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1651
John of Gaunt Arms
John of Gaunt Arms
 
 
1652
John of Gaunt Coloured Engraving
John of Gaunt Coloured Engraving
 
 
1653
John of Gaunt Engraving
John of Gaunt Engraving
 
 
1654
John of Gaunt Painting
John of Gaunt Painting
 
 
1655
John of Gaunt, 1st Duke of Lancaster
John of Gaunt, 1st Duke of Lancaster
 
 
1656
John of Saxony Wettin
John of Saxony Wettin
 
 
1657
John PAULET, 5th M. Winchester
John PAULET, 5th M. Winchester
 
 
1658
John RUSSELL, 1st E. Bedford
John RUSSELL, 1st E. Bedford
 
 
1659
John RUSSELL, 1st Earl Bedford
John RUSSELL, 1st Earl Bedford
 
 
1660
John RUSSELL, 1st Earl Bedford
John RUSSELL, 1st Earl Bedford
 
 
1661
John Russell, 6th Duke of Bedford
John Russell, 6th Duke of Bedford
by George Hayter 
 
1662
John Savage
John Savage
 
 
1663
John Savage
John Savage
 
 
1664
John SCROPE, 5th Baron Scrope of Bolton
John SCROPE, 5th Baron Scrope of Bolton
 
 
1665
John Sigismund, Elector of Brandenburg
John Sigismund, Elector of Brandenburg
 
 
1666
John the Blind, Count of Luxemburg
John the Blind, Count of Luxemburg
 
 
1667
John the old, Count of Chalon
John the old, Count of Chalon
 
 
1668
John the Red of Brittany, Duke of Brittany
John the Red of Brittany, Duke of Brittany
 
 
1669
John Tristan, Count of Valois
John Tristan, Count of Valois
 
 
1670
John Wettin
John Wettin
 
 
1671
John Wilmot, 2nd Earl of Rochester
John Wilmot, 2nd Earl of Rochester
by Sir Peter Lely 
 
1672
John, Duke of Burgundy
John, Duke of Burgundy
Philip the Good, after a Roger van der Weyden of c. 1450 
 
1673
Johnathan Brewster Memorial
Johnathan Brewster Memorial
 
 
1674
Jokshan-Zimran-Midian-ShuahMED.jpg
Jokshan-Zimran-Midian-ShuahMED.jpg
Apparent and approximate emigration patters of Abraham’s children to Katurah, excepting those of whom insufficient is known to draw a conclusion. 
 
1675
Jolene Cook, Jeramy Harmon and Shawn Harmon
Jolene Cook, Jeramy Harmon and Shawn Harmon
 
 
1676
Josaphat and Ezechias
Josaphat and Ezechias
Statues of Josaphat and Ezechias on the Monastery of El Escorial. 
 
1677
Joscelin of Louvain, Arms of Belgium
Joscelin of Louvain, Arms of Belgium
The "Lion of Brabant", Sable a lion rampant or, arms adopted late 12th.c. at the start of the age of heraldry by the Dukes of Brabant. It is said to be the origin of the arms adopted by the Percys: Or, a lion rampant azure 
 
1678
Joseph
Joseph
RENI, Guido
(b. 1575, Calvenzano, d. 1642, Bologna)

St Joseph with the Infant Jesus
c. 1635
Oil on canvas, 126 x 101 cm
The Hermitage, St. Petersburg

The resting Mary in the background indicates that the scene is connected with the flight of the Holy Family to Egypt. 
 
1679
Joseph and family
Joseph and family
Holy Family with bird by Murillo (1645-50). 
 
1680
Joseph and his brothers.jpg
Joseph and his brothers.jpg
Benjamin (right) embracing his brother, Joseph 
 
1681
Joseph Ferdinand of Bavaria
Joseph Ferdinand of Bavaria
portrait of Joseph Vivien from 1698 
 
1682
Joseph leads Mary and Jesus to safety in Egyp
Joseph leads Mary and Jesus to safety in Egyp
LORENZO Monaco
(b. ca. 1370, Siena (?), d. ca. 1425, Firenze)

The Flight into Egypt, c. 1405
Tempera on poplar, 21,2 x 35,5 cm
Staatliches Lindenau-Museum, Altenburg

The painting is one of the three predella panels of a larger altarpiece. The oblong frame, with a semicircle on every corner and angular projections between them, divides the picture into three parts and Lorenzo Monaco made good use of the possibilities offered by the unusual shape of the frame. He placed the Virgin and her Child-isolated from the other figures-into the central, widest part. The Virgin is riding the ass side-saddle, as though she were sitting on a throne, and she is turned towards us. To indicate the direction of her course, her body is a little bent backwards. The oblique line of her body suggests a straight line between the upper point of the frame and the bottom inward angle on the right, and this diagonal axis is further stressed by the ass's foreleg, stepping forwards, which, continuing the same line, eventually ends in the semicircle. A similar connection between the composition and the frame can be observed in the hindmost leg of the ass and the bottom left semicircle. The oblique line of the leg is a reflected image of the axis which was mentioned previously. The horizontal line of the animal's body links the figures of the Virgin and Joseph, and, at the same time, it separates the Holy Family from the women accompanying them. The palm branches in the hands of the woman in a green cloak, and the drapery falling downwards from her arm, practically creates a line between the top and the bottom angular indentations of the frame. (According to some apocryphal gospels the fleeing Holy Family was nourished by the fruits of a palm-tree bending towards them.) The background, too, separates the left-hand side of the picture from the rest: the escorts proceed among bare, grey rocks, while the Holy Family move through woods: the foliage magically illuminates the semi-darkness.

Whilst the two female figures are moving forwards, Joseph, at the head of the small group, has stopped and looks back. By this the painting representing progress in one direction becomes enclosed and symmetrical. This geometrically constructed composition with its strict rhythm by Lorenzo Monaco shows, as do all his works, that even while pursuing the best trecento traditions of Florentine art, an artist could adjust himself to the International Gothic style. Counterparts of the two women, with the long, even and soft folds of their draperies, or of the Virgin's graceful, aristocratic figure, could be found anywhere in the art of the period. On the other hand, the vigorous and definite personality of Joseph can be imagined only in Florentine art, which had old, democratic traditions. In vain would we try to find this image in the representations of Joseph as the humble old man in Northern art. 
 
1683
Joseph of Arimathea
Joseph of Arimathea
Joseph of Arimathea by Pietro Perugino, a detail from a Lamentation 
 
1684
Josephine Elizabeth LaSota
Josephine Elizabeth LaSota
age 18. 
 
1685
Josephine LaSota Chute
Josephine LaSota Chute
age 19. 
 
1686
Josiah.gif
Josiah.gif
Josiah listening to the reading of the law by Julius Schnorr von Carolsfeld 
 
1687
Joyce Lowes
Joyce Lowes
 
 
1688
Judah
Judah
Tomb attributed to Judah in Yehud, Israel 
 
1689
Judith of Babenberg
Judith of Babenberg
An imaginary portrait of Judith of Babenberg, painted by Hans Part in 1490, as part of the Genealogy of the Babenberg Ladies at Klosterneuburg Abbey, founded by her parents. The inscription misnames her husband as "Renier". 
 
1690
Judith of Schweinfurt
Judith of Schweinfurt
 
 
1691
Julia and Fred Cuncombe
Julia and Fred Cuncombe
 
 
1692
Juliana Maria of Brunswick-Wolfenbüttel
Juliana Maria of Brunswick-Wolfenbüttel
 
 
1693
Katherine Parr
Katherine Parr
A portrait identified as Katherine Parr. Painted by an unknown artist.
At Lambeth Palace 
 
1694
Katherine Swynford's tomb-Swynford Chantry in Lincoln Cathedral
Katherine Swynford's tomb-Swynford Chantry in Lincoln Cathedral
This is an 1809 drawing by John Buckler of the chantry in the sanctuary of Lincoln Cathedral where the tombs of Katherine Swynford and her daughter Joan Beaufort are.buried. 
 
1695
Katheryn
Katheryn
Kathryn Howard's signature
From a letter to Thomas Culpepper 
 
1696
Kathleen Mary Chute and Angelo Morrison Iveli
Kathleen Mary Chute and Angelo Morrison Iveli
wedding photo, 1942, Lismore, Australia. 
 
1697
Kathryn Howard
Kathryn Howard
A miniature by Hans Holbein the Younger (1497-1543) made
Vellum mounted on playing card, 5.1 cm diameter.
The Royal collection 
 
1698
Kavad I King of Sasanian Empire
Kavad I King of Sasanian Empire
 
 
1699
Kavad II Sassanid
Kavad II Sassanid
 
 
1700
Kavadh I
Kavadh I
Image of Kavadh I on one of his coins. 
 

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