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The Armenian Apostolic Church of St. Catherine

I can vividly remember making this image on a cold late-October morning in 2016. The winds were strong and I could hear the call of seagulls in the distance.

 

Shot with the Olympus M.Zuiko 60mm F2.8 Macro.

Geghard Monastery (Ayrivank), Armenian Apostolic church. The monastery complex was founded in the 4th century by Gregory the Illuminator at the site of a sacred spring inside a cave. The monastery had thus been originally named Ayrivank, meaning "the Monastery of the Cave". The name commonly used for the monastery today, Geghard, or more fully Geghardavank, meaning "the Monastery of the Spear", originates from the spear which had wounded Jesus at the Crucifixion, allegedly brought to Armenia by Apostle Jude, called here Thaddeus, and stored amongst many other relics. Now it is displayed in the Echmiadzin treasury.

abandoned church building is located on Burt Rd. just west of Bishop Rd. in Albee Twsp, and St. Charles

 

221a 2 - TAC_1152~4_HDR-deep - lr-ps-wm

CastelGandolfo, Palazzo apostolico (Roma - Italy): luoghi di incontri importanti, aperti alla visita ed alla conoscenza di tutti noi.

CastelGandolfo, Apostolic Palace (Roma - Italy): important meeting places, open to the visit and to the knowledge of all of us.

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Buenos Aires Apostolic Nunciature

 

Palacio Fernández Anchorena

 

Buenos Aires, Argentina

CastelGandolfo, Palazzo apostolico (Roma - Italy): immagini che vediamo sui banchi di scuola fin da piccoli. Ogni volta un fascino unico.

CastelGandolfo, Apostolic Palace (Roma - Italy): images we see on school desks from an early age. Each time a unique charm.

Another shot of the Twelve Apostles on the Great Ocean Road in Australia.

 

On previous occasions, I've done days trips from Melbourne so have never managed to be here at first light. This time, I spent the weekend at Port Campbell and spent a glorious few hours at dawn photographing these great limestone sea stacks.

 

EXIF: 88mm; f/22; 15secs; ISO50

abandoned church building is located on Burt Rd. just west of Bishop Rd. in Albee Twsp, and St. Charles

 

221a 2 - TAC_1132 - lr-ps

Prior to taking the shot of the sun breaking over the Twelve Apostles that I posted a couple of days ago, I was on the beach at the Gibson Steps photographing another apostle. It's either Gog or Magog - I'm sure somebody will let me know - and it couldn't have been a nicer morning.

 

Morning? It was pitch black - the sun wouldn't rise for an other couple of hours and the little sliver of a crescent moon was also still an hour away - and the sky was literally heavenly.

 

On the left of the sea stack is the Milky Way rising. The southern cross is visible to the left of the Coalsack. Directly above the sea stack is the Large Magellanic Cloud and to the right is Canopus, the second brightest star in the sky. The Small Magellanic Cloud is just about visible through that wispy cloud between the sea stack and Canopus.

 

I could have spent hours watching it.

 

In fact, I did.

 

EXIF: 14mm; f2.4; 30secs; ISO1600

Nevsky Prospect (Nevsky Avenue). View from the gallery of Great Gostiny Dvor, department store on Nevsky Avenue in St. Petersburg. In the background - the Armenian Apostolic Church of St. Catherine.

 

Невский проспект. Вид из галереи Большого Гостиного двора. На заднем плане - Армянская апостольская церковь Святой Екатерины. Санкт-Петербург

 

Samyang 8mm f/3.5 AS IF UMC Fish-eye CS II Canon EF

 

abandoned church building is located on Burt Rd. just west of Bishop Rd. in Albee Twsp, and St. Charles

 

221a 2 - TAC_1146 - lr-ps

View of the Papal Apartments from Saint Peter's Square

The Cathedral of the Assumption of the Blessed Virgin Mary is the main cathedral of the Assumption Kyiv-Pechersk Lavra.

 

A fragment of the Apostolic row of the main iconostasis, in the center of which is the image of Christ the Great Bishop. He is represented on the Throne as King and Priest. To the right of the Savior (on the left in the photo) are the Mother of God and the Apostle Peter facing Him.

 

Saint Peter the Apostle with the key - in Christianity, one of the twelve apostles of Jesus Christ, the oldest and one of the closest among His disciples, was present at the Transfiguration, Last Supper, Crucifixion and Resurrection. Executed in Rome during the reign of Emperor Nero. He died a martyr's death on the cross upside down. It is honored by all Christian churches. In the painting, he is depicted with the keys of the Kingdom of Heaven.

 

Собор Успі́ння Пресвятої Богородиці — головний соборний храм Успенської Києво-Печерської Лаври.

 

На світлині фрагмент Апостольського ряду головного іконостасу, у центрі якого є образ Христа Великого Архієрея. Він представлений на Престолі як Цар та Священик. Праворуч Спасителя (на фото ліворуч) – звернені до Нього Богородиця та Апостол Петро.

 

Святий апостол Петро з ключом - у християнстві один із дванадцяти апостолів Ісуса Христа, старший та один із найближчих серед Його учнів, був присутній на Преображенні, Тайній вечері, Розп'ятті і Воскресінні. Страчений в Римі за правління імператора Нерона. Помер мученицькою смертю на хресті вниз головою. Вшановується усіма християнськими церквами. У живописі зображується із ключами Небесного царства.

 

Ключі Царства Небесного (лат. Claves Regni Caelorum) у католицтві — атрибут апостола Петра, першого папи римського, що символізує його владу в Церкві. Поняття походить від слів Ісуса Христа, звернених до Петра, після того, як той визнав його Месією та Сином Божим: «І дам тобі ключі Царства Небесного: і що зв'яжеш на землі, те буде пов'язане на небесах, і що дозволиш на землі, то буде дозволено на небесах» (Мт. 16:19).

 

Christ by employing this expression ("power of the keys") clearly designed to signify his intention to confer on St. Peter the supreme authority over His Church.

The apostolic life is thus more than a ‘good’ life in the conventional sense, but a life that exhibits how God is different, that explains what we mean by transcendence. It shows that the world can be seen at one and the same time in its wholeness and in the light of a presence that is everywhere and nowhere. And it points to worship as the culminating and fulfilling form of self-dispossession or self-giving. It is about joy in the routine and everyday – not simply a persistent human happiness but a pervasive confidence that God’s beauty is there waiting for our homecoming. It certainly is not that monastic communities unfailingly exemplify all this; only that this and this alone makes sense of the monastic life as a sharpening of the focus that exists in all Christian life.

-Rowan Williams, The Way of St. Benedict

 

Holy Apostolic Catholic , Assyrian Church of the East

The Armenian Church, also known as Armenian Apostolic Church of the Holy Resurrection (Armenian: Դաքքայի Սուրբ Յարութիւն Եկեղեցի), is a historically significant architectural monument situated in the Armanitola area of old Dhaka, Bangladesh. The church bears testimony to the existence of a significant Armenian community in the region in the 17th and 18th centuries.

 

Following the domination of their homeland by Persian powers of the time, Armenians were sent by their new rulers to the Bengal region for both political and economic reasons. Although the Armenian presence in South Asia is now insignificant, their presence in Dhaka dates back to the 17th century. Armenians came to Dhaka for business. In Dhaka, Armenian merchants traded in jute and leather, and profitability in these businesses convinced some to move permanently to Bangladesh. The area where they lived became known as Armanitola.

 

In 1781 the now famous Armenian Church was built on Armenian Street in Armanitola, then a thriving business district. The site was an Armenian graveyard before the church was built, and the tombstones that have survived serve as a chronicle of Armenian life in the area. Agaminus Catachik, an Armenian, gave away the land to build the church. Michel Cerkess, Okotavata Setoor Sevorg, Aga Amnius, and Merkers Poges helped build the church.

 

In the fifty years following the church's construction, a clock tower was erected on its western side. Allegedly, the clock could be heard four miles away, and people synchronised their watches with the sound of the tower's bell. The clock stopped in 1880, and an earthquake destroyed the tower in 1897. The Armenians played a prominent part in the jute trade in Dhaka and are reputed to be the pioneers of that trade in the second half of the 19th century. Today, the last Armenian that took care of the church was Mikel Housep Martirossian (Michael Joseph Martin). He was also one of the Armenians who was in the jute trade.

 

(Source: Wikipedia)

The Cathedral of the Assumption of the Blessed Virgin Mary is the main cathedral of the Assumption Kyiv-Pechersk Lavra.

 

A fragment of the Apostolic row of the main iconostasis, in the center of which is the image of Christ the Great Bishop. He is represented on the Throne as King and Priest. To the left of the Savior (on the right in the photo) are addressed to John the Baptist and Paul the Apostle.

 

Being an ascetic, John the Baptist, whom we call the Forerunner (predecessor of Jesus Christ), lived in the desert, leading an ascetic lifestyle. It was from this desert that he began his appeal to the Jewish people. His first words are identical to what Jesus said when he went out into public ministry: “Repent, for the kingdom of heaven is at hand.”

When John the Baptist says “repent,” he uses a Hebrew verb that means “turning 180 degrees,” “turning the other way.”

 

Saint Paul the Apostle with a sword - the apostle was beheaded by a sword during the time of Emperor Nero, possibly during the persecution of Christians in 64. The most prominent Christian missionary, "apostle of nations" and one of the first theologians of Christianity; is not included either among the first 12 apostles or among the next 70 apostles.

 

In accordance with the teaching of the Apostle Paul about the priesthood of Christ, He is glorified by the Church as the Great Bishop, the High Priest of the new confession, “who is seated at the right hand of the throne of the Majesty in heaven, and is a minister of the sanctuary and of the true tabernacle, which the Lord pitched, and not man” (Heb. 8, 1-2).

 

Собор Успі́ння Пресвятої Богородиці — головний соборний храм Успенської Києво-Печерської Лаври.

 

На світлині фрагмент Апостольського ряду головного іконостасу, у центрі якого є образ Христа Великого Архієрея. Він представлений на Престолі як Цар та Священик. Ліворуч Спасителя (на фото праворуч) – звернені до Христа Іоанн Предтеча та Апостол Павло.

 

Як подвижник, Іоанн Хреститель, якого ми називаємо Предтечею (попередником Ісуса Христа), жив у пустелі, ведучи аскетичний спосіб життя. Саме з цієї пустелі він і почав звертатися до єврейського народу. Перші його слова ідентичні тому, що сказав Ісус, коли вийшов на громадське служіння: «Покайтеся, бо наблизилося Царство Небесне».

Говорячи «покайтеся», Іоанн Хреститель використовує давньоєврейське дієслово, яке означає «розворот на 180 градусів», «навернення в інший бік».

 

Святий апостол Павло з мечем - апостол був обезголовлений мечем за часів імператора Нерона, можливо під час переслідувань християн у 64 році. Найвизначніший християнський місіонер, «апостол народів» та один з перших богословів християнства; не входить ні в число перших 12 апостолів, ні до наступних 70 апостолів.

 

Відповідно до вчення апостола Павла про священство Христа, Він прославляється Церквою як Великий Архієрей, Первосвященик нового сповідання, «Котрий осів православний престол величі на небесах і є священнодіячем святилища та скинії істинної, яку спорудив Господь, а не людина»

 

Павло Алепський підкреслював особливості (в іконографічній схемі й тематичній програмі) українського іконостаса. Він звернув увагу на те, що на українських іконостасах праворуч від Деісуса малювали Апостола Павла, цим підкреслюючи його пріоритет між апостолами. Католики ж на чільне місце висували Апостола Петра, який передав владу римському папі; цим папи обґрунтовували свої домагання на зверхність над православними патріархами.

(Путеществие Антиохийского патриарха Макария в Россию в половине ХVII в., описанное Павлом Алепским. Москва. 1897. Вып. 11, С. 38).

Holy Apostolic, Catholic. Assyrian Church of the East

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handmade collage on found wood. 9.25x9.5 inches.

Explore #56

 

Here it is another of my favorites shots I made few days ago during a wonderful sunny day visit at the lake of Albano.

 

Thanks the hoya ND400 (the difference with the previous photo is that in that one I also used a ND8) I was able to make an exposure of 1 minute in full day light (it was 4.30pm).

 

The village (not visible in the photo) over the lake is Castel Gandolfo, where is located the Apostolic Palace of Castel Gandolfo which serves as a summer residence and vacation retreat for the pope.

 

Canon 450D / Xsi

EF-S 10-22mm f/3.5-4.5 USM

Hoya ND400

61 seconds | ƒ/14 | ISO 100 | 10 mm

 

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Saint Mary Armenian Apostolic Church, Yettem, Ca.

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Noravank - Նորավանք - meaning "New Monastery" s a 13th century Armenian Apostolic Church monastery, located 122 km from Yerevan in a narrow gorge made by the Amaghu river, nearby the city of Yeghegnadzor, Armenia. The gorge is known for its tall, sheer, brick-red cliffs, directly across from the monastery. The monastery is best known for its two-storey S. Astvatsatsin church, which grants access to the second floor by way of narrow stones jutting out from the face of building. The monastery is sometimes called Amaghu-Noravank, Amaghu being the name of a small recently destroyed village above the canyon, in order to distinguish it from Bgheno-Noravank, near Goris.

 

Yet one more place that firstly welcomed me with lot and lot of rain. I waited there for 2 hours to see if the rain stop, but it didnt. I decided that this place can be visited again on my way back to Yerevan as it is definitely worth it. When I was approaching the following time, I had the most amazing and dramatic light - strong, late afternoon light with heavy, dark, stormy clouds in the back - my favorite combination. The contrast and an amazing surrounding landscape created this stunning shot.... surely the 2nd trip was worth it!

 

Camera Model: Canon EOS 5D Mark II; Lens: EF24-105mm f/4L IS USM; Focal length: 32.00 mm; Aperture: 9.0; Exposure time: 1/160 s; ISO: 100

 

All rights reserved - Copyright © Lucie Debelkova www.luciedebelkova.com

 

All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.

A view of Saint Peter's Square at night. With Saint Peter's Basilica on the left and part of the Apostolic Palace on the right.

Wikipedia: This small church on the Ore–Baldslow Road, was originally St Helen's Methodist Church. It probably dates from 1877, although the date on its foundation stone is now illegible. The slope of the land conceals a hall beneath the church. Christ Apostolic Church Hastings was founded in March 2008

The Palazzo dei Priori or comunale is one of the best examples in Italy of a public palace from the communal era (11th century). It is located in the central Piazza IV Novembre in Perugia, Umbria. It extends along Corso Vannucci up to Via Boncambi. It still houses part of the municipality, and, on the third floor, the Galleria Nazionale dell'Umbria. It takes its name from the Priori, the highest political authority governing the city in the medieval era.

It was built in Gothic style between 1293 and 1443, in several phases. The irregularity of the facade is explained by the long construction, due to constant additions and the incorporation of earlier buildings.

The oldest part is the one that houses the Sala dei Notari, that is, the corner part between Piazza IV Novembre and Corso Vannucci. It displays three trifora windows with a trefoil portal on the side facing the square and ten triforas and four-light windows facing the Corso.

It was the first building site, between 1293 and 1297, by the architects Jacopo di Servadio and Giovannello di Benvenuto, both from Perugia.

In the early 1300s, the entire Palazzo Capitano del Popolo, formerly the tower house of Madonna Dialdiana, was incorporated into the west side, that is, the hidden side of the palace.

The subsequent expansion was managed, between 1317 and 1326, by the architect Ambrogio Maitani from Siena who, with his brother Lorenzo, was hired to refurbish the Montepacciano aqueduct, which carried the water to the fountain in the square. During this same period, lodgings were built for the new Magistracy of Priori (founded in 1303, consisting of ten representatives of each one of the main guilds of the arts, among the 44 that existed; they held office for only two months, in which they were housed in the palace). Their living quarters consisted of the dormitories and council rooms on the first floor, the kitchen and the dining hall on the second floor and the main hall on the third. Those locations were used starting in 1325, the same period in which the Portale Maggiore was built, which became the palace's main entrance.

Between 1326 and 1331 the comune purchased from Benvenuto di Cola dei Servitori a tower house, which was connected to the palace by an overpass, above the present-day Via dei Priori. On the old tower was built a bell tower. In 1331, the ancient Priori Chapel (Cappella dei Priori) was built here, consecrated to Saint Louis of Toulouse, brother of Robert of Anjou, belonging to the House of Anjou allied with the comune; for this reason, the carved lily emblem appears on the lunette of the portal and the side of the palace, along Via dei Priori at the intersection with Via della Gabbia.

In 1335, the facade was further extended, breaking the initial symmetry with the portico and San Severo hall on the ground floor and of the other halls on the upper floors. In the expansion, the church of San Severo di Piazza, of which only one wall remains inside, was incorporated into the palace (the title of the Church of San Severo was added to the nearby church of Sant'Agata, in Via dei Priori, which still retains the dual appellation).

Between 1429 and 1443 the palace was again enlarged southward, incorporating the church of San Giovanni al foro o di piazza, now the chapel of San Giovanni, part of Collegio del Cambio, i.e., the guild of the money changers, which took over the palace from 1452. For stylistic homogeneity the Gothic style has been retained, even though it was no longer used in the 15th century.

From 1534 the palace housed the apostolic legate (an emissary of the Pope) and there were changes made to the most recent wing of the palace. The architect Galeazzo Alessi designed the internal and external arcade in the 1580s. Later the architect and sculptor Vincenzo Danti completed the work by enlarging the interior staircase.

In the following years of papal rule, the palace underwent a period of decay and was greatly altered both inside and out (the crenellation disappeared, new windows were opened and the triforas disappeared). It was restored to its old form and restored after 1860.

The facade facing the square has a fan-shaped stairway built in 1902 to replace the two-flight staircase dating from the 17th century. The original one is presumed to have been fan-shaped. The trefoil Gothic portal is flanked by two triforas, the same as the five above, which have a pinnacle on top. The two on the right were added during the subsequent extension. On the ground floor, there are three asymmetrical arches; between the first two is a pulpit used for the reading of the edicts. Two large corbels above the Gothic portal support copies of bronze statues of the griffin, symbol of the city, and the Guelph lion; the originals (now in the entrance hall of the palace) were made in 1274, probably for a vanished fountain by Arnolfo di Cambio. The chains hanging from the statue and the iron bar are those taken from the gates of Torrita di Siena by Perugian soldiers during the Battle of Torrita in 1358.

The facade toward the Corso, with a bulging progression, allows a glimpse of the various extensions that have taken place over time. The walls on the first floor are decorated, as well as the facade on the square, by triforas and two examples of quatrefoil windows, while on the upper floor are 19 triforas with a pinnacle combining the colour of the white and pink stone. The Guelph cornice and crenellations crown the end of both sides. On the ground floor, shops replace the fondachi (warehouses) and artisan workshops. To the right of the portal is still the entrance of Collegio della Mercanzia [it], occupying part of the palace from 1390, while the Collegio del Cambio took over the southern extension, where it has been since 1452.

The Portale Maggiore or Portale delle arti, the dominant element of the building, attributed to local workers, was built in 1346. Rich in sculptural decoration, it is flanked by square pillars resting on two lions, the one on the left representing magnanimity, fertility and pride, and the one on the right representing of avarice, abundance and humility. On top of the pillars are two griffins, overlooking calves, the symbol of Corporazione dei Macellai (the guild of butchers), which commissioned the work. On the framing of the portal and the archway are bas-reliefs representing scenes of city life. In the lunette are copies of the statues of saints Lawrence, Herculanus of Perugia, and Constantius of Perugia (or Saint Louis of Toulouse), patron saints of the city. The style and the size of the portal are in contrast with those of the palace; for this reason, it is thought to have been constructed for an ecclesiastical building, but was later used for Palazzo dei Priori. On the left side of the portal is a figure with a title that reads: Entra Puro, move securo ('Come thither, be safe').

5th-7th century Armenian Apostolic Church

Located in the Torre Borgia within the Vatican Museums and Apostolic Palace.

 

Following the proclamation of the dogma of the Immaculate Conception by Pius IX, which took place on 8 December 1854, the pontiff decide to celebrate the event with a cycle of frescoes.

The large room adjacent to the Raphael Rooms was chosen, and the task was assigned to Francis Podesti (1800-1895), a painter originally from Ancona but rooted in the Roman artistic and academic panorama. The artist, along with his team of workers, worked on the commission from 1856 to 1865, planning it and following its execution in all its aspects: the wooden doors and window frames and the inlaid marble work, as well as the installation of the Roman mosaic from Ostia Antica, purchased specifically for this space.

 

The pictorial decoration proceeds from the ceiling, with allegorical scenes alluding to the virtues of the Virgin; it continues along the northern wall with the homage of the continents to the Church enthroned; it continues on the west wall, devoted to the Discussion of dogma in St. Peter’s Basilica, and concludes on the east wall, with the Coronation of the Image of Mary, an event following the Proclamation, which took place in St. Peter’s. Podesti, who was present, included a self-portrait here.

(www.museivaticani.va/content/museivaticani/en/collezioni/...)

 

PLEASE, NO GRAPHICS, BADGES, OR AWARDS IN COMMENTS. They will be deleted.

 

Detail of Christ Apostolic Church, Nuttall Street, Hackney. Built 1869. Designed by architect James Brooks. Grade I listed by Historic England.

The Meeting of Leo I and Attila is a fresco by the Italian Renaissance artist Raphael. It was painted from 1513 to 1514 as part of Raphael's commission to decorate the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. It is located in the Stanza di Eliodoro, which is named after The Expulsion of Heliodorus from the Temple.

The painting depicts the meeting between the Pope Leo I and Attila the Hun , which took place in 452 in northern Italy. Initially, Raphael depicted Leo I with the face of Pope Julius II but after Julius' death, Raphael changed the painting to resemble the new pope, Leo X. Leo X appears both as cardinal and as pope. The images of Saint Peter and Saint Paul appear in the sky bearing swords, and were said to have helped keep the king of the Huns from invading Italy.

The left half of the painting is mainly by Raphael, with only minimal work by his students. The result of this fresco exhibits great artistic skill, due to the usage of dark and light pigments which amplify the peaceful and the aggressive movements. It showcases a comparison of good and evil, which ties in the political and religious perspective of the Pope, who commissioned the work.

In 1514, the Pope hired young Raphael to reimagine the project to decorate the rooms of the Vatican as the chief architect. Perhaps, due to Raphael's family's success in the arts, he was given the opportunity to be commissioned for the paintings in the Vatican. However, Raphael had also proven himself to be a more successful painter than his father, while still in his teenage years. Once he was the chief architect for the Vatican, it resulted in the destruction of the previous frescoes that had been created in the Vatican, and marked the time in which Raphael began to create the famous Vatican frescoes that still exist today. Though Raphael is mostly attributed for the creation of The Meeting of Leo the Great and Attila, his assistants painted much of it, as he directed, and they continued to finish the project even after his early death. Some of the accredited assistants include: Raffaellino del Colle, Giulio Romano, and Gianfrancesco Penni. This fresco, amongst the others in the Room of Heliodorus glorified the Church.

The main figure in this painting is Attila, the king of the Huns, who began to seriously threaten Italy in 452 AD. Pope Leo I was sent out to meet the Hun king and to attempt to persuade him to spare Italy. Their meeting is thought to have taken place near Mantua. This area was known for its association to Christianity, adding to the symbolism of finding a peaceful resolve.

The other major figure was Leo I, who reigned from 440. Both the pope and the general Roman public found that it would be best to work towards peace, even by means of begging. Pope Leo I led in hopes to come to an agreement where violence was avoided. The result was peaceful, as the Pope's approach to the situation allowed Attila to cease any plans of warfare.

The Emperor of Rome realized that the odds of them being victorious against Attila and the Huns was slim, and yet Leo exhibited bravery, because he relied on his faith when going against this great foe.

The moment that is shown in this fresco includes political and faith-based themes because of the contrast of the agitated Huns and the religious authorities. Though a battle was expected, Attila the Hun decided to not engage in battle, and there have been various perspectives as to why he changes his mind. Historians prefer the explanation that the Huns withdrew because they may have suffered from lack of food and care, leading them to be ill or hungry. Though this seems to be an explanation that can be easily understood, there is not sufficient evidence to even prove that the Huns were lacking food at all in the northern region of Italy where they were located. This estimation of their location resulted from the careful calculations of academics who were not convinced that God was the only force working to keep Attila and the Huns from fighting.

However, the idea of food scarcity was not accepted by all scholars who wanted to find the reason for the peaceful conclusion., Another theory that was proposed explains that the Huns left early because of the changing seasons, knowing that survival was much more difficult during the winter. So the idea that is being proposed is that they left in order to avoid the cold climate coming due to winter, and that they had all of the food provisions that were necessary.

The painting, however, indicates that the Huns withdrew because of the spiritual presences of the Christian martyrs, Apostle Peter and Paul. They are shown to be working alongside Pope Leo I in order to help prevent Attila from invading. Since Peter and Paul had brought much success to the spreading of the Gospel of Jesus and lived righteous lives, they were able to influence Attila's thoughts, and even remind him of God, who has more power than Attila. This interpretations argues that Attila believed in Leo's words after thinking deeply about what had been said, since he seems to have sided with the papal nobility and have faith as well.

There are interpretations that view the people alongside Attila the Hun as barbarians. The connotation and definition leave the viewer seeing them as being lowly and uncultured, when that was likely not the case. This is significant because the piece also includes one of Attila's men standing his ground, facing the pope, and reaching out his hand towards the pope's entourage. This is significant in showing that there may not be total unity amongst this group. Additionally, the figure who is defying also has a feathered headdress, connecting him to the indigenous people of the Americas. Europeans considered the Native Americans to be barbarians as well, and that they should be conquered, for the benefit of humanity. So, this figure with the feather on his head indicates that Raphael may also want to paint the image of Native American defiance for the public to see. The features of all of the faces including the Native American though, are clearly with European features, because for many years, Europeans did not actually know how Native Americans looked and acted like. Since their form of information was based upon the stories told by the few who visited the Americas in person. Accurate depictions are not expected until the 17th century, and so this piece is shown to lack historical authenticity, as these realities are clarified.

 

The Sistine Chapel is a chapel in the Apostolic Palace, the official residence of the Pope, in Vatican City. Originally known as the Cappella Magna, the chapel takes its name from Pope Sixtus IV, who restored it between 1477 and 1480. Since that time, the chapel has served as a place of both religious and functionary papal activity. Today it is the site of the Papal conclave, the process by which a new pope is selected. The fame of the Sistine Chapel lies mainly in the frescos that decorate the interior, and most particularly the Sistine Chapel ceiling and The Last Judgment by Michelangelo.

Catholic Apostolic Chapel at Gartenstraße 11 in the Stadtjägerviertel district of Augsburg, Germany

 

I grew up in this district and always wondered what it was about this chapel, whose rear side I could see from our sitting room window and where no one ever showed up. In the meantime, fortunately, there is the Internet.

 

The chapel, I found out, belongs to a sect that has tripped itself up by its own teachings. These have led to the fact that there have been no ordinations since 1901, and this circumstance has in turn caused a constant loss of members. The remaining communities without ministers are waiting for the intervention of God.

 

The chapel was built in 1871/72, almost completely destroyed in the war year 1944 and rebuilt in 1951 for inexplicable reasons.

In 1994, the Catholic Apostolic community in Augsburg still had 20 members. www.schwabenmedia.de/Kirchen/Augsburg/Apostolische-kirche...

 

Today, the Catholic Apostolic community in Augsburg has an estimated two members;-)

 

de.wikipedia.org/wiki/Katholisch-apostolische_Gemeinden en.wikipedia.org/wiki/Catholic_Apostolic_Church

The Disputation of the Sacrament, or Disputa, is a painting by the Italian Renaissance artist Raphael. It was painted between 1509 and 1510 as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. At the time, this room was known as the Stanza della Segnatura, and was the private papal library where the supreme papal tribunal met.

In the painting, Raphael has created a scene spanning both heaven and earth. Above, Christ is surrounded by an aureole, flanked by the Blessed Virgin Mary and John the Baptist to his right and left (an arrangement known as the Deësis). Other various biblical figures such as Peter (far left, holding keys), Adam (far left, bared chest), John the Evangelist (left, writing), King David (left, holding lyre), Saint Lawrence (left, wearing purple), Judas Maccabeus (right, wearing gold armor), Stephen (right, wearing green), Moses (right, with horns of light and holding the Ten Commandments), James the Elder (right, wearing white), Abraham (right, holding knife), and Paul (far right, holding book and sword) are to the sides. God the Father sits above them all in the golden light of heaven and adored by angels, blessing with his right hand and holding the Earth in his left. Below Christ's feet is the Holy Spirit in the typical form of a dove, to whose sides are books of the four Gospels held open by putti.

Below, on an altar sits the monstrance. The fringe of the altar reads, "Julius II Pont. Max." The altar is flanked by historical theologians debating Transubstantiation (Christ's presence in the Eucharist). Among them are the original four Doctors of the Church (identified by their names inscribed into their halos), with Pope Gregory I and Jerome seated to the left of the altar and Augustine and Ambrose to the right, along with Pope Julius II, Pope Sixtus IV, Savonarola and Dante Alighieri. Pope Sixtus IV is the gold-dressed pope in the bottom of the painting. Directly behind Sixtus is Dante, wearing red and sporting a laurel wreath (symbolizing his greatness as a poet). Fifth from right, stands St. Thomas Aquinas. The bald figure reading a book in the left hand corner is Raphael's mentor and Renaissance architect Bramante, and the bearded figure on the right side wearing orange and blue robes is Aristotle. The monk on the far left is Fra Angelico. In the background on the left, a church is being constructed, representative of the Catholic Church.

Apostolic Faith Church in a suburb of Honolulu

Armenian Apostolic Church (10th century)

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