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CHRIST AND THE SAMARITAN WOMAN, 1310. CREATOR: DUCCIO DI BUONINSEGNA.

Christ and the Samaritan Woman, 1310. Christ and the Samaritan Woman, 1310. Creator: Duccio di Buoninsegna. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE CALLING OF SAINT MATTHEW, 1530. CREATOR: MARINUS VAN REYMERSWAELE.

The Calling of Saint Matthew, 1530. The Calling of Saint Matthew, 1530. Creator: Marinus van Reymerswaele. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CHRIST IN THE STORM ON THE SEA OF GALILEE, 1596. CREATOR: JAN BRUEGHEL THE ELDER.

Christ in the Storm on the Sea of Galilee, 1596. Christ in the Storm on the Sea of Galilee, 1596. Creator: Jan Brueghel the Elder. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE SUPPER AT EMMAUS, 1633. CREATOR: MATTHIAS STOMER.

The Supper at Emmaus, 1633. The Supper at Emmaus, 1633. Creator: Matthias Stomer. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE LAST SUPPER, 1485. CREATOR: MASTER OF THE VIRGO INTER VIRGINES.

The Last Supper, 1485. The Last Supper, 1485. Creator: Master of the Virgo inter Virgines. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PORTRAIT OF A MAN AS SAINT ANDREW (RECTO), 1480. CREATOR: MASTER OF THE MAGDALEN LEGEND.

Portrait of a Man as Saint Andrew (recto), 1480. Portrait of a Man as Saint Andrew (recto), 1480. Creator: Master of the Magdalen Legend. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE LAST SUPPER, 1570. CREATOR: ANON.

The Last Supper, 1570. The Last Supper, 1570. Creator: Anon. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CHRIST AT EMMAUS: THE SMALLER PLATE, 1634. CREATOR: REMBRANDT HARMENSZ VAN RIJN.

Christ at Emmaus: the smaller plate, 1634. Christ at Emmaus: the smaller plate, 1634. Creator: Rembrandt Harmensz van Rijn. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE WAY TO EMMAUS, NO.2, 1914. CREATOR: WILLIAM STRANG.

The way to Emmaus, no.2, 1914. In this scene, the resurrected Christ has found two disciples on the road to Emmaus who are dressed like working-class contemporaries of Strang. A disguised Christ interacts with them and they convince him to travel with them, all the while discussing with sadness the recent event of his death. The road is minimally described, and there is nothing in the distance apart from a few houses on the left. The message of Christ's humanity, surely consistent with Strang's socialist sympathies, is what ultimately counts. The way to Emmaus, no.2, 1914. Creator: William Strang. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ST PHILIP. PLATE 8. FROM: CHRIST AND THE APOSTLES, C.1545. CREATOR: LAMBERT SUAVIUS.

St Philip. Plate 8. From: Christ and the Apostles, c.1545. St Philip is depicted, like all the others in the series, full-length. Although elderly, he has impressive musculature. Each saint in the series is located in an architectural setting,especially evident here in the overgrown ancient ruins, sprouting self-sewn vegetation. St Philip. Plate 8. From: Christ and the Apostles, c.1545. Creator: Lambert Suavius. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE ENTOMBMENT, PLATE 11 FROM THE PASSION OF CHRIST, 1596. CREATOR: HENDRIK GOLTZIUS.

The Entombment, plate 11 from The Passion of Christ, 1596. The Entombment, plate 11 from The Passion of Christ, 1596. Creator: Hendrik Goltzius. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CHARLES PRENTICE HOWLAND, 1878. CREATOR: WINSLOW HOMER.

Charles Prentice Howland, 1878. 9-year-old Charles Howland dressed for school, standing stiffly and perhaps impatiently as he poses for the artist. In his right hand is a tasseled hat and on his shoulder hangs a book bag. The son of Henry Howland, a distinguished Judge, Charles Prentice Howland had a passion for law and he grew up to become a lawyer. Sadly at the height of his career in 1932, he was hit and tragically killed by a car on his way from Yale football game. Charles Prentice Howland, 1878. Creator: Winslow Homer. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ST. ANDREW'S CHURCH AND COLLEGE, BRADFIELD, BERKSHIRE, 1865. CREATOR: UNKNOWN.

St. Andrew's Church and College, Bradfield, Berkshire, 1865. '...there were no traces of any very ancient buildings remaining in 1850, except in the Church of St. Andrew and in the old ruined walls on the slope to the south of the church, which were parts of a large manor-house of the thirteenth or fourteenth century. On the foundations of some of these ruins there has recently risen a picturesque structure, designed to meet modern wants, with the name of St. Andrew's College, and to last, as most people hope and believe, for centuries yet to come - a monument of the spirit which has stirred in our times for good progress in various ways...In 1848, the Rector [Thomas Stevens], who is also lord of the manor, and a chief proprietor - owning all the village of Bradfield - restored and enlarged, and rebuilt in great part, the old parish church of St. Andrew, under the kind advice and direction of his friend Mr. George Gilbert Scott. Many critics of architecture have thought this one of Mr. Scott's happiest efforts at a parish church restoration'. From "Illustrated London News", 1865. St. Andrew's Church and College, Bradfield, Berkshire, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE SINGING OF "DULCE DOMUM" AT WINCHESTER COLLEGE, 1865. CREATOR: UNKNOWN.

The singing of "Dulce Domum" at Winchester College, 1865. 'The hon. and learned gentleman Sir Roundell Palmer, in one of his poems, has celebrated the faithfulness of the Winchester boys in practising the ancient customs of their school. Our present Illustration will bear witness how the disciples of that venerable institution, which was founded by Bishop William of Wykeham nearly six hundred years ago, still keep up one of its traditional observances, and, to quote a line from her Majesty's Attorney-General, "Still, in the summer twilight, sing their sweet song of home". The curious old hymn, or canticle, of monkish Latin, named from its burden "Dulce Domum," which may probably have suggested that of our popular song "Home, sweet home," is usually sung on the last six Saturdays of "the long half" previous to the Midsummer holidays. On the last evening, in fine weather, a large audience from the town and neighbourhood may be assembled within the walls of the college to listen to this interesting performance, which is sometimes assisted by a band of instrumental music'. From "Illustrated London News", 1865. The singing of "Dulce Domum" at Winchester College, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

SPEECH DAY AT WELLINGTON COLLEGE, 1865. CREATOR: UNKNOWN.

Speech Day at Wellington College, at Sandhurst, in Berkshire, 1865. The Prince of Wales (future King Edward VII) was present '...to hear the speeches and recitals and to distribute the prizes among the deserving scholars...His Royal Highness...took his seat upon a raised dais at the farther end of the room, the rest of the hall being filled to overflowing, and the proceedings immediately commenced. The Prince presented the chief of the prizes, the Queen's medal being awarded to Mr. Liddell; upon which the Head Master observed that every boy in the school with himself could testify to the excellent conduct of Mr. Liddell, of whom, during the whole time he had been in the school he had not had the least reason to complain. Liddell was loudly cheered on receiving the prize. The Earl of Derby presented his prize for French to Mr. Edwardes, the head of the school, of whose abilities the Head Master spoke in the highest terms...The cheers which greeted Mr. Edwardes as he retired with his prize made the walls of the hall ring again. The French piece was well given, as were, indeed, all the extracts which followed; and the recitation of the English poem, by Mr. Kay, with the Shakspearean representations, were followed by much applause'. From "Illustrated London News", 1865. Speech Day at Wellington College, 1865. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE PRINCE OF WALES AT THE APPOSITION OF ST. PAUL'S SCHOOL, ON WEDNESDAY, JUNE 15, 1864. CREATOR: MASON JACKSON.

The Prince of Wales at the Apposition of St. Paul's School, on Wednesday, June 15, 1864. 'The public distribution of prizes and recital of speeches at St. Paul's School [in London] was honoured with the presence of the Prince of Wales (future King Edward VII). His Royal Highness, accompanied by the Earl of Mount-Edgcumbe, General Knollys, and Colonel Keppel...[was] received by the High Master, the Rev. Dr. Kynaston, and by the Master and Wardens of the Mercers' Company...When the Prince entered he was loudly cheered by the boys and men; the ladies, too, rose in token of welcome. He was conducted to a magnificent chair of state...The proceedings opened with the recital of an English version of an ode in commemoration of the founder, written by Dr. Kynaston...[After the prize-giving, the] Prince asked a holiday for the boys, but was told that, by the ancient laws of the school, this boon could only be granted at the request of the reigning Sovereign, or of some one of the Bishops; whereupon the seven right reverend prelates in company, by the mouthpiece of the Archbishop of York, claimed each his day, and so obtained for the school a vacation of an entire week'. From "Illustrated London News", 1864. The Prince of Wales at the Apposition of St. Paul's School, on Wednesday, June 15, 1864. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

GOING TO SCHOOL, BY T. WEBSTER, R.A., IN THE NATIONAL GALLERY..., SOUTH KENSINGTON, 1864. CREATOR: W THOMAS.

Going To School, by T. Webster, R.A., in the National Gallery (British School), South Kensington, 1864. Engraving of a painting. 'Two boys are "creeping, like snail, unwillingly to school." The elder, skulking irresolutely at the door of the school, long after the opening hour, is in the act of doffing his cap in order to make his entrance in a submissive and deprecating manner; and we have no doubt that he will try do put the best face upon his late appearance. But the younger boy, perhaps his brother, who may have been a half-unwilling accomplice, cannot conceal his guilty terror. Indeed, the elder one, simple urchin as he is, and but little practised in the art of deceiving, forgets that terribly criminating evidence of his truant wickedness - the stalk strung with birds' eggs, which he carries in his hand...Meantime a scholar inside, who has caught a sight of the truant, seems, boylike, already to anticipate the fun of seeing his fellow's punishment; but the little girl, threading her needle to proceed with her sampler, will be more likely to cry...the old dame, sitting near her hour-glass (which runs ominously low), is teaching a little one to read'. From "Illustrated London News", 1864. Going To School, by T. Webster, R.A., in the National Gallery..., South Kensington, 1864. Creator: W Thomas. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GREAT SCHOOLS OF ENGLAND, RUGBY SCHOOL, 1862. CREATOR: UNKNOWN.

The Great Schools of England, Rugby School, 1862. Private school in Rugby, Warwickshire. '...the trustees, adopting the plan of their architect, Mr. Hakewell, erected the present noble and extensive edifice, which was completed in about six years, at a cost of £35,000'. From "Illustrated London News", 1862. The Great Schools of England, Rugby School, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GREAT SCHOOLS OF ENGLAND: THE DINING-HALL AT CHRIST'S HOSPITAL...SINGING A HYMN, 1862. CREATOR: UNKNOWN.

The Great Schools of England: the dining-hall at Christ's Hospital...singing a hymn, 1862. Founded in the 16th century, Christ's Hospital is one of the oldest boarding schools in England. It was originally set up as a charitable school to educate London's poor children, and is unusual among British independent schools in that the majority of the students receive bursaries. Fees are paid on a means-tested basis. From "Illustrated London News", 1862. The Great Schools of England: the dining-hall at Christ's Hospital...singing a hymn, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GREAT SCHOOLS OF ENGLAND: ONE OF THE DORMITORIES AT CHRIST'S HOSPITAL SCHOOL, 1862. CREATOR: UNKNOWN.

The Great Schools of England: one of the dormitories at Christ's Hospital School, 1862. Founded in the 16th century, Christ's Hospital is one of the oldest boarding schools in England. It was originally set up as a charitable school to educate London's poor children, and is unusual among British independent schools in that the majority of the students receive bursaries. Fees are paid on a means-tested basis. From "Illustrated London News", 1862. The Great Schools of England: one of the dormitories at Christ's Hospital School, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

THE GREAT SCHOOLS OF ENGLAND: CHRIST'S HOSPITAL - THE GRAMMAR-SCHOOL, 1862. CREATOR: UNKNOWN.

The Great Schools of England: Christ's Hospital - the Grammar-School, 1862. Founded in the 16th century, Christ's Hospital is one of the oldest boarding schools in England. It was originally set up as a charitable school to educate London's poor children, and is unusual among British independent schools in that the majority of the students receive bursaries. Fees are paid on a means-tested basis. From "Illustrated London News", 1862. The Great Schools of England: Christ's Hospital - the Grammar-School, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

ATHLETIC SPORTS BY THE WESTMINSTER SCHOLARS IN THEIR PLAYGROUND:...THE HURDLE RACE, 1864. CREATOR: UNKNOWN.

Athletic sports by the Westminster scholars in their playground, Vincent-square, [London]: the hurdle race, 1864. 'The public exhibition of these performances...proved sufficiently interesting to attract a numerous and fashionable company of spectators, including, of course, many of the relatives and friends of the young gentlemen at the school...The programme included a flat race of 150 yards, open to all; a second race, for small boys only; and a race of 500 yards; but the grand contest was a half-mile race, with eight hurdles to leap at the finish, and this was won by Mr. F. Giles, Mr. Lucas coming in second and Mr. Walker thud. Our Engraving represents an incident of this race. There was another hurdle-race of 100 yards, with eight hurdles 3 ft. high, for the younger boys; besides which there were contests in jumping, with and without the pole, which afforded good proof of the bodily strength and agility of the Westminster scholars'. From "Illustrated London News", 1864. Athletic sports by the Westminster scholars in their playground:...the hurdle race, 1864. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)

MINSK: UNITED JEWISH VOCATIONAL SCHOOL. DRAWING LESSON, 1920-1929. CREATOR: UNKNOWN.

Minsk: United Jewish Vocational School. Drawing lesson, 1920-1929. In the early part of the Stalin era, the Kremlin established a new administrative territory in the Soviet Far East--the Jewish Autonomous Region--to serve as a Jewish homeland. The capital of the region was the city of Birobidzhan. This album includes 274 photographs of the early years of Birobidzhan, beginning in the late 1920s. National Library of Russia Minsk: United Jewish Vocational School. Drawing lesson, 1920-1929. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PUBLIC SCHOOL, C1910. CREATOR: UNKNOWN.

Public school, c1910. Group portrait of students around snow-covered school building--the children are standing on the roof, on snow banks, and in snow troughs. Public school, c1910. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SAINT MARY MAGDALENE, C.1350. CREATOR: MASTER OF THE MADONNA OF THE PALAZZO VENEZIA (ACTIVE 1340-1360).

Saint Mary Magdalene, c.1350. Found in the Collection of the Nationale Galerie, London. Saint Mary Magdalene, c.1350. Creator: Master of the Madonna of the Palazzo Venezia (active 1340-1360). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

CHRIST ON THE MOUNT OF OLIVES. CREATOR: CAMPI, ANTONIO (AROUND 1522-1587).

Christ on the Mount of Olives. Found in the Collection of the Galerie Canesso. Christ on the Mount of Olives. Creator: Campi, Antonio (around 1522-1587). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

CHRIST IN THE HOUSE OF THE PHARISEE SIMON, C.1489. CREATOR: SIGNORELLI, LUCA (AROUND 1441-1523).

Christ in the house of the Pharisee Simon, c.1489. Found in the Collection of the National Gallery of Ireland. Christ in the house of the Pharisee Simon, c.1489. Creator: Signorelli, Luca (around 1441-1523). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

THE THREE MARYS AT THE FOOT OF THE CROSS, END OF 19TH CENTURY - EARLY 20TH CENTURY. CREATOR: PREVIATI, GAETANO (1852-1920).

The three Marys at the foot of the cross, End of 19th century - early 20th century. Private Collection The three Marys at the foot of the cross, End of 19th century - early 20th century. Creator: Previati, Gaetano (1852-1920). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

CHRIST ON THE MOUNT OF OLIVES, 1428-1429. CREATOR: ANGELICO, FRA GIOVANNI, DA FIESOLE (AROUND 1400-1455).

Christ on the Mount of Olives, 1428-1429. Found in the Collection of the Pinacoteca Civica, Forlì. Christ on the Mount of Olives, 1428-1429. Creator: Angelico, Fra Giovanni, da Fiesole (around 1400-1455). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

THE RAISING OF LAZARUS, C.1665. CREATOR: PRETI, MATTIA (1613-1699).

The raising of Lazarus, c.1665. Found in the Collection of the Galleria Nazionale di Palazzo Spinola, Genova. The raising of Lazarus, c.1665. Creator: Preti, Mattia (1613-1699). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

THE WASHING OF THE FEET, FIRST HALF OF THE 17TH CENTURY. CREATOR: MAESTRO DI RESINA.

The washing of the feet, First half of the 17th century. Found in the Collection of the Galleria Nazionale di Palazzo Spinola, Genova. The washing of the feet, First half of the 17th century. Creator: Maestro di Resina. (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

CHRIST ON THE MOUNT OF OLIVES. FROM THE GREAT PASSION (PASSIO DOMINI NOSTRI JESU), 1511. CREATOR: DUERER, ALBRECHT (1471-1528).

Christ on the Mount of Olives. From the Great Passion (Passio domini nostri Jesu), 1511. Found in the Collection of the Saechsische Landesbibliothek - Staats- und Universitaetsbibliothek Dresden. Christ on the Mount of Olives. From the Great Passion (Passio domini nostri Jesu), 1511. Creator: Duerer, Albrecht (1471-1528). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

CHRIST'S LAST SUPPER WITH HIS DISCIPLES. FROM THE GREAT PASSION (PASSIO DOMINI NOSTRI JESU), 1511. CREATOR: DUERER, ALBRECHT (1471-1528).

Christ's Last Supper with his disciples. From the Great Passion (Passio domini nostri Jesu), 1511. Found in the Collection of the Saechsische Landesbibliothek - Staats- und Universitaetsbibliothek Dresden. Christ's Last Supper with his disciples. From the Great Passion (Passio domini nostri Jesu), 1511. Creator: Duerer, Albrecht (1471-1528). (KEYSTONE/HERITAGE IMAGES/FINE ART IMAGES)

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Mongolei, Ulan Bator, 08.02.2024..Besuch des Bundespraesidenten und von Frau Buedenbender in der Mongolei am 08.02.2024..Besuch der Alexander-von-Humboldt-Schule in Ulan Bator..Elke Buedenbender (links) und Frank-Walter Steinmeier, Bundespraesident.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Mongolei, Ulan Bator, 08.02.2024..Besuch des Bundespraesidenten und von Frau Buedenbender in der Mongolei am 08.02.2024..Besuch der Alexander-von-Humboldt-Schule in Ulan Bator..Elke Buedenbender (links) und Frank-Walter Steinmeier, Bundespraesident.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Mongolei, Ulan Bator, 08.02.2024..Besuch der Alexander-von-Humboldt-Schule in Ulan Bator am 08.02.2024..Schuelern.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Mongolei, Ulan Bator, 08.02.2024..Besuch des Bundespraesidenten und von Frau Buedenbender in der Mongolei am 08.02.2024..Besuch der Alexander-von-Humboldt-Schule in Ulan Bator..Elke Buedenbender (links) und Frank-Walter Steinmeier, Bundespraesident.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Mongolei, Ulan Bator, 08.02.2024..Besuch der Alexander-von-Humboldt-Schule in Ulan Bator am 08.02.2024..Schueler.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

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Mongolei, Ulan Bator, 08.02.2024..Besuch des Bundespraesidenten und von Frau Buedenbender in der Mongolei am 08.02.2024..Besuch der Alexander-von-Humboldt-Schule in Ulan Bator..Elke Buedenbender (links) und Frank-Walter Steinmeier, Bundespraesident.. (KEYSTONE/SUEDDEUTSCHE ZEITUNG PHOTO/Jose Giribas)

SMILING GIRL STANDING AT DOORWAY

Smiling girl standing at doorway (KEYSTONE/WESTEND61/EVGENIA SUNEGINA)

GIRL PUTTING COLORED PENCILS IN POUCH ON BED AT HOME

Girl putting colored pencils in pouch on bed at home (KEYSTONE/WESTEND61/EVGENIA SUNEGINA)

GIRL PREPARING BACKPACK FOR SCHOOL AT HOME

Girl preparing backpack for school at home (KEYSTONE/WESTEND61/EVGENIA SUNEGINA)

TON PROFESSEUR A ÉTÉ SI AMIABLE! COMMENT RECONNAITRE? -MAMAN, DONNE LUI UNE ROBE, ILS VONT ETRE OBLIGÉS D'EN PORTER, 1872. FROM ACTUALITÉS.

Ton Professeur a été si amiable! Comment reconnaitre? -Maman, donne lui une robe..., 1872. Creator: Cham. Ton Professeur a été si amiable! Comment reconnaitre? -Maman, donne lui une robe, ils vont etre obligés d'en porter, 1872. From Actualités. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE APOSTLE ST. ANDREW, C1600.

The Apostle St. Andrew, c1600. Creator: School of El Greco. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE CRUCIFIXION OF ST. ANDREW, C1620.

The Crucifixion of St. Andrew, c1620. Creator: Frans Francken II. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SUPPER AT EMMAUS, 1530-1540. THIS SUPPER AT EMMAUS IS REMARKABLE FOR THE PRESENCE OF A BLACK EGYPTIAN AT CHRIST'S RIGHT HAND. AFTER HIS RESURRECTION, CHRIST APPEARED TO TWO DISCIPLES AT AN INN IN THE TOWN OF EMMAUS (LUKE 24). DEPICTED HERE IS THE MOMENT J

Supper at Emmaus, 1530-1540. Creator: Unknown. Supper at Emmaus, 1530-1540. This Supper at Emmaus is remarkable for the presence of a black Egyptian at Christ's right hand. After his Resurrection, Christ appeared to two disciples at an inn in the town of Emmaus (Luke 24). Depicted here is the moment just before they realize that the wise stranger who "breaks bread" with them is Christ. The innkeeper stands, while the disciples are identified by walking staffs. The biblical story does not note other companions. However, here they are joined by a black soldier, an Egyptian as identified by the characteristic red, woolly headdress. He leans towards Christ, apparently passing him a dish. As he is seated and a soldier, he cannot be a servant. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SEVEN DAYS OF THE WEEK, 16TH CENTURY. THIS ICON REPRESENTS THE SEVEN SACRED EVENTS ASSOCIATED WITH THE DAYS OF THE WEEK: THE RESURRECTION (SUNDAY); THE ASSEMBLY OF THE ARCHANGELS (MONDAY); THE BEHEADING OF JOHN THE BAPTIST (TUESDAY); THE ANNUNCIATION (WED

Seven Days of the Week, 16th century. Creator: Unknown. Seven Days of the Week, 16th century. This icon represents the seven sacred events associated with the days of the week: the Resurrection (Sunday); the assembly of the archangels (Monday); the beheading of John the Baptist (Tuesday); the Annunciation (Wednesday); Christ Washing the Disciples' Feet (Thursday); the Crucifixion (Friday); and the Second Coming (Saturday). The saints, including kings, bishops, apostles, martyrs, monks, and nuns, are gathered below Christ to praise him and await his judgement. The Savior holds an open book with the words "Come, O blessed of [my father]" (Matthew 25:34). (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CHRIST'S FAREWELL TO HIS DISCIPLES (GO TO GETHSEMANE), 1839.

Christ's farewell to his disciples (go to Gethsemane), 1839. Creator: Joseph von Fuhrich. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

CHRIST AT EMMAUS, C1772/1773.

Christ at Emmaus, c1772/1773. Creators: Joseph Winterhalder the Younger, Franz Anton Maulbertsch. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

PORTRAIT OF A TIBETAN MONK, 12TH CENTURY. WEARING THE ROBES OF A TIBETAN BUDDHIST MONK, THE INDIVIDUAL DEPICTED IN THIS PORTRAIT WAS PROBABLY A TEACHER OF THE KADAMPA ORDER. THE PAINTING’S PATRON, PERHAPS A DISCIPLE OF THE MONK, IS SEEN IN THE LOWER LEFT

Portrait of a Tibetan Monk, 12th century. Creator: Unknown. Portrait of a Tibetan Monk, 12th century. Wearing the robes of a Tibetan Buddhist monk, the individual depicted in this portrait was probably a teacher of the Kadampa order. The painting’s patron, perhaps a disciple of the monk, is seen in the lower left corner, gazing toward the teacher. Sitting before an altar and holding an offering lamp, he too wears monk's robes but has the long hair of a layman. The four deities to the right of the altar are especially important within the Kadampa tradition: from left to right we see the goddess or female bodhisattva White Tara, the male bodhisattva Shadakshari Avalokiteshvara, the goddess-bodhisattva Green Tara, and the wrathful buddha Achala. Seated along the top register are the five celestial buddhas and a four-armed goddess, probably Prajnaparamita (“Perfect Wisdom”), considered the mother of all buddhas and the embodiment of wisdom. Below them, the historical Buddha, Shakyamuni, and the blue medicine buddha flank the monk at the centre. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

BUDDHA SHAKYAMUNI WITH "JATAKA" TALES, LATE 17TH-EARLY 18TH CENTURY. THE BUDDHA SHAKYAMUNI, WHO LIVED IN THE 6TH-5TH CENTURY BC, IS SHOWN HERE TELLING STORIES OF HIS PREVIOUS EXISTENCES, ALL OF WHICH HE REMEMBERED AND MANY OF WHICH HE RELATED TO HIS DISCI

Buddha Shakyamuni with "Jataka" Tales, late 17th-early 18th century. Creator: Unknown. Buddha Shakyamuni with "Jataka" Tales, late 17th-early 18th century. The Buddha Shakyamuni, who lived in the 6th-5th century BC, is shown here telling stories of his previous existences, all of which he remembered and many of which he related to his disciples. At left, for instance, the Buddha-to-be is an elephant, who jumped to his death from a cliff so that people could feast on his body. At bottom right, he is a wild buffalo, who explains that he will not seek revenge on a monkey that had tormented him. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE BUDDHA WITH HIS DISCIPLES SARIPUTTA AND MOGGALANA, 1ST QUARTER 19TH CENTURY. THE TWO DISCIPLES WERE EARLY FOLLOWERS OF THE BUDDHA AND ARE KNOWN FOR THEIR GREAT PIOUSNESS AND POWER. THEY ARE FREQUENTLY DEPICTED FLANKING THE BUDDHA AND HONORING HIM BY P

The Buddha with his disciples Sariputta and Moggalana, 1st quarter 19th century. Creator: Unknown. The Buddha with his disciples Sariputta and Moggalana, 1st quarter 19th century. The two disciples were early followers of the Buddha and are known for their great piousness and power. They are frequently depicted flanking the Buddha and honoring him by putting their hands up in a gesture of deference or respect. Two celestial hermits also pay homage at the top of the painting. This subject was popular in Thai painting in the 19th century. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

THE LAST SUPPER, C1545.

The Last Supper, c1545. Creator: Giorgio Vasari. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SHICHIRI OBORO (IMAGE 1 OF 2), 1857. ACTORS NAKAMURA ENJAKU AS DESHI NITCHO AND BANDO MITSUGORO VI VI AS DESHI NICHIZO; ICHIKAWA DANZO VI AS TAIJIN, ACTUALLY NICHIREN SHONIN; AND NAKAMURA FUKUSUKE I AS NANAZATO-HIME

Shichiri Oboro (image 1 of 2), 1857. Creator: Utagawa Kunisada. Shichiri Oboro (image 1 of 2), 1857. Actors Nakamura Enjaku as Deshi Nitcho and Bando Mitsugoro VI VI as Deshi Nichizo; Ichikawa Danzo VI as Taijin, actually Nichiren Shonin; and Nakamura Fukusuke I as Nanazato-hime (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

ÇOMME QUOI LA GYMNASTIQUE FORME LES MEMBRES.., 1845. 'COMME QUOI LA GYMNASTIQUE FORME LES MEMBRES, MAIS DÈFORME LE NEZ'. TEACHER TO PUPILS AFTER ONE HAS SUSTAINED A NOSEBLEED: 'SHOWS THAT GYMNASTICS TRAINS THE LIMBS, BUT DEFORMS THE NOSE'. SERIES: PROFESS

"omme quoi la gymnastique forme les membres.., 1845. Creator: Honore Daumier. "omme quoi la gymnastique forme les membres.., 1845. 'Comme quoi la gymnastique forme les membres, mais dèforme le nez'. Teacher to pupils after one has sustained a nosebleed: 'Shows that gymnastics trains the limbs, but deforms the nose'. Series: Professeurs et Moutards, no. 7; Periodical: Le Charivari, 27 December 1845. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

STANDING PANEL WITH THE BUDDHA WITH HIS DISCIPLES SARIPUTTA AND MOGGALANA, C1880-1900. THEY STAND ON ALTAR TABLES OF CHINESE TYPE, AND THE BASE IS SET WITH OFFERINGS, VASES, AND AROMATIC "BUDDHAS HAND" CITRONS (CITRUS MEDICA VAR. SARCODACTYLUS). THE CARVE

Standing panel with the Buddha with his disciples Sariputta and Moggalana, c1880-1900. Creator: Unknown. Standing panel with the Buddha with his disciples Sariputta and Moggalana, c1880-1900. They stand on altar tables of Chinese type, and the base is set with offerings, vases, and aromatic "Buddhas hand" citrons (Citrus medica var. sarcodactylus). The carved gilt frame and stand, which contains two openwork gilded panels, are also Chinese in style. (KEYSTONE/HERITAGE IMAGES/HERITAGE ART)

SCHOOLBOY WALKING ON OVERSIZED PENCIL

Schoolboy walking on oversized pencil (KEYSTONE/WESTEND61/GARY WATERS)

SCHOOLBOY BLOWING BUBBLE GUM WHILE WALKING

Schoolboy blowing bubble gum while walking (KEYSTONE/WESTEND61/GARY WATERS)

SCHWEIZ ZUKUNFTSTAG KEYSTONE-SDA

Die Kinder des Zukunftstages der Nachrichtenagentur Keystone-SDA besuchen das TV Studio des Schweizer Fernsehens SRG, wo sonst die Elefantenrunden und weitere Politsendungen aufgezeichnet werden, am Donnerstag, 9. November 2023 im Medienzentrum Bundeshaus in Bern. (KEYSTONE/Alessandro della Valle)

SCHWEIZ ZUKUNFTSTAG KEYSTONE-SDA

Mayra, Mitte, und die weiteren Kinder des Zukunftstags der Nachrichtenagentur Keystone-SDA stellen Fragen im Saal der Medienkonferenzen des Bundesrates, am Donnerstag, 9. November 2023 im Medienzentrum Bundeshaus in Bern. (KEYSTONE/Alessandro della Valle)

SCHWEIZ ZUKUNFTSTAG KEYSTONE-SDA

Beatrice Koncilja-Sartorius, Inlandjournalistin bei der Nachrichtenagentur Keystone-SDA, 2. von rechts, erzaehlt den Kindern des Zukunftstages, die den Newsroom der Agentur besuchen, wie sie die taeglichen Nachrichten verbreitet, am Donnerstag, 9. November 2023 am Hauptsitz von Keystone-SDA in Bern. (KEYSTONE/Alessandro della Valle)

SCHWEIZ ZUKUNFTSTAG KEYSTONE-SDA

Leana und Mayra, von links, und die weiteren Kinder des Zukunftstags der Nachrichtenagentur Keystone-SDA stellen Fragen im Saal der Medienkonferenzen des Bundesrates, am Donnerstag, 9. November 2023 im Medienzentrum Bundeshaus in Bern. (KEYSTONE/Alessandro della Valle)

SCHWEIZ ZUKUNFTSTAG KEYSTONE-SDA

Christian Zingg, Leiter des Regionalbueros Bern, und Nadine Waelti, Finanzfachfrau, von rechts, geben Bundesraetin und Bundesrat, die von den Kindern des Zukunftstags der Nachrichtenagentur Keystone-SDA befragt und gefilmt werden, im Saal der Medienkonferenzen, am Donnerstag, 9. November 2023 im Medienzentrum Bundeshaus in Bern. (KEYSTONE/Alessandro della Valle)

SCHWEIZ ZUKUNFTSTAG KEYSTONE-SDA

Christian Zingg, Leiter des Regionalbueros Bern, rechts, besucht zusammen mit den Kindern des Zukunftstags der Nachrichtenagentur Keystone-SDA den Regieraum neben einer Duplexkabine des Schweizer Fernsehens SRG, am Donnerstag, 9. November 2023 im Medienzentrum Bundeshaus in Bern. (KEYSTONE/Alessandro della Valle)