one little goat, or "one kid") is a playful cumulative song in Aramaic and Hebrew. It is sung at the end of the Passover Seder, the Jewish ritual feast that marks the beginning of the Jewish holiday of Passover. The melody may have its roots in Medieval German folk music. It first appeared in a Haggadah printed in Prague in 1590, which makes it the most recent inclusion in the traditional Passover seder liturgy
    IR_f_Ḥad-Gadya_0015.jpg
  • Parts of the sword Pommel; Grip; Knuckle-bow; Quillons; Counter-guard; Pas d'ane; Ricasso; Blade; and Schiavona (Right). from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0105.jpg
  • Puffed suit, sixteenth century. Vienna. from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0097.jpg
  • Gauntlet (Glove) [Left] Gorget neck protecting armour [Right] from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0063.jpg
  • How Galahad drew out the sword from the floating stone at Camelot From the Book ' The romance of King Arthur and his knights of the Round Table ' Abridged from Sir Thomas Malory's Morte D'Arhur by Alfred W. Pollard Illustrated by Arthur Rackham Publisher New York : Macmillan 1920
    IR_f_King-Arthur-2_0407.jpg
  • How Tristam was known by the little brachet in the garden of King Mark's castle From the Book ' The romance of King Arthur and his knights of the Round Table ' Abridged from Sir Thomas Malory's Morte D'Arhur by Alfred W. Pollard Illustrated by Arthur Rackham Publisher New York : Macmillan 1920
    IR_f_King-Arthur-2_0235.jpg
  • Nell Cook Class Room from the book ' The Ingoldsby legends; or, Mirth & marvels ' by Thomas Ingoldsby, Illustrated by Arthur Rackham, Publication date 1907 Publisher London, Dent; New York, Dutton. The Ingoldsby Legends (full title: The Ingoldsby Legends, or Mirth and Marvels) is a collection of myths, legends, ghost stories and poetry written supposedly by Thomas Ingoldsby of Tappington Manor, actually a pen-name of an English clergyman named Richard Harris Barham.
    IR_f_Ingoldsby-legends_0418.jpg
  • Some Account of a New Play - He Rescued a Maid from the Dey of Algiers from the book ' The Ingoldsby legends; or, Mirth & marvels ' by Thomas Ingoldsby, Illustrated by Arthur Rackham, Publication date 1907 Publisher London, Dent; New York, Dutton. The Ingoldsby Legends (full title: The Ingoldsby Legends, or Mirth and Marvels) is a collection of myths, legends, ghost stories and poetry written supposedly by Thomas Ingoldsby of Tappington Manor, actually a pen-name of an English clergyman named Richard Harris Barham.
    IR_f_Ingoldsby-legends_0295.jpg
  • A Lay of St. Odille - These stiles sadly bothered Odille from the book ' The Ingoldsby legends; or, Mirth & marvels ' by Thomas Ingoldsby, Illustrated by Arthur Rackham, Publication date 1907 Publisher London, Dent; New York, Dutton. The Ingoldsby Legends (full title: The Ingoldsby Legends, or Mirth and Marvels) is a collection of myths, legends, ghost stories and poetry written supposedly by Thomas Ingoldsby of Tappington Manor, actually a pen-name of an English clergyman named Richard Harris Barham.
    IR_f_Ingoldsby-legends_0233.jpg
  • Get Up and Bar the Door is a medieval Scots ballad about a battle of wills between a husband and wife  that appeared in the book ' Some British ballads ' illustrated by Arthur Rackham, Publisher New York : Dodd, Mead 1919 he story begins with the wife busy in her cooking of the pudding and house hold chores as well. As the wind picks up, the husband tells her to close and bar the door. They make an agreement that the next person who speaks must bar the door or close the door, but the door remains open. At midnight two thieves enter the house and eat the puddings that the wife has just made. The husband and wife watch them, but still neither speaks out of stubborn pride. Amazed, one of the thieves proposes to molest the wife and kiss her. Finally, the husband shouts "Will ye kiss my wife before my een, and scald me with pudding-broth?" The wife, having won the argument, gives three skips on the floor and says to her husband: "Goodman, you've spoken the foremost word, Get up and bar the door." <br />
In some versions, the husband is named as Johnie Blunt of Crawford Moor. Child notes that the song was used by Prince Hoare to provide one of the principal scenes in his musical entertainment, No Song, No Supper, performed at Drury Lane in 1790. Among many things, this folk ballad talks about the sense of lasting competition in a relationship. The man and the woman are too stubborn to do something that will benefit both. The ballad observes a possible consequence of being stubborn when carried to ludicrous lengths, since by being stubborn they lost their Martinmas puddings and left their persons and household open to crime.
    IR_f_British-ballads_0099-crop.jpg
  • Old style manual labour Blacksmith Middle Ages Period re enactment Hammering iron on an anvil. Model Release Available
    YM_Blacksmith_8204.jpg
  • Drava River Maribor, Slovenia is the second-largest city in Slovenia and the largest city of the traditional region of Lower Styria. Maribor is also the economic, administrative, educational, and cultural centre of eastern Slovenia.
    OS_f_Slovenia-IMG_9063.jpg
  • Predjama Castle (Predjamski grad, grad Predjama, Höhlenburg Lueg, or Castel Lueghi) is a Renaissance castle built within a cave mouth in south-central Slovenia, in the historical region of Inner Carniola.
    OS_f_Slovenia-IMG_8778.jpg
  • Predjama Castle (Predjamski grad, grad Predjama, Höhlenburg Lueg, or Castel Lueghi) is a Renaissance castle built within a cave mouth in south-central Slovenia, in the historical region of Inner Carniola.
    OS_f_Slovenia-IMG_8775.jpg
  • Viking ornaments and jewellery from the book ' The viking age: the early history, manners, and customs of the ancestors of the English-speaking nations ' Volume 2 by Du Chaillu, Paul B. (Paul Belloni), Published in New York by  C. Scribner's sons in 1890
    IR_Viking-Age-2_0353.jpg
  • Migdal Afek also Migdal Tsedek is a national park on the southeastern edge of Rosh HaAyin, Israel. Ruins of Mirabel, a Crusader castle, built on the site of ancient Migdal Afek. It was described in Muslim sources in 1225 as a village with a fortress called Majdal Yaba.
    IR_Migdal-Tsedek_F1228.jpg
  • Migdal Afek also Migdal Tsedek is a national park on the southeastern edge of Rosh HaAyin, Israel. Ruins of Mirabel, a Crusader castle, built on the site of ancient Migdal Afek. It was described in Muslim sources in 1225 as a village with a fortress called Majdal Yaba.
    IR_Migdal-Tsedek_F1186.jpg
  • Migdal Afek also Migdal Tsedek is a national park on the southeastern edge of Rosh HaAyin, Israel. Ruins of Mirabel, a Crusader castle, built on the site of ancient Migdal Afek. It was described in Muslim sources in 1225 as a village with a fortress called Majdal Yaba.
    IR_Migdal-Tsedek_F1182.jpg
  • Migdal Afek also Migdal Tsedek is a national park on the southeastern edge of Rosh HaAyin, Israel. Ruins of Mirabel, a Crusader castle, built on the site of ancient Migdal Afek. It was described in Muslim sources in 1225 as a village with a fortress called Majdal Yaba.
    IR_Migdal-Tsedek_F1165.jpg
  • REMAINS OF A CRUSADING FORT AT TANTURAH [Tantura or Dor]. Its shattered tower is thirty feet in height. In the distance the village of Tantdrah appears, on the site of the ancient city of Dor. Wood engraving of from 'Picturesque Palestine, Sinai and Egypt' by Wilson, Charles William, Sir, 1836-1905; Lane-Poole, Stanley, 1854-1931 Volume 3. Published in by J. S. Virtue and Co 1883
    IR_f_picturesque-030141.jpg
  • A wild Barbarian Attack 3 poses With axe (left) Sword (Centre) and Flail (right)
    YM_Barbarians.jpg
  • Curthose and the Saracens From the Book 'Danes, Saxons and Normans : or, Stories of our ancestors' by Edgar, J. G. (John George), 1834-1864 Published in London in 1863
    IR_f_Danes-Saxons_0263.jpg
  • William's [William the Conqueror] march on Hexham From the Book 'Danes, Saxons and Normans : or, Stories of our ancestors' by Edgar, J. G. (John George), 1834-1864 Published in London in 1863
    IR_f_Danes-Saxons_0135.jpg
  • Jerusalem Pilgrims landing in Joppa [Jaffa] and Paying Toll to enter the Holy City From the book Jerusalem and the crusades by Blyth, Estelle Published in London by T.C. & E.C. Jack Circa 1913
    IR_jerusalemcrusade00blyt_0027.jpg
  • Berengaria of Navarre (c. 1165–1170 – 23 December 1230) was queen of England as the wife of Richard I (Richard Coeur de Lion, Lionheart) of England. She was the eldest daughter of Sancho VI of Navarre and Sancha of Castile. She did (unusually for the wife of a crusader) accompany her husband on the start of the Third Crusade, but mostly lived in his French possessions, where she gave generously to the church, despite difficulties in collecting the pension she was due from Richard's brother and successor John after she became a widow. From the book Heroines of the crusades by Bloss, Celestia Angenette, 1812-1855 Published by Auburn Alden, Beardsley, New York, 1853 Engraved by J.C. Buttre
    IR_heroine_0210-Square.jpg
  • Assassination of Henry of Germany Plate LXXXV from the book Story of the crusades. with a magnificent gallery of one hundred full-page engravings by the world-renowned artist, Gustave Doré [Gustave Dore] by Boyd, James P. (James Penny), 1836-1910. Published in Philadelphia 1892
    IR_Dore-Crusades_0424.jpg
  • The Captives Plate LXXXII from the book Story of the crusades. with a magnificent gallery of one hundred full-page engravings by the world-renowned artist, Gustave Doré [Gustave Dore] by Boyd, James P. (James Penny), 1836-1910. Published in Philadelphia 1892
    IR_Dore-Crusades_0415.jpg
  • For the Defence of Christ Plate LXIII from the book Story of the crusades. with a magnificent gallery of one hundred full-page engravings by the world-renowned artist, Gustave Doré [Gustave Dore] by Boyd, James P. (James Penny), 1836-1910. Published in Philadelphia 1892
    IR_Dore-Crusades_0331.jpg
  • The Crusaders enter Constantinople Plate LV from the book Story of the crusades. with a magnificent gallery of one hundred full-page engravings by the world-renowned artist, Gustave Doré [Gustave Dore] by Boyd, James P. (James Penny), 1836-1910. Published in Philadelphia 1892
    IR_Dore-Crusades_0300.jpg
  • Death of Frederick of Germany [During the Second Crusade. Frederick Barbarossa (Friedrich I., Federico I; 1122 – 10 June 1190), also known as Frederick I ] Plate XLIII from the book Story of the crusades. with a magnificent gallery of one hundred full-page engravings by the world-renowned artist, Gustave Doré [Gustave Dore] by Boyd, James P. (James Penny), 1836-1910. Published in Philadelphia 1892
    IR_Dore-Crusades_0229.jpg
  • Destruction of Conrad's Army [The Seljuqs almost totally destroyed King Conrad's party on 25 October 1147 at the second battle of Dorylaeum. In battle, the Turks used their typical tactic of pretending to retreat, and then returning to attack the small force of German cavalry which had separated from the main army to chase them]. Plate XXXVIII from the book Story of the crusades. with a magnificent gallery of one hundred full-page engravings by the world-renowned artist, Gustave Doré [Gustave Dore] by Boyd, James P. (James Penny), 1836-1910. Published in Philadelphia 1892
    IR_Dore-Crusades_0186.jpg
  • Battle of Nicea (Nice) [Nicaea during the First Crusade] Plate XIII from the book Story of the crusades. with a magnificent gallery of one hundred full-page engravings by the world-renowned artist, Gustave Doré [Gustave Dore] by Boyd, James P. (James Penny), 1836-1910. Published in Philadelphia 1892
    IR_Dore-Crusades_0067.jpg
  • Astonishment of the Crusaders at the wealth of the East Plate X from the book Story of the crusades. with a magnificent gallery of one hundred full-page engravings by the world-renowned artist, Gustave Doré [Gustave Dore] by Boyd, James P. (James Penny), 1836-1910. Published in Philadelphia 1892
    IR_Dore-Crusades_0060.jpg
  • Machine colorized with Artificial Intelligence (AI) From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, from 'The Vision of Hell' (1868), Cary's English translation of the Inferno. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_Dante-Inferno-Dore_437-colorized.jpg
  • Purgatorio ("Purgatory") is the second part of Dante's Divine Comedy, following the Inferno, and preceding the Paradiso. The poem was written in the early 14th century. It is an allegory telling of the climb of Dante up the Mount of Purgatory, guided by the Roman poet Virgil, except for the last four cantos at which point Beatrice takes over as Dante's guide. Purgatory in the poem is depicted as a mountain in the Southern Hemisphere, consisting of a bottom section (Ante-Purgatory), seven levels of suffering and spiritual growth (associated with the seven deadly sins), and finally the Earthly Paradise at the top. Allegorically, the Purgatorio represents the penitent Christian life. In describing the climb Dante discusses the nature of sin, examples of vice and virtue, as well as moral issues in politics and in the Church. The poem outlines a theory that all sins arise from love – either perverted love directed towards others' harm, or deficient love, or the disordered or excessive love of good things. From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, (1868), Cary's English translation of the work. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_f_Dante-Purgatory-Dore_f59.jpg
  • Purgatorio ("Purgatory") is the second part of Dante's Divine Comedy, following the Inferno, and preceding the Paradiso. The poem was written in the early 14th century. It is an allegory telling of the climb of Dante up the Mount of Purgatory, guided by the Roman poet Virgil, except for the last four cantos at which point Beatrice takes over as Dante's guide. Purgatory in the poem is depicted as a mountain in the Southern Hemisphere, consisting of a bottom section (Ante-Purgatory), seven levels of suffering and spiritual growth (associated with the seven deadly sins), and finally the Earthly Paradise at the top. Allegorically, the Purgatorio represents the penitent Christian life. In describing the climb Dante discusses the nature of sin, examples of vice and virtue, as well as moral issues in politics and in the Church. The poem outlines a theory that all sins arise from love – either perverted love directed towards others' harm, or deficient love, or the disordered or excessive love of good things. From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, (1868), Cary's English translation of the work. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_f_Dante-Purgatory-Dore_f35.jpg
  • Purgatorio ("Purgatory") is the second part of Dante's Divine Comedy, following the Inferno, and preceding the Paradiso. The poem was written in the early 14th century. It is an allegory telling of the climb of Dante up the Mount of Purgatory, guided by the Roman poet Virgil, except for the last four cantos at which point Beatrice takes over as Dante's guide. Purgatory in the poem is depicted as a mountain in the Southern Hemisphere, consisting of a bottom section (Ante-Purgatory), seven levels of suffering and spiritual growth (associated with the seven deadly sins), and finally the Earthly Paradise at the top. Allegorically, the Purgatorio represents the penitent Christian life. In describing the climb Dante discusses the nature of sin, examples of vice and virtue, as well as moral issues in politics and in the Church. The poem outlines a theory that all sins arise from love – either perverted love directed towards others' harm, or deficient love, or the disordered or excessive love of good things. From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, (1868), Cary's English translation of the work. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_f_Dante-Purgatory-Dore_f29.jpg
  • Purgatorio ("Purgatory") is the second part of Dante's Divine Comedy, following the Inferno, and preceding the Paradiso. The poem was written in the early 14th century. It is an allegory telling of the climb of Dante up the Mount of Purgatory, guided by the Roman poet Virgil, except for the last four cantos at which point Beatrice takes over as Dante's guide. Purgatory in the poem is depicted as a mountain in the Southern Hemisphere, consisting of a bottom section (Ante-Purgatory), seven levels of suffering and spiritual growth (associated with the seven deadly sins), and finally the Earthly Paradise at the top. Allegorically, the Purgatorio represents the penitent Christian life. In describing the climb Dante discusses the nature of sin, examples of vice and virtue, as well as moral issues in politics and in the Church. The poem outlines a theory that all sins arise from love – either perverted love directed towards others' harm, or deficient love, or the disordered or excessive love of good things. From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, (1868), Cary's English translation of the work. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_f_Dante-Purgatory-Dore_f227.jpg
  • Purgatorio ("Purgatory") is the second part of Dante's Divine Comedy, following the Inferno, and preceding the Paradiso. The poem was written in the early 14th century. It is an allegory telling of the climb of Dante up the Mount of Purgatory, guided by the Roman poet Virgil, except for the last four cantos at which point Beatrice takes over as Dante's guide. Purgatory in the poem is depicted as a mountain in the Southern Hemisphere, consisting of a bottom section (Ante-Purgatory), seven levels of suffering and spiritual growth (associated with the seven deadly sins), and finally the Earthly Paradise at the top. Allegorically, the Purgatorio represents the penitent Christian life. In describing the climb Dante discusses the nature of sin, examples of vice and virtue, as well as moral issues in politics and in the Church. The poem outlines a theory that all sins arise from love – either perverted love directed towards others' harm, or deficient love, or the disordered or excessive love of good things. From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, (1868), Cary's English translation of the work. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_f_Dante-Purgatory-Dore_f119.jpg
  • Paradiso ("Paradise" or "Heaven") is the third and final part of Dante's Divine Comedy, following the Inferno and the Purgatorio. It is an allegory telling of Dante's journey through Heaven, guided by Beatrice, who symbolises theology. In the poem, Paradise is depicted as a series of concentric spheres surrounding the Earth, consisting of the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean. It was written in the early 14th century. Allegorically, the poem represents the soul's ascent to God.  From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, (1868), Cary's English translation of the work. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_f_Dante-Paradiso-Dore_f633.jpg
  • Paradiso ("Paradise" or "Heaven") is the third and final part of Dante's Divine Comedy, following the Inferno and the Purgatorio. It is an allegory telling of Dante's journey through Heaven, guided by Beatrice, who symbolises theology. In the poem, Paradise is depicted as a series of concentric spheres surrounding the Earth, consisting of the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, the Primum Mobile and finally, the Empyrean. It was written in the early 14th century. Allegorically, the poem represents the soul's ascent to God.  From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, (1868), Cary's English translation of the work. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_f_Dante-Paradiso-Dore_f585.jpg
  • From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, from 'The Vision of Hell' (1868), Cary's English translation of the Inferno. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_Dante-Inferno-Dore_449.jpg
  • From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, from 'The Vision of Hell' (1868), Cary's English translation of the Inferno. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_Dante-Inferno-Dore_089.jpg
  • Virgil and Dante From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, from 'The Vision of Hell' (1868), Cary's English translation of the Inferno. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_Dante-Inferno-Dore_039.jpg
  • From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, from 'The Vision of Hell' (1868), Cary's English translation of the Inferno. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_Dante-Inferno-Dore_319.jpg
  • From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, from 'The Vision of Hell' (1868), Cary's English translation of the Inferno. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_Dante-Inferno-Dore_291.jpg
  • From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, from 'The Vision of Hell' (1868), Cary's English translation of the Inferno. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_Dante-Inferno-Dore_109.jpg
  • The Lion suddenly confronts Dante From the Divine Comedy by 14th century Italian poet Dante Alighieri. 1860 artwork, by French artist Gustave Dore and engraved by Stephane Pannemaker, from 'The Vision of Hell' (1868), Cary's English translation of the Inferno. Dante wrote his epic poem 'Divina Commedia' (The Divine Comedy) between 1308 and his death in 1321. Consisting of 14,233 lines, and divided into three parts (Inferno, Purgatorio, and Paradiso), it is considered the greatest literary work in the Italian language and a world masterpiece. It is a comprehensive survey of medieval theology, literature and thought. The new non-dialect poetic language Dante created became the basis of modern Italian.
    IR_Dante-Inferno-Dore_029.jpg
  • Ancient European fashion and lifestyle, interior of a rich home Middle Ages from Geschichte des kostums in chronologischer entwicklung (History of the costume in chronological development) by Racinet, A. (Auguste), 1825-1893. and Rosenberg, Adolf, 1850-1906, Volume 3 printed in Berlin in 1888
    IR_Fashion-V3_0113.jpg
  • Israel, Jordan Valley, The remains of the 12th century Crusader fortress of Belvoir
    AH_Belvoir_1762.jpg
  • Israel, Jordan Valley, The remains of the 12th century Crusader fortress of Belvoir
    AH_Belvoir_1756.jpg
  • Cityscape of Monte Tauro, Taormina, Sicily, Italy
    OZ_f_Sicily_DSF1773.jpg
  • Saint-Quiriace collegiate church in the medieval town of Provins, Seine et Marne, Ile de France France. In 1429 Jeanne D'ark and Charles VII attended mass in this church
    AP_f_Saint-Quiriace_5510-1.jpg
  • Tour Cesar (Caesar's Tower) a 12 century keep in Provins, Ile-de-France, France
    AP_f_Provins_5489-1.jpg
  • Turaida Castle, Turaida, Sigulda, Latvia
    VA_f_Turaida_01225.JPG
  • Santa Maria de Ribera Church, Vall de Cardós Catalonia Spain
    IR_f_Pyrenees_6752.jpg
  • Santa Maria de Ribera Church, Vall de Cardós Catalonia Spain
    IR_f_Pyrenees_6748.jpg
  • France, Pyrenees, Saint-Bertrand de Comminges
    IR_f_Pyrenees_6477.jpg
  • The Keep at The Nimrod (Namrud) Fortress or Nimrod Castle is a medieval Muslim castle situated on the southern slopes of Mount Hermon, on a ridge rising about 800 m above sea level. It overlooks the Golan Heights and was built with the purpose of guarding a major access route to Damascus against armies coming from the west.
    SL_SL9_4403.jpg
  • The Nimrod (Namrud) Fortress or Nimrod Castle is a medieval Muslim castle situated on the southern slopes of Mount Hermon, on a ridge rising about 800 m above sea level. It overlooks the Golan Heights and was built with the purpose of guarding a major access route to Damascus against armies coming from the west.
    SL_SL9_4372.jpg
  • The Octagonal tower. Nimrod (Namrud) Fortress or Nimrod Castle is a medieval Muslim castle situated on the southern slopes of Mount Hermon, on a ridge rising about 800 m above sea level. It overlooks the Golan Heights and was built with the purpose of guarding a major access route to Damascus against armies coming from the west.
    AG_Nimrod-Fortress_054.jpg
  • Malbork (Marienburg) Castle Poland
    VA_Malbork-D10_567.jpg
  • Malbork (Marienburg) Castle Poland
    VA_Malbork-D10_563.jpg
  • Italy, Lombardy, Lake Garda, Sirmione, the Scaliger Castle (13th century).
    HN_Dolomites_9150.jpg
  • Sucevita Monastery, Bucovina, UNESCO World Heritage Site, Romania, Religious painting on the walls
    VA_Romania_4_9940.jpg
  • Sucevita Monastery, Bucovina, UNESCO World Heritage Site, Romania, Religious painting on the walls
    VA_Romania_4_9938.JPG
  • Young male Caucasian in his early 20s in Gothic style clothes playing an electric guitar full body shot. MR
    IR_26324_fs_PSh.jpg
  • The new life of Dante Alighieri; by Dante Alighieri, 1265-1321; translated into English by Dante Gabriel Rossetti, 1828-1882; and illustrated by Evelyn Paul, Publication date 1915 Publisher Coventry George G. Harrap. La Vita Nuova (The New Life) or Vita Nova (Latin title) is a text by Dante Alighieri published in 1294. It is an expression of the medieval genre of courtly love in a prosimetrum style, a combination of both prose and verse.
    IR_f_Vida-Nova_0141.jpg
  • The new life of Dante Alighieri; by Dante Alighieri, 1265-1321; translated into English by Dante Gabriel Rossetti, 1828-1882; and illustrated by Evelyn Paul, Publication date 1915 Publisher Coventry George G. Harrap. La Vita Nuova (The New Life) or Vita Nova (Latin title) is a text by Dante Alighieri published in 1294. It is an expression of the medieval genre of courtly love in a prosimetrum style, a combination of both prose and verse.
    IR_f_Vida-Nova_0139.jpg
  • The new life of Dante Alighieri; by Dante Alighieri, 1265-1321; translated into English by Dante Gabriel Rossetti, 1828-1882; and illustrated by Evelyn Paul, Publication date 1915 Publisher Coventry George G. Harrap. La Vita Nuova (The New Life) or Vita Nova (Latin title) is a text by Dante Alighieri published in 1294. It is an expression of the medieval genre of courtly love in a prosimetrum style, a combination of both prose and verse.
    IR_f_Vida-Nova_0124.jpg
  • The new life of Dante Alighieri; by Dante Alighieri, 1265-1321; translated into English by Dante Gabriel Rossetti, 1828-1882; and illustrated by Evelyn Paul, Publication date 1915 Publisher Coventry George G. Harrap. La Vita Nuova (The New Life) or Vita Nova (Latin title) is a text by Dante Alighieri published in 1294. It is an expression of the medieval genre of courtly love in a prosimetrum style, a combination of both prose and verse.
    IR_f_Vida-Nova_0018.jpg
  • The new life of Dante Alighieri; by Dante Alighieri, 1265-1321; translated into English by Dante Gabriel Rossetti, 1828-1882; and illustrated by Evelyn Paul, Publication date 1915 Publisher Coventry George G. Harrap. La Vita Nuova (The New Life) or Vita Nova (Latin title) is a text by Dante Alighieri published in 1294. It is an expression of the medieval genre of courtly love in a prosimetrum style, a combination of both prose and verse.
    IR_f_Vida-Nova_0007.jpg
  • Illustrated Yiddish version of Had Gadya children's book illustrated by El Lissitzky (Lazar Markovich Lissitzky), and published in Kiev in 1919 Chad Gadya or Had Gadya ("one little goat, or "one kid") is a playful cumulative song in Aramaic and Hebrew. It is sung at the end of the Passover Seder, the Jewish ritual feast that marks the beginning of the Jewish holiday of Passover. The melody may have its roots in Medieval German folk music. It first appeared in a Haggadah printed in Prague in 1590, which makes it the most recent inclusion in the traditional Passover seder liturgy
    IR_f_Ḥad-Gadya_0009.jpg
  • Crossbow and goat's foot lever (Left) Crossbow and windlass (Right) from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0112.jpg
  • Cromwellian pikeman. from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0102.jpg
  • Grotesque helmet, sixteenth century, Nuremberg from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0096.jpg
  • Armour of Archduke Sigismond of Tyrol, 1470 (Left) and Armour of Louis XIV of France, 1680 (Right) from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0075.jpg
  • Sets of armour from the 14th century from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0044.jpg
  • Mail and plate armour from the book ' Armour & weapons ' by Charles John Ffoulkes,  Publisher Oxford Clarendon press 1909
    IR_f_Armour-Weapons_0021-wb.jpg
  • How Mordred was slain by Arthur, and how by him Arthur was hurt to the death From the Book ' The romance of King Arthur and his knights of the Round Table ' Abridged from Sir Thomas Malory's Morte D'Arhur by Alfred W. Pollard Illustrated by Arthur Rackham Publisher New York : Macmillan 1920
    IR_f_King-Arthur-2_0599.jpg
  • A Knight with a lance From the Book ' The romance of King Arthur and his knights of the Round Table ' Abridged from Sir Thomas Malory's Morte D'Arhur by Alfred W. Pollard Illustrated by Arthur Rackham Publisher New York : Macmillan 1920
    IR_f_King-Arthur-2_0471.jpg
  • How Sir Lancelot fought with a fiendly dragon. From the Book ' The romance of King Arthur and his knights of the Round Table ' Abridged from Sir Thomas Malory's Morte D'Arhur by Alfred W. Pollard Illustrated by Arthur Rackham Publisher New York : Macmillan 1920
    IR_f_King-Arthur-2_0355.jpg
  • How at a great feast that King mark made came Eliot the harper and sang the lay that Dinadan had made From the Book ' The romance of King Arthur and his knights of the Round Table ' Abridged from Sir Thomas Malory's Morte D'Arhur by Alfred W. Pollard Illustrated by Arthur Rackham Publisher New York : Macmillan 1920
    IR_f_King-Arthur-2_0285.jpg
  • The Poplar We Carved Her Initials from the book ' The Ingoldsby legends; or, Mirth & marvels ' by Thomas Ingoldsby, Illustrated by Arthur Rackham, Publication date 1907 Publisher London, Dent; New York, Dutton. The Ingoldsby Legends (full title: The Ingoldsby Legends, or Mirth and Marvels) is a collection of myths, legends, ghost stories and poetry written supposedly by Thomas Ingoldsby of Tappington Manor, actually a pen-name of an English clergyman named Richard Harris Barham.
    IR_f_Ingoldsby-legends_0680.jpg
  • The Brothers of Birchington But found nothing at all, save some carp - which they fried from the book ' The Ingoldsby legends; or, Mirth & marvels ' by Thomas Ingoldsby, Illustrated by Arthur Rackham, Publication date 1907 Publisher London, Dent; New York, Dutton. The Ingoldsby Legends (full title: The Ingoldsby Legends, or Mirth and Marvels) is a collection of myths, legends, ghost stories and poetry written supposedly by Thomas Ingoldsby of Tappington Manor, actually a pen-name of an English clergyman named Richard Harris Barham.
    IR_f_Ingoldsby-legends_0605.jpg
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