Michelangelo Buonarroti Tomb - Basilica of Santa Croce Florence
This tomb dedicated to Michelangelo was created by Vasari in 1570 and contains elements of Sculpture, Architecture and Painting.
Sculpture
Monument to Edmund Verney - Stanford-on-Avon, Northamptonshire
Victorian realism monument to Edmund Varney (d1879).
Nativity, Circumcision, and Epiphany
This third sequence of sculpture on the choir screen, starting at the western end of the south ambulatory, is the work of Jehan Soulas from 1521-1535. Sculpted from the hard limestone from the Tonnerre quarry, this consist of scenes depicting the Nativity, Circumcision, and Epiphany.
Niccolò Machiavelli Tomb - Santa Croce Florence
This tomb, dedicated to Niccolò Machiavelli (d1527), was created by Innocenzo Spinazzi ⓘ in 1787, and is in Santa Croce Florence.
Nicholas Breton Memorial - Norton, Northamptonshire
Pink and white marble monument to Nicholas Breton (d1658).
Nicholas Breton Monument - Norton, Northamptonshire.
Monument to Nicholas Breton (d1624). tablet with two cherubs. All Saints parish church. Norton, Northamptonshire.
Norman sculpture of Saint - Breedon-on-the-Hill, Leicestershire
Fragment of saint giving a blessing.
North Portal - Bourges Cathedral
The north portal of Bourges Cathedral is dedicated to the Virgin Mary ⓘ. The Tympanum ⓘ dates from between 1160 and was part of the older church the the Gothic cathedral replaced. This portal suffered a lot of damage during the Wars of Religion in 1562.
Notre-Dame de Chartres
Designated a World heritage Site by UNESCO in 1979 the Cathedral of Notre-Dame de Chartres was built from between 1145 and 1250. It's high nave is spanned by ogival pointed arches to form the vault, and the walls are supported by double flying buttresses. Chartres is the first building to have used buttresses as a structural element.
Chartres Cathedral is also unique in having retained almost all of its original 12th and 13th century stained glass.
Our Lady of Orcival - Puy-de-Dôme
In form and iconography, the statue is closely modelled on the celebrated “Golden Virgin” commissioned by the Bishop of Clermont in 946, a cult image that was destroyed during the Revolution when it was melted down for coinage. On stylistic and material grounds, the Orcival Virgin is now dated to c. 1170, making it a later but faithful reinterpretation of the earlier episcopal image.
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