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St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.
The 7th Earl of Shaftesbury, who is depicted in this north ambulatory window, was born in 1801. He worked in parliament to try and improve conditions for the working classes. His ten hour bill limited working hours in the factories of the Nineteenth Century. He also fixed a minimum age for working children. He was a great reformer and Christian. He died in 1885.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
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St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.
The 7th Earl of Shaftesbury, who is depicted in this north ambulatory window, was born in 1801. He worked in parliament to try and improve conditions for the working classes. His ten hour bill limited working hours in the factories of the Nineteenth Century. He also fixed a minimum age for working children. He was a great reformer and Christian. He died in 1885.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Belvedere Castle
Upper Belvedere, 2011
(further pictures you can see by clicking on the link at the end of page!)
Lower Belvedere, 2010
Vienna's most famous castles system, the Upper Belvedere and Lower Belvedere Palace, the city owes the former champion in the fight against the Ottomans, Prince Eugene of Savoy. This one had for himself the of two castles (Lower Belvedere, Upper Belvedere Palace ) consisting and with a park and other side attractions equipped estate as a summer residence in the style of Versailles built. Within ten years (1714-1723/24) Lukas von Hildebrandt built his biggest project, which is one of the most beautiful Baroque works in the world.
After the death of Prince Eugene, who remained unmarried, his whole estate passed to his sister Victoria, who sold it low priced to the imperial court in 1752. So the estate 1894-1914 served as a residential area for the heir to the throne, Franz Ferdinand, dying in the attack in Sarajevo with his wife in 1914. Even Chancellor Kurt Schuschnigg lived from 1934-1938 in the Upper Belvedere Castle. 1955 the plant became the scene of a major political event, the foreign ministers of France, Britain, Soviet Union, United States and Austria signing the treaty for independence in the Marble Hall of the Upper Belvedere. Today, in the formerly as a residential complex and representation residences used palaces are especially exhibitions of Austrian artists located.
Lower Belvedere Palace
The 1716 finished Lower Belvedere Palace looks in comparison to its opposite counterpart quite modest, though the castle has a rich interior decoration in the Baroque style. So forms the center of the mainly single-storey building the two-story marble hall, which with golden ornaments and painted mock architecture (Gaetano Fanti) was decorated. The famous frescoes by Martino Altomonte (1914) in the Marble Hall show the original owner of the castle Prince Eugene as he receives his hat and stick - alike Apollo on clouds dormant. In addition, invites the Golden Room, with its mirrors, the golden paneling as well as paintings of personalized continents, elements and seasons to marvel. This space, especially the interior, was once part of the city palace of the Türkenbesiegers (vanquisher of the Turks) before anything was transferred in 1770 to the Lower Castle. In addition to the Marble Hall and the Golden Room convince the other rooms in their equipment and artistic design. In the former bedchamber visitors can admire the relief of Raphael Donner and in the Marble Gallery stucco decorations by Santino Bussi with life-size mythological niche figures by Domenico Parodi. The Hall of Grotesques also could be interesting for art lovers: On one hand, the grotesque paintings by Jonas Drentwett can be viewed, which are intended to represent the Prince in his functions as a warlord and patron of the Arts. On the other hand, attracts the ceiling fresco depicting the four seasons as well as the design of the corners of the room with the four elements everyone's attention.
Upper Belvedere Palace
The representation castle of the former Prinz- Eugen-estate served primarily of the joyful coming together for lavish celebrations or enjoyment of many art treasures. It was completed in 1724 and is, due to its richly decorated façade, considered as the more marvelous of the two castles. The mentioned enjoyment of art is already visible at the richly decorated facade and is continued in the design of the castle rooms. Four powerful atlases of Mattielli in the Sala terrene carry the vault of the room and the white stucco decorations by Santino Bussi are continued in the hallway under the theme of the prince virtues. The two-story marble hall is here - as well as in the Lower Belvedere Palace - the center of the building. The ceiling painting "Allegory of Glory " by Carlo Innocenzo Carlone symbolizes the eternal glory of the prince in the midst of princely virtues. The Apollo-Aura-Fresco ("victory of light over darkness") in the garden room, too, also by Carlo Innocenzo Carlone, heroises Prince Eugene as a bringer of light and Türkenbesieger (defeater of the Ottomans). The frescoes in two other Ostsälen (east halls) are continuing the topic, yet these have been created by Ciacomo del Pò. Other images of high quality, thematically but biblically oriented can be found in the chapel and in the south-east tower of the castle. Here is on one hand, the dome image "God the Father" (Carlo Carlone ) to mention, as well as the altarpiece "Resurrection of Christ" (Solimena). "In the Gold Room in the Northwest Tower arised Canelettos famous view of Vienna from 1760".
Garden
Between the Upper and Lower Belvedere Palace is the beautifully landscaped garden. This one was layed out by the Parisian garden architect Dominique Girard. The axially landscaped terrace garden with symmetrical staircases, however, goes back to a concept of Hildebrandt. This construction permits from the front terrace of the Upper Belvedere a beautiful view over the sloping gardens to the towers of Vienna and the mountain ranges of the Vienna Woods behind them. The upper lawn area designed Girard in accordance with French geometries with cascades, stairs and water features, as well as laterally limited hedges and avenues. Once adorned numerous sculptures the garden grounds, too. Those have been distributed thematically and according to the altitude. So were found on the lower garden level sculptures which should symbolize the four elements. In the central region was the Parnassus represented and on the higher garden level have been found sculptures to Olympus. However, hereof have been preserved only a few sculptures, including eight muses and the symbolic figures of the Prince of Hercules and Apollo in the lower ground floor. Furthermore, two sphinx figures are standing as stone guards in front of the garden side main entrance of the upper Belvedere.
The garden also includes a botanical garden and an Alpine garden. In the former, the personal physician of Maria Theresia Gerard van Swietjens grew various medicinal herbs. Today, the Botanic Garden is owned by the University of Vienna. In contrast, the Alpine Garden was founded in the Schönbrunn Palace in 1803 by the Archdukes Johann, Rainer and Anton and 1865 moved to the Belvedere gardens. In this oldest alpine garden in Europe today can be visited the historic Alpine Plants collection of federal gardens. The there cultivated 4,000 plant species encompass in addition to numerous rare alpine plants also a rhododendron and a bonsai collection.
On the way from one to the other castle you get not only to a number of commercial buildings in the palace complex but also to the Menagerie and the famous Orangery, which served during the lifetime of Prince Eugene as heated winter garden for the orange trees.
Exhibitions and collections
The palace complex for several decades already no longer serves as a residential area for rulers or politicians. Instead, most of the spaces, especially in the Upper Belvedere Palace, are being returned to their original functions. They serve today primarily for presentation and admiration of many valuable art treasures. So can be found in the individual buildings different, always changing exhibitions such as the current on the topic of "gold". This exhibition could be visited until 17th June 2012. In addition, the Austrian Gallery Belvedere has numerous collections of different art directions. So are included in the stock collections to the Middle Ages, Baroque, Classicism, Expressionism and Impressionism as well as works of Art Nouveau, postwar and contemporary art. Particularly noteworthy at this point are the collection of Messerschmidt with his character heads, of Ferdinand Georg Waldmüller, of Gustav Klimt, of Egon Schiele and of Oskar Kokoschka.
This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.
The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]
“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design
Thank you, in advance, to those of you who take a moment to leave a comment and/or fave my photo. I appreciate it tremendously.
Chinese Temple Drum:
This immense drum from a Daoist temple bears the symbols of the eight immortals: fan, castanets, sword, flower basket, double-gourd, flute, lotus, and bamboo drum & rods. Together they signify happiness.
• Date unknown
• Constructed of wood, leather, paint & metal
• On loan to The Bowers Museum, courtesy of Gayle and Edward P. Roski
The Bowers Museum:
Founded in 1936 by the City of Santa Ana through a bequest from Charles and Ada Bowers, the Bowers Museum is one of California's finest and Orange County's largest museums. In 1986, the museum closed its doors for a period of self-study. In response to community needs and input, it reopened in 1992 as a new cultural center, and expanded children's programming in 1994 with the opening of the Kidseum. The museum also recently celebrated the grand opening of the 30,000+ square-foot Dorothy and Donald Kennedy Wing in February 2007.
The Bowers has been voted "The Best Museum in Orange County" by the readers of The Orange County Register for 15 consecutive years.
The Bowers is accredited by the American Association of Museums, an honor only 5% of museums receive.
In the past 15 years the museum has increased its facility size from 7,000 square feet to its current size of 93,000+ square feet.
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A new Vaporwave wallpaper! It is free and put under Creative Commons. Enjoy.
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Regardt van der Meulen is a South African artist who is based in Johannesburg, has designed a statue of their latest. This sculpture entitled “I’m just the pieces,” with a height of 4 meters.
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(Further pictures you can see by clicking on the link at the ende of page!)
The history of the sanctuary and parish Mariahilf
The beginnings of Mariahilf
Since the cemetery of Hofpfarre (Court Parish) St. Michael - it was too close to the Imperial Palace - in 1508 had to be abandoned due to an imperial command, a new location outside the city walls and the glacis - served as a military parade and defense area - was searched. Only in 1656 could a vineyard in Ried "Schoeff" at the black cross in front of the Widmertor - the present castle gate - to be purchased for the new cemetery.
This Ried "Schoeff" stretched from Widmertor on the slopes of the left bank of Vienna (very small river Wienfluss) to Penzing. Here flourished a famous and popular type of wine, "the Gumpendorfer".
The first cemetery chapel
Picture of grace. At the highest point of this hill a small wooden cemetery chapel was built, that together with the cemetery on 19 April in 1660 was consecrated by Bishop Philipp Friedrich von Breuner. The only decoration of this humble chapel was that of the Barnabitenmönch (monch of the Barnabites) Don Celestine Joanelli - see today's Joanelligasse - donated miraculous image "Mariahülf ", which soon became the destination of many pilgrims from Vienna and the surrounding area.
This representation of Mary is a replica of the miraculous image on Mariahilferberg near Passau, which again is a copy of the miraculous image in the parish church at Innsbruck. All three images, the story tells of miraculous powers. In many "miracle books" - partly till today in Mariahilfer library preserved - is reported about miraculous healings.
The pilgrimages became more and more intense and so the Barnabites were forced to build in the years 1668 and 1669 a stone chapel, including residential buildings for the priests.
In the second Turkish siege of Vienna in 1683, the buildings were destroyed, but the picture of grace in time could be brought to safety by the then sexton Eduard Lampel within the city walls.
The new church
Due to popular demand for the miraculous image, the many pilgrimages and the non-successful floor plan of the building was from 1711 according to the plans of Franziskus Jänckl - a student and construction supervisor of Lukas von Hildebrandt - the church, using part of the existing foundation walls, in its present form built. 1714 choral parts were rebuilt and the nave erected, in 1715 were the towers of the west front - facing the present Mariahilferstraße - ready in shell (2nd construction periode). In the 3rd construction periode 1721-1726 the towers were covered with copper and decorated the west facade with statues and reliefs of J. Jacob and Ignatius Gunst.
A drawing of Salamon Kleiner from 1724 shows the general impression at that time.
Church 1724
Pilgrimages to the holy image of Mariahilf
To get a feel for the intensity of the pilgrimage tradition at this time, some numbers from 1733: 97 692 people received the Holy Communion, 20,000 Holy Masses were celebrated this year in Mariahilf.
The Empress Maria Theresa made a pilgrimage to Mariahilf to ask Our Lady for her intercession. The Chronicle reported that, during the three Masses, those she here attended sequentially, she a quarter hour lying on the ground here prayed and wept.
These and other notable historical documentations can be found until the middle of the 19th Century in the "Akta" of the parish Mariahilf, which can be looked-up in our library.
In the years 1805, 1809 and 1813 during the Napoleonic war took place enormous state processions with up to 90,000 participants to Mariahilf.
Many Viennese suburb and suburban communities pilgrimaged here every year for centuries to pray, to take their concerns to Mary and to obtain a plenary indulgence, under certain specified conditions. Some parishes in Vienna and Lower Austria come even today annually to the miraculous image "pilgrimaging".
In the years 1760 - 100th anniversary, 1860 - 200th anniversary of the mounting of the miraculous image, 1910 - 250 anniversary celebration and 1960 to the 300th recurrence of this event took place festivities lasting for days, the, as the chronicle reported, especially in the years 1760 and 1860 not only religious contents had but also secular celebrations were.
Ultimately led all these conditions and events to the consequence that until now the 6th District of Vienna is called Mariahilf and probably the largest shopping street in Vienna Mariahilferstraße.
The religious communities of Mariahilf
The Barnabitenorden (Barnabite Order) oversaw the parish, which in the meantime from 1722 was also the provost until 1920. From 1920-1923 diocesan priests worked here until church and parsonage were transferred to the Order of Salvatorianer. These were active here until 1997 and had to give up for lack of personnel and financial reasons this location. Subsequently transferred the Archdiocese of Vienna to the Polish Order of Michaelites the care of the parish and pilgrimage church.
Architectural and historic preservation measures in recent decades:
In 1960, on the occasion of the 300 year celebrations the partly wooden marble altars - this was quite usual in the Baroque period for cost reasons - new marbled , that is newly painted. In 1950/55 and 1982, the exterior facades of the church were renovated and restored, from 1986 to 1988 the interior of the church was also renovated and restored the frescoes on the ceilings and walls. Solid plaster damage, moister penetration of the masonry and the increasing pollution from the environment made in 2003 a renewed facade repair at the moment on the Western Front and the two church towers, including the statues and reliefs, urgently required to prevent an even greater extent of damage.
Another construction was 2008-2010, being renovated the remaining facade surfaces of the church (both long sides and south side) including sacristy tower and at the parsonage the roadside west facade and the narrow, southern front facing the courtyard. At the parsonage also an extensive roof renovation was necessary.
Church tower 2, church tower 1 Church Renovation 2010
The historic bell of the Mariahilferkirche - The Schuster Michel
Schuster Michel
After the shoemaker Johann Michael Sailler yet in the previous year had donated a large bell, he gave 1720 again fl 4,000 for a larger bell. This was in the imperial Arsenal by the imperial stucco founder Michael Leopold Heylil casted into tin bronze and weighed 4445 kg with a diameter of 193 cm. On the spot took, took Gottfried Bessel, abbot of Göttweig (Lower Austria), the consecration to the "Blessed Virgin Helper" (ad impositum phenomenon BV Auxiliatricis). It is designed with typical squat baroque style in heavy rib with wide flaring, heavy blow ring carried out and it resounds with massive, very dark basic tone a.
Artistic design of the surface: at the neck (upper edge), a narrow flower frieze, below it then again, broad, by decorative strips edged frieze with rose garlands, enclosed by double trimming elements, the inscription in Roman capitals:
GOSS ME IN LEOPOLD HALIL KAYSERLICHER STVCKGIESSER Wienn 1720 WIGT 7939 PF I AM TO HONOR GOD AND HUMAN SERVICES MANAGEMENT AND READY WHEN I AM (shall) the dead THE TOLL !
The sheath of the bells adorn four cartridges with inscriptions and images: the picture of grace Mariahilf, the Apostle Paul with the sword icon and the founders of the Regular Clerics of the St. Apostle Paul, farther a with an arrow pierced shoe, probably the arms of the founder.
The fourth cartridge contains the chronogram: AVS Dear Rich h MICaeLI Saller generosity Am I AVCH here gehenCket ("from dear rich bounty of the Lord Michael Sailer I 'm also here gehäncket (suspended)"), the capital letters of this inscription constitute the latin number sequence VLIICMICLILLIIIIICVCIC, giving as a result the year 1720.
Schuster Michel
That such a large bell was not so easy to ring by hand and in the course of time were necessary stabilization measures in the belfry, shows an entry in the parish chronicle of 1903: It...."was for the Great Bell "Schuster Michel" of the tower instead of the much more expensive wood helmet an iron belfry .....manufactured, by which the dangers at ringing should be eliminated because now only two men were required to ring the bell and also the vibrations of the whole tower are resolved. "Meant are probably iron bracings and reinforcements in the bell chamber, as the wooden belfry itself continued to remain preserved.
The replacement of the old wooden yoke through a Glockenjoches (bell yoke) of steel followed 1930. When the electrification took place is not documented.
The legend of the "miserly Schuster Michel" was created 1726-1731 and initially referred to a 1719 by the same donor donated, smaller Michael bell. Its defects, which coincided in terms of time with illness and death of the donor, and the in 1731 necessary recast gave this bell a mysterious reputation. As of 1731, hence the name "Michel Schuster" was transferred to the in 1720 also by Michael Sailler donated larger bell. The Michael Bell, however, was later referred to as "Saller-bell" or "Saillerin (Lady Sailler)".
Schuster Michel Schuster Michel
In the heyday (1st half of the 19th century) the Mariahilferkirche was equipped with a total of 8 bells. A detailed Läutordnung (toll regime) already should give the believers acoustically the time and type of worship. The Schuster Michel was rung on the eve before Sundays and public holidays. In the two world wars but in each case bells had to be delivered as war material. 1930 three new bells were still re-purchased, but 1941 the next war took its toll. It remained in the Mariahilferkirche only the historically valuable bell from 1720.
2011: New Patterns for Schuster Michel
Probably 1930, at the Schuster Michel the original wooden yoke was replaced by a steel yoke. These steel suspension proved now but not as convenient, because the ringing of the bell had to be done in a very high Läutwinkel (toll angle). Furthermore, the iron clapper from 1908 was too hard and proportioned wrong and could have hurt the bell. Since the antiquated electric drive, too, was very susceptible to disturbance, the Schuster Michel since Easter 2011 had to be silent.
In order to conserve the Schuster Michel as long as possible, the parish Mariahilf decided to had done some changes. With the renovation work the company Schauer und Sachs from Salzburg was commissioned: The steel yoke was again exchanged with an oak one (approximately 350 kg). As a result, the Läutwinkel (toll angle) could be reduced by 15%. A new round bale clapper, 180 kg, of special steel RSK 100, cast of the company Rosswag in Germany, was installed.
During a small devotion on 25 October 2011, the new clapper was blessed by Father Casimir, before it acceded to the applause of a small crowd of onlookers to the breezy trip to the height on its new location. The unilateral electrical drive has been replaced by an electronic drive with two motors. The screw connections at the belfry were tightened. So the Schuster Michel after a half year break on 28th October 2011 finally could resound again .
The costs for these bell remediations amount to € 20,218.38. Of which bears the parish Mariahilf € 6,803.01. The Federal Monuments Office has a grant of € 5.000, - promised, the rest is pumped in from the Archdiocese of Vienna .
Photos of the installation can be found here: in the photo gallery.
www.pfarremariahilf.at/mariahilf/index.php?mid=Kultur&...
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres, almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres.
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST. MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres, the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
DANSE MACABRE ORGAN (CHOIR ORGAN)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres, almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres.
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST. MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres, the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
DANSE MACABRE ORGAN (CHOIR ORGAN)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.
Saint Matthew, who is depicted in this north ambulatory window, was a publican at Galilee who became a disciple of Jesus and was the first apostle to write a gospel. Insets of wheat, sheep, farms and books in the window depict scenes from his gospel.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Abu Dhabi Performing Arts Centre is a performing arts center located in Abu Dhabi, United Arab Emirates designed by Zaha Hadid Architects. The building was built in 2007.
The Performing Arts Center consists of several main sections, namely, theatre room, music room, concert hall and opera... wp.me/p60GVr-Hn
#Architecture, #Artistic, #Design, #Futuristic
Finishing up my project 366 over the next few days. This is a roll of film I shot through the month of November 2016. Some of these shots have already been shared ... but these are the scans from the black and white film, with all of its flaws. This is an artistically designed bike rack at "The Grateful Brew" in Greenville, SC. via 500px ift.tt/2k1d22c
This cake can be done in square or other shapes and the colors can be changed the match your wedding. Art Eats Bakery
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All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
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IN THE BEGINNING
Glamorgan, named by its builder and owner the late Col. William Henry Morgan, was built in 1904--1905. Col. Morgan was the president and principal owner of The Morgan Engineering Company which was founded by his father, Thomas Rees Morgan.
Thomas Rees Morgan was born in 1832 in Glamorgan, Wales. He learned the machinist trade in Wales and, In 1865, emigrated to America with his wife, Elizabeth Nicholas Morgan, and their three children, John R., Thomas R., Jr. and Margaret. The family arrived in New York on April 15, 1865 (the day after President Lincoln was shot). Six weeks later, in Pittsburgh, William Henry (Col.) Morgan was born. Two other children, Edwin and Arthur, were born later in Alliance.
Before moving to Alliance, the Morgan family lived in Pittsburgh where, in 1868, Thomas Morgan started his own company to build steam hammers. The company was moved to Alliance in 1871 where it became known as Marchand & Morgan. In 1877, Silas J. Williams bought Marchand's share of the company, which became the Morgan Engineering Company, incorporated in 1900.
In September, 1897, Thomas Morgan died suddenly and the largest share of the company was willed to his son, William, who became the new president. His brothers, John R., Thomas R., Jr., and Arthur sold their shares and Edwin stayed with the company. Margaret's husband, Willis H. Ramsey, became the vice president and treasurer.
COL. MORGAN
The original Thomas Morgan home was located at the southwest corner of Liberty Avenue and Oxford Street (present location of the Christopher Columbus Society). Col. William Morgan's original family home was located at the southeast corner of Liberty Avenue and Oxford Street. At the beginning of the 20th century, he began to think about a new family residence. At about the same time, he was appointed to the staff of Governor George Nash of Ohio and acquired the title of Colonel, a title which stuck with him his entire life.
Col. Morgan was a man of unusual and varied talents--and electrical scientist, engineer, inventor (he invented the overhead traveling crane which made it possible for the steel industry to operate on a large tonnage basis) and a lover of literature, art and music. He was also known as a man who rarely did anything on a small scale and, as plans for his new residence progressed, they became increasingly elaborate.
THE CASTLE
Glamorgan is not a copy of a castle in Wales or anywhere else. It is the original design of an architect, Willard Hirsh. Other examples of Mr. Hirsh's work in Alliance include the First Presbyterian Church, the Frank Dussel home (now owned by Mount Union College) and the O.F. Transue home (the first house south of Glamorgan Castle). The castle of feudal days was built for defensive warfare, shelter, safety and retreat. Strength, durability and, at all times, adaptability to military enterprise, were the chief characteristics while comfort, pleasure and entertainment were secondary. Col. Morgan well knew the need of permanence and all that these old structures typified and, with this, he combined utility and art with the aid of science and invention.
The great marble mansion is the product of a keen and versatile mind which combined the baronial castle of old with the most scientific and practical aids of modern life.
CONSTRUCTION BEGINS
A 50-acre tract of land was purchased which had the natural features of good location. The architect was engaged and sent to Europe to study the distinct type of architecture of this class and to work up the complete plans and details of construction. After considering sandstone and limestone, it was decided to use Vermont marble and drawings were sent to the quarry in Barre, Vermont. The stone was cut, numbered and sent (96 train carloads) back to Alliance.
In 1904, the building was located on the most commanding spot of the 50-acre plot--814 feet from the street in front to the north and south axis, and the east and west axis in the approximate center of a 796 foot frontage. The building measures 185 feet overall in front elevation by 115 feet overall in side elevation. There are three floors with a basement under the entire structure.
In all, five years were devoted to completing the building, grading and landscaping of the 50-acre tract. Total cost of the house was approximately $400,000.
THE BUILDING
The contractor was the firm of Briggs & Jones of Canton. The building rests on a solid concrete foundation with spread footing courses. For the steel framing and reinforced concrete floors, 100 tons of structural steel were required in addition to 40 tons of C.I. columns and bases. The entire wall surfaces are of rock face, blue Vermont marble laid in broken Ashlar pattern and trimmed throughout with tool-finished white Vermont marble, each piece of trim being numbered.
Walls above ground are a minimum of 13 inches thick. The maximum thickness of walls below ground is three and one-half feet. Roofs consist of 16 ounce copper on all flat surfaces; heavy, red, vitrified tile was used on all pitch surfaces. All exterior woodwork is of clear white pine and cypress without knot or blemish. All window openings are glazed with heavy plate glass.
Back of the main parapet walls, the loggia and outside of the main enclosure is a terraced space of 3,300 square feet, not including the porte cochere, admirably adapted to outdoor parties or for rest and recreation. The loggia on the west, of 500 square feet, is glass enclosed and storm protected.
Viewed from different angles, there is the same majestic harmony of detail and assembly. From the east and north, the towers, turrets, parapets, machiolations and battlements tell the story of medieval days. From the west, the view is that of a great mansion of massive and artistic design. Domesticity is in the composition of the south exposure.
The exterior perspectives present a pleasing and harmonious blending of medieval and modern, of art and utility. Unlike the old military stronghold--cold, dark, gloomy and suggestive of war and destruction--this modern castle stands serene with a warmth of color and an elegance of composition...a stately emblem of fidelity, peace and hospitality.
A LOOK INSIDE
Glamorgan Castle, unlike many other large homes, was not built to any one style. While it resembles a castle on the outside, it certainly does not on the inside.
The decorator was Louis Rorimer of Cleveland. the woodwork was furnished by Mathews Brothers of Milwaukee. The interior arrangement and decorative features employ the combination of Italian Renaissance, French Empire, Louis XV, Elizabethan and Japanese styles, each typical and distinct, each a fractional unit in expressing the triple motif--utility, order and harmony.
In the basement are the heating plant, water heaters, pumps, filters, air compressors, electric motors, transformers, elevator (no longer functional) and accessory equipment. Also conveniently housed in the basement were the bowling alleys, billiard room and large tile-finished swimming pool. A work room, storage area and Rathskeller were also in the basement.
The rotunda and floor above feature the fine lines and rich embellishments of Classic Greek architecture. Column, entablature, soffit and frieze were developed in beautiful Circassian walnut and ornamental plastering. From the rotunda, four corridors branch to the main entrance, grand staircase, north entrance and dining room. Midway between corridors are a fireplace and entrances to the reception and drawing rooms. The richly wrought bronze balustrades enclosing the stairs and circular balcony above were done by the Jackson Bronze company of New York, as were the decorative and bronze and glass doors at the main entrance. The company also furnished all the original andirons.
In the large drawing room, the empire style is carried out in all the richness of mahogany trim, ornamental plastering and decorations of green silk tapestry and gold leaf, with a massive fireplace as the principal architectural feature.
The main dining room, finished in solid oak, is a masterpiece of woodcarver's art. Done in Old English, there is an expression of grandeur in the artistry of carved wood, molded plasters, electrical lighting and mirror effect and suggesting the banquet hall of old baronial castle.
The fine tracery in the ensemble of Renaissance Art features the ladies' reception room, ornate in richly embellished plaster work, art panels, silk tapestry and expressing the concept of artistic inspiration in the elegance of proportion and harmony of color and detail.
Approached from the main stair corridors was the Japanese breakfast room with teakwood floor, bamboo trim, rattan lattice and grass cloth tapestry. Large window areas add as they carry out the Japanese mode of interior decoration.
Leading from the rotunda balcony on the second floor are the halls and passageways to rooms and enclosures, combining the modern innovations with the classic mode. Approached from the south corridor is the library, octagonal in plan and directly over the dining room on the first floor. Eight cases are built into the overhead framing, elaborate and pleasing in detail and construction. Art windows, bearing the names of English and American authors, are in harmony with the rich, dark shade of time-mellowed chestnut. In this room, devoted to study, thought and meditation, the expression is symbolic, complementary and rational.
Directly across the balcony, a north corridor (no longer in existence) led to the private guest rooms and the son's private sleeping room and bath. The entire east wing of the second floor, directly opposite the grand staircase, were the private rooms of Col. and Mrs. Morgan. This section included dressing rooms and private baths. The west wing included a playroom, a nanny's room and a large sewing room.
The plan, arrangement and decorative treatment of the top or third floor expresses the mode of simplicity. A Moorish style is seen in the smoking and card room, alcove and entry, which contrast with the plain walls and ceiling of the ballroom. The main tower room is an adjunct and conveniently a part of the ballroom.
From the tower room and turret, a winding stair furnishes easy access to the observation third floor roof. With the eye level of nearly 60 feet above grade, a magnificent view spreads like a panorama of grounds, landscape, designs and over one-half of the city.
THE GREAT PIPE ORGAN
In 1904, Col. Morgan visited the St. Louis Exposition and, after its closing, purchased a number of furnishings for the new home. Among these items were the four marble statues, representing the four seasons, which stood on the front terrace and the marble table which was repurchased by the Elks and brought back to the house. The axis of the table, now east and west, was originally north and south. The statues have since been placed inside the rotunda for their protection and preservation.
The great pipe organ was finished in 1904 for the Exposition by the Aeolian Company and it represented one of the finest examples of the organ builder's art. This instrument was also purchased and removed to Glamorgan. the main structure occupied four floors including the echo organ, with its shutters opening into the large dome, and the console which was built into the rotunda. In all, 1,200 speaking pipes and reeds were in harmonious combination with the full gamut of open and closed dispason. The organ was fitted with a player attachment in which rolls could be played.
Unfortunately a flash fire began in the organ one night in 1944, probably due to defective wiring, and roared through the rotunda destroying nearly everything including the woodwork, the original chandelier (which was a carved, gilded lantern) and the dome. The dome was floored over and redone as part of the restoration program. Due to the efficiency of the fire department, there was little damage to the rest of the home.
THE FAMILY MOVES IN
Col. Morgan and his wife, Annette Sharer Morgan, and their 18-month-old son moved into Glamorgan on the day before Thanksgiving in 1905. The son, William H. Morgan, lived in the mansion until his marriage in 1929. William H. Morgan lived at 401 Glamorgan Street (across from the high school) until his death in 1982.
The back of the property was a farm, complete with house, barn, carriage shed and other outbuildings which supplied the family with all their vegetables, fruit, milk, eggs and chickens. The farmhouse was near the site of the present Elks Home. In addition to a large staff which included a butler, upstairs and downstairs maids, all of whom lived in, the family employed a gardener and helper. A garage, which is now the apartment building opposite the northwest driveway, was built in 1910. A chauffeur was then added to the staff.
THE LIGHTING
Lighting of this building, both inside and outside, is magnificent in effect requiring more than 1,200 separate outlets and a combined load of 100 horsepower. Viewed from a distance, the front elevation is a spectacle of radiant energy, unsurpassed by any structure of this class and nature.
The genius of the builder found expression in the employment of electricity in convenient utility and artistic effect. The interior decorations are in pleasing combination of direct and indirect illumination, each an enrichment of the other. The complete steel conduit system forms the protective enclosures of all outlets on each floor. A high voltage step-down transformer system for the total load insures the transmission from generator to switchboard of a high degree of efficiency and economy.
THE ELKS PURCHASE GLAMORGAN
In March, 1928, Col. Morgan died. In 1939, Mrs. Morgan, alone in the house and in the depth of the Depression, sold the home and approximately 50 acres of land to the Elks Lodge for $25,000. Most of the original furnishings were divided between mother and son or sold. After the sale, Mrs. Morgan moved to an apartment in Shaker Heights where she lived until her death in 1960.
INTERNATIONAL HEADQUARTERS
In 1964, the Alliance Machine Company purchased the property and completed an extensive restoration program. O. Merrick Lewis, long-time leader of industry and president of the Alliance Machine Company at the time of the purchase, played a unique role in helping preserve the architectural achievement of Glamorgan Castle.
Mr. Lewis' resourcefulness in implementing a full retoration of the property to its original setting and appearance was essential to the later steps which unfolded, leading to the designation of the property as an Historic Site on the National Register of Historic Places.
Through Mr. Lewis' leadership and the financial support of the Alliance Machine Company, not only was the building's structure restored, but a full redecorating process inside insured its dignity in appearance.
The building housed the executive offices, research and engineering drafting rooms of the company. Remodeling of the west wing made it possible for the Alliance Machine Company to conveniently house European clients within Glamorgan Castle.
The crystal chandelier, one of only two of its kind, was purchased and shipped to Alliance from Italy. The second chandelier was presented as a gift to the Shah of Iran by the Alliance Machine Company.
HISTORIC PRESERVATION
On July 18, 1973, this unique historic complex, Glamorgan Castle, and 20 1/2 acres on which it is located, became the property of the Alliance City School District in what rightfully can be termed a gift.
Acquisition and minimum development necessary to use the regal landmark as an administrative facility was made possible through financial aid from The Legacy of Parks, United States Department of Housing and Urban Development.
The federal funds were awarded on a matching basis. The local matching funds were provided through a public contribution by the Alliance Machine Company, from whom the structure and grounds were purchased.
A total of $774,350 was involved in the preservation grant which was awarded so that the school system could utilize Glamorgan Castle as an administration building only.
Today, Glamorgan Castle serves as the central administration building for the Alliance City School District with all central administrative offices housed within the building.
Each year, thousands of visitors tour Glamorgan Castle and continue to admire the beauty and uniqueness envisioned by Col. William Henry Morgan almost a century ago.
(Portions of the preceding are excerpts from a brochure prepared by the Elks lodge at the time of their dedication. All information concerning family history, original architect, contractor, decorator and interesting family notes was contained in a letter from William H. Morgan. Other interesting information about the family and Glamorgan Castle came from the late Mrs. Mary Louise Morgan Conroy, granddaughter of Col. William Henry Morgan.)
OF SPECIAL INTEREST
•Glamorgan is not a copy of a castle in Wales or anywhere else. It is the original design of an architect, Willard Hirsh.
•Five years were devoted to completing the building, grading and landscaping of the 50-acre tract of land. Total cost of the house was approximately $400,000.
•Construction began in 1904.
•Walls above ground are a minimum of 13 inches think.
•The crystal chandelier which hangs in the rotunda was purchased by the Alliance Machine Co. Reportedly, it is one of only two in the world; the other was presented as a gift, by The Alliance Machine co., to the Shah of Iran.
•On July 18, 1973, this unique historic complex, Glamorgan Castle, and 20 1/2 acres on which it is located, became the property of the Alliance City School District in what rightfully can be termed a gift.
TOURS
Glamorgan Castle is located at 200 Glamorgan Street, Alliance, Ohio 44601. For more information about touring the Castle, please call (330) 821-2100.
My ink pen drawing capturing the raw intensity of youth. With bold, expressive lines, this artwork speaks to the complexities of adolescence — where emotions are turbulent, yet identity begins to take shape.
Belvedere Castle
Upper Belvedere, 2011
(further pictures you can see by clicking on the link at the end of page!)
Lower Belvedere, 2010
Vienna's most famous castles system, the Upper Belvedere and Lower Belvedere Palace, the city owes the former champion in the fight against the Ottomans, Prince Eugene of Savoy. This one had for himself the of two castles (Lower Belvedere, Upper Belvedere Palace ) consisting and with a park and other side attractions equipped estate as a summer residence in the style of Versailles built. Within ten years (1714-1723/24) Lukas von Hildebrandt built his biggest project, which is one of the most beautiful Baroque works in the world.
After the death of Prince Eugene, who remained unmarried, his whole estate passed to his sister Victoria, who sold it low priced to the imperial court in 1752. So the estate 1894-1914 served as a residential area for the heir to the throne, Franz Ferdinand, dying in the attack in Sarajevo with his wife in 1914. Even Chancellor Kurt Schuschnigg lived from 1934-1938 in the Upper Belvedere Castle. 1955 the plant became the scene of a major political event, the foreign ministers of France, Britain, Soviet Union, United States and Austria signing the treaty for independence in the Marble Hall of the Upper Belvedere. Today, in the formerly as a residential complex and representation residences used palaces are especially exhibitions of Austrian artists located.
Lower Belvedere Palace
The 1716 finished Lower Belvedere Palace looks in comparison to its opposite counterpart quite modest, though the castle has a rich interior decoration in the Baroque style. So forms the center of the mainly single-storey building the two-story marble hall, which with golden ornaments and painted mock architecture (Gaetano Fanti) was decorated. The famous frescoes by Martino Altomonte (1914) in the Marble Hall show the original owner of the castle Prince Eugene as he receives his hat and stick - alike Apollo on clouds dormant. In addition, invites the Golden Room, with its mirrors, the golden paneling as well as paintings of personalized continents, elements and seasons to marvel. This space, especially the interior, was once part of the city palace of the Türkenbesiegers (vanquisher of the Turks) before anything was transferred in 1770 to the Lower Castle. In addition to the Marble Hall and the Golden Room convince the other rooms in their equipment and artistic design. In the former bedchamber visitors can admire the relief of Raphael Donner and in the Marble Gallery stucco decorations by Santino Bussi with life-size mythological niche figures by Domenico Parodi. The Hall of Grotesques also could be interesting for art lovers: On one hand, the grotesque paintings by Jonas Drentwett can be viewed, which are intended to represent the Prince in his functions as a warlord and patron of the Arts. On the other hand, attracts the ceiling fresco depicting the four seasons as well as the design of the corners of the room with the four elements everyone's attention.
Upper Belvedere Palace
The representation castle of the former Prinz- Eugen-estate served primarily of the joyful coming together for lavish celebrations or enjoyment of many art treasures. It was completed in 1724 and is, due to its richly decorated façade, considered as the more marvelous of the two castles. The mentioned enjoyment of art is already visible at the richly decorated facade and is continued in the design of the castle rooms. Four powerful atlases of Mattielli in the Sala terrene carry the vault of the room and the white stucco decorations by Santino Bussi are continued in the hallway under the theme of the prince virtues. The two-story marble hall is here - as well as in the Lower Belvedere Palace - the center of the building. The ceiling painting "Allegory of Glory " by Carlo Innocenzo Carlone symbolizes the eternal glory of the prince in the midst of princely virtues. The Apollo-Aura-Fresco ("victory of light over darkness") in the garden room, too, also by Carlo Innocenzo Carlone, heroises Prince Eugene as a bringer of light and Türkenbesieger (defeater of the Ottomans). The frescoes in two other Ostsälen (east halls) are continuing the topic, yet these have been created by Ciacomo del Pò. Other images of high quality, thematically but biblically oriented can be found in the chapel and in the south-east tower of the castle. Here is on one hand, the dome image "God the Father" (Carlo Carlone ) to mention, as well as the altarpiece "Resurrection of Christ" (Solimena). "In the Gold Room in the Northwest Tower arised Canelettos famous view of Vienna from 1760".
Garden
Between the Upper and Lower Belvedere Palace is the beautifully landscaped garden. This one was layed out by the Parisian garden architect Dominique Girard. The axially landscaped terrace garden with symmetrical staircases, however, goes back to a concept of Hildebrandt. This construction permits from the front terrace of the Upper Belvedere a beautiful view over the sloping gardens to the towers of Vienna and the mountain ranges of the Vienna Woods behind them. The upper lawn area designed Girard in accordance with French geometries with cascades, stairs and water features, as well as laterally limited hedges and avenues. Once adorned numerous sculptures the garden grounds, too. Those have been distributed thematically and according to the altitude. So were found on the lower garden level sculptures which should symbolize the four elements. In the central region was the Parnassus represented and on the higher garden level have been found sculptures to Olympus. However, hereof have been preserved only a few sculptures, including eight muses and the symbolic figures of the Prince of Hercules and Apollo in the lower ground floor. Furthermore, two sphinx figures are standing as stone guards in front of the garden side main entrance of the upper Belvedere.
The garden also includes a botanical garden and an Alpine garden. In the former, the personal physician of Maria Theresia Gerard van Swietjens grew various medicinal herbs. Today, the Botanic Garden is owned by the University of Vienna. In contrast, the Alpine Garden was founded in the Schönbrunn Palace in 1803 by the Archdukes Johann, Rainer and Anton and 1865 moved to the Belvedere gardens. In this oldest alpine garden in Europe today can be visited the historic Alpine Plants collection of federal gardens. The there cultivated 4,000 plant species encompass in addition to numerous rare alpine plants also a rhododendron and a bonsai collection.
On the way from one to the other castle you get not only to a number of commercial buildings in the palace complex but also to the Menagerie and the famous Orangery, which served during the lifetime of Prince Eugene as heated winter garden for the orange trees.
Exhibitions and collections
The palace complex for several decades already no longer serves as a residential area for rulers or politicians. Instead, most of the spaces, especially in the Upper Belvedere Palace, are being returned to their original functions. They serve today primarily for presentation and admiration of many valuable art treasures. So can be found in the individual buildings different, always changing exhibitions such as the current on the topic of "gold". This exhibition could be visited until 17th June 2012. In addition, the Austrian Gallery Belvedere has numerous collections of different art directions. So are included in the stock collections to the Middle Ages, Baroque, Classicism, Expressionism and Impressionism as well as works of Art Nouveau, postwar and contemporary art. Particularly noteworthy at this point are the collection of Messerschmidt with his character heads, of Ferdinand Georg Waldmüller, of Gustav Klimt, of Egon Schiele and of Oskar Kokoschka.
www.belvedere.at/de/ausstellungen/aktuelle-ausstellungen
wienwiki.wienerzeitung.at/WIENWIKI/Schloss_Belvedere
Tartu (German Dorpat) is the second-largest city in Estonia, after Tallinn.
In the early 11th century Yaroslav I the Wise, Prince of Kiev, invaded the region and after a victorious battle with the locals built his own fort there, Tartu probably remained under Kievan control until 1061, when the fort was burned down by an Estonian tribe. Soon afterwards the fort was rebuilt.
During the Northern Crusades at the beginning of the 13th century, the fort was captured by the crusading Brothers of the Sword — and recaptured by Estonians. In 1224 the fort was besieged and conquered for one last time by the Teutonic crusaders. Subsequently, Dorpat became a commercial centre of considerable importance during the later Middle Ages and the capital of the semi-independent Bishopric of Dorpat.
German merchants and artisans settled alongside the bishop's fortress. In the 1280s Dorpat joined the Hanseatic League.
In 1558, tsar Ivan the Terrible invaded Tartu beginning the Livonian War. His forces encircled the town. After a heavy bombardment, the town surrendered. In 1582, the city became part of the Polish–Lithuanian Commonwealth. In 1598. A Jesuit grammar school "Gymnasium Dorpatense" was established in 1583.
In the effect of the Polish-Swedish War, in 1625 Tartu was captured by Sweden. The city became part of the Dominions of Sweden, which led to the foundation of the University of Tartu in 1632 by king Gustavus Adolphus of Sweden. So the University of Tartu is Estonia´s oldest and still most renowned university
In 1704 the town was taken by the Russian army. In 1708 the fortifications and houses, including the remains of the bishop's castle, were blown up, all movable property was looted and the citizens were deported to Russia. In 1721, the city became part of the Russian Empire and was known as Derpt. A great fire in 1775 destroyed most of the buildings in the centre. The city was rebuilt along Late Baroque and Neoclassical lines.
Shortly after the conquest and Christianisation of the Brothers of the Sword, a presumably wooden church was built on the site of today's St. John's Church. The oldest parts of the present church building date from the 14th century.
Century. The church survived the iconoclasm of 1524/26 largely unscathed. During the Livonian War (1558-1583) the church was badly damaged but later rebuilt. The Great Northern War also left traces of destruction. In 1704, Russian troops occupied the Swedish city of Tartu. In 1708, the troops systematically destroyed the city. The upper part of the tower was destroyed, as well as the nave and the presbytery. Reconstruction of the destroyed church began in 1737 and it was rebuilt as a three-nave basilica. In 1944, during the Second World War, the church was set on fire and largely destroyed by bombing. In 1952, the north wall of the nave collapsed.
Reconstruction work did not begin until 1989.
The most outstanding feature of the church is its wealth of terracotta figures. According to today's estimates, there were about 2,000 different sculptural elements in Jaani kirik in the Middle Ages, of which only about a third have survived to this day. They are located both inside the church and on the exterior walls. The figures are unique in Europe in their number, size, and artistic design. The oldest are over 700 years old. The original figures are now kept in the neighbouring museum, which has made copies for the church.
Originally, the sculptures were painted - but both the polychromy and the texts carved in clay have been almost completely destroyed.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.
This window is last of four stained glass windows that depict the events just prior to the Crucifixion of Jesus, the Crucifixion itself and the Resurrection of Jesus.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
First Visit 9 MAY 2016
While wandering around the city of Kilkenny I managed to get locked into an area that I was exploring and it took me a long to find a way out but then I came across this old graveyard. It is known as St. John’s and it is located on Dublin Road. This was my first visit but as the weather was very bad I decide that it might to best to revisit the next morning.
“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design value of the site.”
This cake can be done in square or other shapes and the colors can be changed the match your wedding. Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food network audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order
arteatsbakery.com Pink, purple, white and black topsy turvy fondant cake with zebra, leopard and stripes. Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order
Äußere Neustadt | Görlitzer Straße
The Kunsthofpassage is a complex of houses, with five artistically designed courtyards. The passage includes small businesses such as studios and bookstores as well as pubs and cafes.
Arch. MüllerMüller, Knerer&Lang, Heike Böttcher and Meyer Bassin
Artists: Viola Schöpe, Annette Paul, André Tempel, Christoph Roßner, Arendt Zwicker and sculptor Sandner and Matz.
2001.
this shot belongs to Soltan Amir Ahmad public bath house in kashan. it is constructed in 16th century, the architecture and interior decoration of bath house is glorious with wonderful artistic design and details. it was open to the people till few decades ago.
I started the set with this bath house, but the other persian bath houses will be added to the set.
all shootings are done with low exposure time and hand held. the lightening condition was not suitable, but I am satisfied with the result not because of the images quality(that is not so good) but because of they remind me that how great artsts we have been and created wonderful masterpieces even in such a highly humid places.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.
Saint Mark, who is depicted in this north ambulatory window, was an evangelist, and is sometimes referred to as John Mark. He is presumed to be the youngest of Jesus' apostles, and may have only been a teenager when he met Jesus. He disappointed Paul on his missionary journey, but by tradition he went to Egypt and redeemed himself in the eyes of Paul.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Kamehameha Day, celebrated on June 11, is a Hawaii state holiday celebrating King Kamehameha. It was established by royal decree on December 22, 1871 by King Kamehameha V as a national holiday. Kamehameha Day was created to honor the memory of Kamehameha, the king’s great grandfather, who united the Hawaiian Islands in 1810 and became Hawai‘i’s first king. The first celebration occurred on June 11, 1872.
"A floral parade is held annually at various locations throughout the state of Hawaii. On the island of Oahu, the parade runs from ʻIolani Palace in downtown Honolulu past Honolulu Harbor and the Prince Kūhiō Federal Building through Kakaʻako, Ala Moana and Waikīkī, ending at Kapiʻolani Park. June 11 is also the anniversary of the dedication of Kapiʻolani Park. The floral parade features local marching bands — including the Royal Hawaiian Band (the oldest municipal band in the United States) — and artistically designed floats using native flowers and plants. Many local companies enter floats for their employees.
A favorite floral parade feature is the traditional royal paʻu riders. They represent a royal court led by a queen on horseback, followed by princesses representing the eight major islands of Hawaiʻi and Molokini. Each princess is attended by paʻu ladies in waiting. Paʻu women are dressed in colorful and elegant 19th century riding gowns accented with lei and other floral arrangements." Wikipedia.
There is an annual Lei Draping ceremony
in which the Kamehameha Statue in front of Aliʻiolani Hale and ʻIolani Palace on King Street in downtown Honolulu is draped in long strands of lei.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.
Gethsemane is a garden at the foot of the Mount of Olives in Jerusalem which is noted in both the Gospel of Matthew and Gospel of Mark. The name Gethsemane derives from Aramiac word for "oil press", as is most famous as the place where Jesus prayed and his disciples slept the night before Jesus' crucifixion.
"Ecco Homo" are the Latin words for "Behold the Man" used by Pontius Pilate when he presented a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before Jesus' crucifixion.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.
This window is last of four stained glass windows that depict the events just prior to the Crucifixion of Jesus, the Crucifixion itself and the Resurrection of Jesus.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Graphite on paper; 64.5 x 49.5 cm.
After attending drawing classes at the Dresden "Kunstgewerbeschule" for one year, Conrad Felixmüller first attended the private school of the artist Ferdinand Dorsch in 1912 and the same year he entered Professor Carl Bantzer's class at the "Königliche Kusntakademie" in Dreseden, to start training as a painter.
In 1915 Felixmüller left the academy. He worked as a freelance artist in Dresden, but often went to Berlin, where he painted in Ludwig Meidner's studio. Conrad Felixmüller also contributed to the journal "Der Sturm", published by Herwarth Walden. In 1917 Felixmüller founded the art and literature journal "MENSCHEN" together with the book dealer Felix Stiemer, with Felixmüller being responsible for the graphic design like he was in "Der Sturm".
At the same time he had exhibitons at Hans Goltz's in Munich and at the Dresden "Galerie Arnold" together with Heckel, Kirchner and Schmidt-Rottluff. In 1918 Conrad Felixmüller moved to Dresden, where he became the founder and chairman of the "Dresdner Sezession" and joined the "November-Gruppe". At the same time Felixmüller worked for various newspapers (e.g. "Die Sichel" in Regensburg and "Rote Erde" in Hamburg) and published several literary texts such as his autobiography "Mein Werden" (Kunstblatt) or his thoughts on "Künstlerische Gestaltung" (artistic design) (Kestnerbuch, Hanover).
Conrad Felixmüller's early creative work was strongly influenced by Expressionism, which he interpreted in a socio-critical way and soon transformed into his own form of expressive Realism. The powerful lines of his woodcuts capture scenes of everyday life. Around 1930 there was a trend towards change, which is thematically reflected in the increasingly genre-like narrative subjects and formally reflected in the pursuit of a calmer image language.
In 1933 40 of the artist's paintings were shown at the Dresden exhibition of "Degenerate Art".
In 1934 the artist moved to Berlin-Charlottenburg, hoping to be able to work more freely there. In 1937 151 of his works were confiscated from public collections. In 1941 the artist's Berlin home was destroyed by bombs. Felixmüller sought refuge in Damsdorf in the Mark. In 1944 the painter moved to Tautenhain. That same year he was called-up for military service. After a short time in Sovjet captivity, Conrad Felixmüller returned to Tautenhain in 1945.
In 1949 he was appointed professor at the Martin-Luther-Universität in Halle, where he taught drawing and painting at the faculty of education. After his retirement in 1961 Conrad Felixmüller returned to Berlin. Before his death in 1977 numerous exhibitions took place in East and West Germany, Paris, Rome, Bologna and Florence.
Even before Leipzig was first mentioned in a document in 1015, a Slavic settlement existed here. The city was founded in 1165 when Margrave Otto the Rich of Meissen granted city and market rights to the city at the intersection of the Via Regia and the Via Imperii.
Leipzig was in the Margraviate of Meissen, which became part of the Electorate of Saxony in 1439. Leipzig then belonged to the Duchy of Saxony, whose capital was chosen to be Dresden, which had been insignificant compared to Leipzig or Meissen. Leipzig was often the place where the state parliament met, but Leipzig was never a residence city or a bishop's seat and has always been shaped by the urban bourgeoisie.
The University of Leipzig was founded in 1409 as "Alma Mater Lipsiensis" and was thus one of the three oldest universities in Germany. After being elevated to the status of "Reichsmessestadt" (imperial trade fair city) in 1497 and an extension of the staple right by the future Emperor Maximilian I, Leipzig became a trade fair city of European standing. It developed into the most important German trading center for the exchange of goods between Eastern and Western Europe. Alongside London, the Leipziger Brühl became the international trade center for the fur industry, and the important role played by the Leipzig Jewish community was closely linked to it.
In 1539, the Reformation was finally introduced in Leipzig by Luther and Justus Jonas. Over decades, the development of Leipzig was characterized above all by the constantly improving living conditions. As a trading and trade fair city of increasing importance, Leipzig benefited from the wealthy Leipzig merchant class.
The Thirty Years' War was a severe cut in the prosperous development of the city. Between 1631 and 1642 the city was besieged five times, from 1642 to 1650 it was occupied by the Swedes.
The "Völkerschlacht" (Battle of Leipzig) near Leipzig took place in 1813. In this battle, the allied armies of Austria, Prussia, Russia and Sweden defeated Napoleon's troops and their allies which ultimately led to Napoleon's banishment to the island of Elba.
During WWII there were frequent air raids on the city, which led to considerable destruction of the city center.
In 1989, the Monday demonstrations that started at the Nikolaikirche helped herald the end of the GDR. With the occupation of the district administration for state security by demonstrators on December 4, 1989, state surveillance measures ended in Leipzig.
At the beginning of the 20th century, Leipzig was a world trade center for the fur trade and fur processing.
In 1908, Alfred Selter had the architect Alfons Berger build the commercial building that still exists today. The artistic design was taken care of by the architect Georg Heinsius von Mayenburg, who in turn commissioned the sculptor Ernst Hottenroth to design the decorative elements. The house shows both elements of the reform style and Art Nouveau influences. In 1917 Carl Weinert became a partner, and in 1919 the company carried the company name that is still on the facade.
The house survived WWII almost undamaged. The company was expropriated in 1946 and the house was later used primarily by "VEB Pelzhandel". After reunification (1989/90), the community of heirs Selter and Weinert became the owners of the house. In the early 1990s, the house was completely renovated and the roof area was extended.
A detail
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.
These windows are the third and last of four stained glass windows that depict the events just prior to the Crucifixion of Jesus, the Crucifixion itself and the Resurrection of Jesus.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the south ambulatory.
Andrew Seton Campbell, who is depicted in this south ambulatory window, was a member of the St Mark's Parish. He died on an RAAF mission on the 10th of March 1943. The sun rises to a new dawn, and eternal hills of high vision. The bird depicted symbolises the passing of Andrew's soul.
Christian Waller depicted the young man in a true likeness, which was a controversial thing to do in the 1940s.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
Art Eats Bakery
Greenville, SC, 29607
Phone: 864-201-4448
Email: sales@arteats.com
We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg
All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.
Please visit our website for more photos and information.
Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order
This cake can be done in square or other shapes and the colors can be changed the match your wedding.
We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com
All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order
So many pages so many chapters entwined
some faces sculpted art in its highest form
defined ..a face may look ugly but from within
spiritually divine I shot faces to understand
the great sculptors strokes and lines ,,every
wrinkle every shade shadow had something
to say including a face wild wizened like mine
a face that stood alluringly on the pedestal of
the spine .Sadhus Tantric Aghoris Hijras myriad
faces at Khamakhya held high above the neckline
only a God artistically designed ..character virtues
with the face he aligned .a few finishing touches
he made them stand out in humility and shine
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
The custom stained glass for this pocket door includes hand-blown Lambert glass and gold-pink cathedral glass from Chicago Art Glass. The yellow shards are even more striking in real life. The artistic design and production is by The Red Studio -- tracey@redstudiodesigns.com
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck.
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres (98 ft) higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres (89 imperial gallons), almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres (89 imperial gallons).
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and 1939 1945
MUSIC AT ST: MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres (36 feet), the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
DANSE MACABRE ORGAN (CHOIR ORGAN)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both.
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.
This window is third of four stained glass windows that depict the events just prior to the Crucifixion of Jesus, the Crucifixion itself and the Resurrection of Jesus.
St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.
Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.
Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres (98 ft) higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres (89 imperial gallons), almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres (89 imperial gallons).
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST: MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres (36 feet), the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
Danse macabre organ (choir organ)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
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