Three tier light brown fondant cake with chocolate fondant swirls and sugar butterflies.

Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

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.

Art Eats Bakery www.arteatsbakery.com We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, aniversary, new baby, 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

An artistically designed record of ABBA as a clock.

Seen at the Christmas market in Essen.

While visiting and walking around Honfleur, France, I captured this scene with my iPhone 16 Pro Max. I love the architectural and artistic design at the entrance to this church. It is very detailed and quite extraordinary. We may never see this type of work again...

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

timiryazevskaya metro station of the Moscow metro (line 9) this is the only deep-laid single-arch in the Moscow metro (63.5 meters) timiryazevskaya metro station ranks fifth in depth after park pobedy metro station, Verkhniye likhobory, fonvizinskaya

from 1991-2003 Timiryazevskaya metro station remained the deepest metro station in the Moscow metro

 

engineers from Germany austria the Czech Republic and Italy visited the Timiryazevskaya metro station under construction

 

it received its name in honor of the Russian scientist philologist Kliment Arkadyevich Timiryazev

 

Artistic design

Light-colored marble was used in the decoration of the station hall. The floor is lined with dark granite and marble. At both ends of the station there are Florentine mosaics on the theme "Nature and man" (artists P. A. Shorchev and L. K. Shorcheva). In the center of the hall there is a row of columns topped with open wrought-iron flowers.

  

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.

 

Pink Floyd, Prism Tattoo – Black Poison Tattoos

Musical bands and themes endure as popular body art subjects, and Pink Floyd tattoos usually top the list of favorites. The band’s incredibly visual style of writing combined with a sometimes controversial history help make Pink Floyd body art relevant in today’s culture.

A band as diverse and influential as Pink Floyd means that tattoo possibilities are endless. From graphic interpretations of discography art or lyrics, to photo-realistic homages to band members, tattoo lovers and Pink Floyd fans suffer no shortage of artistic design ideas.

Created for:

Artistic Manipulation : NEW CHALLENGE: MIXMASTER CHALLENGE #67 - Chef: brillianthues

 

➤ Your background must be patterned or textured or both.

➤ The focus must be a woman or man in black and white.

➤ You must use text as an artistic design element.

➤ Include one or more flowers and/or birds and/or butterflies.

➤ NO facsimiles of people (mannequins, aliens, statues).

 

Thanks to:

Faestock for the girl

Roy3D for the butterflies

Jerry Jones (Skeletal Mess) texture

Angie Jane Gray for flowers

Duncan Cumming for the pattern

 

Sailor's Monument

 

The Sailor's Monument, a national monument of Norwegian seamen's efforts at sea, from the Viking Age to the 20th century, paid for by funds collected and unveiled on June 7, 1950.

 

In the maritime city of Bergen, it goes without saying that a memorial dedicated to this important and honorable professional group had to be centralized space in the city.

 

This demand was met in full when the municipality allowed Dyre Vaas's towering, seven-meter-high sculptural tribute to the sailor's stand to dominate the eastern end of the city's main street, Torgallmenningen.

 

But many people reacted to the fact that the Sailor Monument here stood a good distance from the right element of seafarers, the sea.

 

It was only in 1999, almost 50 years after the unveiling, that this objection succeeded to some extent. As part of the extensive renovation of the Torgallmenning completed this year, a large water pool was built around the monument. After this, 12 tough sailors, cast in bronze, were able to reflect in the water. Waves around the monument, on the other hand, only criticize the location and the artistic design that has created.

 

The road from idea to realization of the Sailor Monument was very long. The idea was erected as early as 1917 by the Bergen Shipowners' Association and the Bergen Skipperforening, which wanted a memorial to war-lost seafarers.

 

Sofus Madsen undertook to make a draft based on this wish, but it was rejected.

 

It was concluded that the monument should express a general tribute to the sailor's stand rather than dwell especially on the victims of the war.

 

In 1938, open competition was announced, and a total of 45 drafts came in. The winner was "The Trial of Happiness", submitted by the telemarketing Dyre Vaa.

 

Because of the war, it was 12 years before the monument could be unveiled. The honorable assignment was left to the then Minister of Industry Lars Evensen.

 

The result was a startling, but controversial, sculptural account of Norwegian shipping, expressed in the form of 12 burly sailor statues and high above them eight reliefs on two heights that contribute with further knowledge.

 

Four centuries of Norwegian maritime history pass revue on the monument's equally numerous sides.

 

The tenth century is presented as "Vinland's journey", and the statues depict a chieftain with a spear, a skull in leather skins and a berserk with a shield on his back. The reliefs show a Viking ship under sail and a meeting between Vikings and Indians.

 

The eighteenth century, "Greenland's journey", is symbolized by a scouting fisherman, a full-fledged captain in the process of giving orders and a sailor with a pipe in his mouth.

 

The reliefs are related to Greenland's rediscovery from Bergen. You see Hans Egede preaching the Christian gospel to the Eskimos and a stack drain with a sea worm bowing under the ship.

 

On the panel for the nineteenth century, with the inscription "Kornferd", you see a ship with a top hat, a first-time boy and a pilot. The reliefs depict whaling and scenes from a shipyard.

 

The twentieth century has the inscription “Oljeferd”, and the sculptures depict a deck boy, a helmsman with binoculars and a wrench machinist. The reliefs depict a ship in front of a rising sun and a resurrection scene. Drowned awakened to eternal life by an angel.

 

As models, Dyre Vaa did not use seafarers, but people from his community. Several Telemark farmers from that time must have been easily recognizable. The artist was working on the monument throughout the war. In 1944, no less than 25 plaster statues lined up in his studio in Rauland. The number was subsequently more than halved. A very rich memorial must be said to be the Seamen's Monument, a work of art that alone is an entire art exhibition.

 

www.bergenbyarkiv.no/bergenbyleksikon/arkiv/14327928

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

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.

 

Im Kreuzgang befinden sich Gedenksteine und Grabplatten, die vom Spätmittelalter bis in die Zeit des Klassizismus reichen. Als man den Kreuzgang von 1961 bis 1967 renovierte, brachte man Grabplatten, die noch gut erhalten waren, in den Wänden an, um eine weitere Zerstörung zu verhindern. Die anderen beließ man auf dem Boden. Bei dieser Renovierung fand man im Südflügel des Ganges auch Reste spätmittelalterlicher gotischer Bemalungen.

Es handelt sich bei den Platten um Augsburger Patriziergrabstätten, deren künstlerische Gestaltung vor allem zwischen dem 15. und dem 18. Jahrhundert beeindruckend reichhaltig ist.

 

www.augsburgwiki.de/index.php/AugsburgWiki/SanktAnna

 

In the cloister there are memorial stones and tomb slabs dating from the late Middle Ages to the Neoclassical period. When the cloister was renovated between 1961 and 1967, gravestones, which were still in good condition, were placed in the walls to prevent further destruction. The others were left on the floor. During this renovation, remains of late medieval Gothic paintings were also found in the south wing of the corridor.

These slabss are Augsburg patrician gravestones, whose artistic design is impressively rich, especially between the 15th and 18th centuries.

 

www.augsburgwiki.de/index.php/AugsburgWiki/SanktAnna

 

Die Kirche wurde 1321 von Karmeliten erbaut . St. Anna vereinigt Baustile von der Gotik bis zum Klassizismus. Zwischen dem 7. und 20. Oktober 1518 wohnte Martin Luther in dem Kloster Sankt Anna. Am Rand eines Reichstages sollte sich Martin Luther einem Verhör durch den päpstlichen Legaten Kardinal Cajetan unterziehen. Weil es in Augsburg kein Kloster der Augustiner-Eremiten gab, zu denen Martin Luther damals noch zählte, lud ihn der Prior des Karmelitenklosters, Johannes Frosch, ein, bei ihm zu logieren. Die beiden Geistlichen kannten sich von der gemeinsamen Studienzeit in Erfurt. Schon im Sommer 1518 war in Rom der Ketzereiprozess über Martin Luther eröffnet worden, zu dem er auch vorgeladen war. Weil sich aber der Landesherr Luthers dafür einsetzte, brauchte sich Martin Luther nicht in Rom zu verantworten, sondern konnte nach Augsburg kommen, um sich dort den Befragungen zu stellen.

 

Kardinal Cajetan war bei den wichtigsten Parteigängern von Papst und Kaiser, den Fuggern, in der Maximilianstraße untergebracht. Dort fanden auch die Gespräche oder wenn man will Verhöre Martin Luthers am 12., 13. und 14. Oktober 1518 statt.

Leider brachten die Gespräche zwischen Martin Luther und Kardinal Cajetan kein Ergebnis. Und weil Martin Luther und seine Augsburger Parteigänger sich sorgten, dass es Martin Luther genauso wie Johannes Hus, der 100 Jahre früher als Ketzer verbrannt wurde, erginge, floh der Verhörte in der Nacht vom 20. auf den 21. Oktober 1518 heimlich aus Augsburg, wobei ihm seine Sympathisanten halfen.

Der Prior des Karmelitenklosters Johannes Frosch schloss sich später der Reformation an, trat 1523 von seinem Amt zurück und heiratete 1525. Zu Weihnachten des Jahres 1523 wurde in der Anna-Kirche die erste protestantische Liturgie gefeiert und das Abendmahl unter beiderlei Gestalt ausgeteilt. Der Bischof von Augsburg hatte dagegen keine Handhabe, weil die Klöster weder seiner noch der städtischen Jurisdiktion unterstanden. So konnte Johannes Frosch 1523 unter dem Schutz des Stadtrats auch eine evangelische Gottesdienstordnung einführen. Faktisch war durch die positive Haltung des Augsburger Bürgermeisters Ulrich Rehlinger und des Stadtrats damit die Reformation in Augsburg eingeführt.

 

Quelle: Wikipedia.de

 

The church was built in 1321 by Carmelites. St. Anna combines architectural styles from Gothic to Classicism. Between 7 and 20 October 1518 Martin Luther lived in the monastery of St. Anne. On the occasion of a Diet, Martin Luther was to be interrogated by the papal legate Cardinal Cajetan. Because there was no monastery of Augustinian hermits in Augsburg, to which Martin Luther still belonged at that time, the prior of the Carmelite monastery, Johannes Frosch, invited him to stay with him. The two clergymen knew each other from their time as students in Erfurt. In the summer of 1518, the heresy trial against Martin Luther had already been opened in Rome, and he was also summoned to attend. However, because Luther's sovereign was committed to the case, Martin Luther did not have to answer for his actions in Rome, but was allowed to come to Augsburg to face the questioning there.

 

Cardinal Cajetan was staying with the most important partisans of the Pope and Emperor, the Fuggers, in Maximilianstraße. This is also where the talks or, if you like, the interrogations of Martin Luther took place on 12, 13 and 14 October 1518.

Unfortunately, the talks between Martin Luther and Cardinal Cajetan did not yield any results. And because Martin Luther and his Augsburg partisans were worried that Martin Luther would suffer the same fate as Jan Hus, who had been burned as a heretic 100 years earlier, the interrogated man fled Augsburg secretly in the night from 20 to 21 October 1518, with the help of his sympathisers.

The prior of the Carmelite monastery, Johannes Frosch, later joined the Reformation, resigned from his office in 1523 and married in 1525. At Christmas 1523, the first Protestant liturgy was celebrated in the church of St. Anne, and the Lord's Supper was administered under both forms. The Bishop of Augsburg had no control over the monasteries because they were not under his or the city's jurisdiction. Thus, in 1523 Johannes Frosch was able to introduce a Protestant order of worship under the protection of the city council. In fact, the positive attitude of Augsburg's mayor Ulrich Rehlinger and the city council introduced the Reformation in Augsburg.

 

Source: Wikipedia.de

   

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.

 

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.

 

(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&amp...

This mixed-media piece fuses ink pen portraiture with vintage-inspired elements, exploring the complex layers of identity and femininity. The intricate lines of the drawing contrast with nostalgic advertisements, evoking both the past and present in a reflection on how culture shapes our perception of beauty and womanhood. This collage speaks to the many facets that make up the DNA of a woman—heritage, style, history, and evolution.

 

️ Medium: Collage and ink

🎨 Title: Female DNA (2024)

👩‍🎨 Exploring identity through art and vintage aesthetics.

 

This is one of the stunning Neo-Mudejar architectural structures in the nation's capital, the Bellevue Theater.

 

ABOUT BELLEVUE THEATER

 

Bellevue Theater is one of the existing theatrical structures in Manila, located in the Paco District of the city. This theater has the fusion of Neo-Mudejar and Art Deco styles, stands as a tribute to both the past and the enduring allure of artistic design.

 

Neo-Mudejar is a revival of Moorish architectural elements fused together with the geometrical features of the Art Deco Architecture.

The theater's facade is a symphony of ornate arches, intricate tilework, and elegant lines. It was built in 1931 and currently reused as a grocery supermarket.

 

Medium: Canon EOS 4000D

Date Taken: October 12, 2024

 

Copyright 2024. All Rights Reserved.

One Thousand and One Nights (sometimes referred to as Arabian Nights) Arabian Nights is a two-part ballet written in 1979. The music of the ballet was written by Fikret Amirov, and the libretto was written by Magsud and Rustam Ibrahimbeyov based on the fairy tale " Arabian Nights”. The premiere of the ballet took place in 1979 at the Azerbaijan State Academic Opera and Ballet Theater.

 

Music, choreography, libretto and artistic design are in organic unity in the ballet written on the basis of Arabic tales. Captivating melodies, colorful harmonic language and orchestration, the alternation of sincere lyrical scenes with folk scenes and household scenes are the main features of the Arabian Nights ballet. One of the main highlights of the ballet is the use of the female voice in the timbre dramaturgy. At the beginning of the ballet, the women's chorus, which sounds against the background of the orchestra's gentle, charming flowing intonations, is sad, but reflects the belief in bright dreams and devotion.

"Arabian Nights" is a deep philosophical play. It is a hymn to woman, her love and wisdom. Expressing very complex and deep ideas through dance is the greatest achievement of the composer in this genre.

 

Introduction

Lento - Amore

The first act

No. 1 Duet of Shahriyar and Nurida: Andante

No. 2 Dance of the Archers: Sveltezza

No. 3 Variation of Shahriyar: Esaltato

No. 4 Nurida's monologue: Moderato ancioso

No. 5 Orgy: Presto-vivace

No. 6 Death of Shahriyar and Nurida: Andante moderato

No. 7 Shahriyar's monologue: Andante tragico

No. 8 Dance of the executioners: Andante duramente

No. 9 Shahriyar's Wrath: Allegro irato

No. 10 Executioners chasing women: Inferhale-Lamento

No. 11 Women's prayer and supplication: Adagio - pianto suplicare

No. 12 Shahriyar's fury: Allegro feroce

No. 13 Shahrizade: Allegretto grazioso

No. 14 Shahriyar and Shahrizade's duet: Lento-Amore

The second act

No. 15 Night: Lento-Goncitato

No. 16 First Tale: The Maiden, Sinbad the Sailor, and the Spirit Bird: Adagio limpido

No. 17 Dance of the executioners: Andante duramente

No. 18 Night: Lento-Concitato

No. 19 The second tale: Aladdin and the magic lamp: Allegretto brillante

I. The market of Baghdad

No. 20 Dance of the executioners: Andante duramente

No. 21 Night: Lento-Concitato

No. 23 Third Tale: Alibaba and the Forty Thieves: Allegro vivace

I. Persecution

II. Dance of the Coral: Andante splendidezza

No. 24 Shahriyar and executioners: Allegro elevato

I. Shahriyar in the world of fairy tales

No. 25 Duet of Shahriyar and Shahrizadeh: Adagio amoroso

No. 26 Archers: Sveltezza

No. 27 Shahrizade's monologue: Moderato con anima

No. 28 Shahrizade's feast: Allegretto festante

No. 29 Finale: Allegretto elevato

This old churchyard is known as St. John’s and it is located on Dublin Road. I visited this graveyard a number of times but the weather has always been bad and the light was usually poor but this year things were much better however during this visit I limited myself to using a fast 85mm lens.

  

The colour of the gravestones is different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]

 

The graveyard is very open and there many signs of anti-social behaviour but on balance I would guess that much of the decline and decay of the graves is natural rather than as a result of vandalism. In some cases the collapse of gravestones and monuments may be as a result of poor workmanship or poor quality materials. I suppose the dead are not in a position to complain.

 

Is is described as being “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.”

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

ABSTRACT PHOTO:

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.

 

Shot originally in color, but the black and white version made the artistic design common to Singapore City pops out at night.

More modern Italian accommodation is no less artistically designed. This house used to have an address in the Naples suburb of Resina, until Resina was renamed Ercolano in honour of the ancient city beneath its feet.

190609 013

In memoriam Joseph Haydn

(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&amp...

An artistic design graces a sign on a street lamp post in the same block as Willis Tower in Chicago (Scanned from a slide)

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 Luke, who is depicted in this north ambulatory window, is depicted as a doctor because of the medical terms quoted in his gospel and acts. He accompanied Paul on his second missionary journey in 52AD.

 

Florence Nightingale, who is depicted in this north ambulatory window, was a highly educated woman, who is famous for improving sanitary conditions in military hospitals in the Crimea. She is commonly referred to as the "Lady with the Lamp" and she is most commonly associated with the Red Cross.

 

This window is initialled by Christian Waller.

 

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 the Great West Window.

 

The Great West Window, which is also a memorial to soldiers who died during the Great War (1914 - 1918), depicts Christ illuminated as the centre of a golden yellow aura which radiates brilliant coloured light to the figures of Moses and Elijah who flank him. At the bottom each window are the figures of Saint John, Saint Peter and Saint James.

 

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.

 

PE8 brocade pattern added to sunlit ceiling with corner perspective.

Die Ankeruhr im Zentrum Wiens auf dem Hohen Markt stammt aus dem Jahr 1914 gilt als eines der herausragenden Werke des Jugendstils in Wien. Sie ist auf einer Brücke zwischen zwei Bürogebäuden installiert. Weniger bekannt ist, daß auch die Unterseite dieser Brücke künstlerisch gestaltet wurde. Dieses Foto zeigt die Unterseite mit einer im Jugendstil gestalteten, von Sphinxen gerahmten, symbolischen Darstellung des Tierkreises der Astrologie, die zur Zeit des Jugendstils noch beliebter als heute war.

 

The Anker Clock in the City of Vienna on the central plaza Hoher Markt dates from 1914 and is considered one of the outstanding works of art nouveau in Vienna. It is installed on a bridge between two office buildings. It is less known that this bridge was underneath also artistically designed. This photo shows the underside, framed by sphinxes, with a symbolic representation of the zodiac of astrology designed in Art Nouveau style, which was even more popular at the time of Art Nouveau than today.

 

 

ATRIA Arquitetos has designed a bohemian villa in Brazil. Vintage Charm Bohemian Villa is a villa with a flexible design that blends with the surrounding vegetation. When building this villa, the architect must consider carefully the design of the building, so there is no vegetation... freshomedaily.com/?p=42021

 

#Artistic-Design, #Brazil, #Interior-Design, #Villa

Classic Look Photography Fruit, Jar & Apparel

Specks Hof ist ein Geschäftshaus mit der ältesten erhaltenen Ladenpassage in Leipzig. Die Anlage nahe der Nikolaikirche steht beispielhaft für Leipzigs Messe- und Handelshäuser, die Anfang des 20. Jahrhunderts erbaut wurden. Specks Hof ist ein Geschäftshaus mit der ältesten erhaltenen Ladenpassage in Leipzig. Die Anlage nahe der Nikolaikirche steht beispielhaft für Leipzigs Messe- und Handelshäuser, die Anfang des 20. Jahrhunderts erbaut wurden. Das Erdgeschoss des Gebäudes durchziehen tonnengewölbte Passagengänge, zum Teil noch mit geprägter Kupferdecke. Die Gänge werden durch drei glasbedachte Lichthöfe unterbrochen, die künstlerisch gestaltet wurden. Die Gänge werden durch drei glasbedachte Lichthöfe unterbrochen, die künstlerisch gestaltet wurden.

 

de.wikipedia.org/wiki/Specks_Hof

 

Specks Hof is a commercial building with the oldest surviving shopping arcade in Leipzig. The complex near St Nicholas' Church is an example of Leipzig's trade fair and commercial buildings built at the beginning of the 20th century. Specks Hof is a commercial building with the oldest surviving shopping arcade in Leipzig. The complex near St Nicholas' Church is exemplary of Leipzig's trade fair and commercial buildings, which were built at the beginning of the 20th century. The ground floor of the building is characterised by barrel-vaulted passageways, some of which still have embossed copper ceilings. The corridors are interrupted by three glass-roofed atriums, which were artistically designed.

 

de.wikipedia.org/wiki/Specks_Hof

Red Apple and pomegranate

Still Life shots for tea, candle and books at home studio

What was the City of San Francisco thinking when they allowed that awful marquee to be pasted onto the front of this elegant and historic building?

 

The program that was published when this building was dedicated in 1912 included the following:

 

History of the NSGW Building

by Lewis F. Byington, Past Grand President

 

The new Native Sons’ Building, just completed and situated on the east side of Mason Street, between Geary and Post Streets, is unquestionably the best appointed and arranged fraternal building in California, and for the lodge and social purposes the most centrally located of any in San Francisco. It stands on the same block as the St. Francis Hotel and within a radius of two blocks are Union Square at the heart of the city, the Hotel Bellevue, the Stewart Hotel, the Olympic Club, the Bohemian Club, the Union League Club, and the Elks’ Club, the Columbia, Alcazar and Orpheum Theatres, and most of the leading hotels, clubs, restaurants, and places of amusement in San Francisco.

 

It is a “Class A,” steel frame structure, eight stories in height, with a beautiful and ornamented façade of granite, terra cotta and brick. Around the two main entrances to the building are placed medallions of distinguished men, who are thus honored and commemorated for their services in connection with the discovery and civilization of California. They are: Cabrillo, discoverer of California; Father Junipero Serra, civilizer and founder of missions; General John A. Sutter, typical pioneer; General John C. Fremont, U.S.A., the Pathfinder; Admiral John Drake Sloat, U.S.N., who raised the American flag at Monterey; James W. Marshall, the discoverer of gold; Peter Burnett, the first American governor of California; General M. G. Vallejo, typical Hispano-Californian; General A. M. Winn, Founder of the Order of the Native Sons of the Golden West.

 

Set in the front of the building at the height of the second story are six terra cotta panels, the work of Domingo Mora and his son, Joseph J. Mora, artistically designed and depicting important historical events, namely: “The Discovery of California”; “Civilization”; “The Raising of the Bear Flag”; “The Raising of the American Flag”; “The Pioneers”; “The Discovery of Gold.” The sculptured heads of grizzly bears, which mark the line of the third floor, have been designed as emblematic of California, while the sculptured phoenix, placed over the doorways, typifies San Francisco.

 

The phoenix was a wonderful bird, fabled to exist for 500 years, the only of its kind. It built a funeral pile of spices and aromatic gums, lighted the pile with the fanning of its wings, and was burned upon it, but from its ashes revived in the freshness of youth. It is the emblematic bird of San Francisco, adopted and placed upon its seal in early days after the city had been four times destroyed by fire. During a recent visit to Europe, Mr. James D. Phelan, the president of the Hall association, found in the Vatican at Rome the most ancient sculptured representation of the phoenix and which is attributed to the famous Greek sculptor Praxiteles. Mr. Phelan secured a splendid reproduction in marble of this work of art and presented it to the Hall Association, and it is now in the new building.

 

The building contains one of the largest and best-appointed assembly halls for dances, concerts and entertainments in California; also fourteen well-lighted, handsomely furnished, and artistically arranged lodge rooms; the offices of the Grand Secretary; Library and Reading Rooms. Over the main assembly hall is the largest steel truss ever built in California, and which supports the floors above. The eighth floor is arranged for club room purposes and is admirably designed for this object. The rooms are spacious, high and well lighted, both from above and from the front and sides. In the front an artistic loggia has been placed from which the city to the west may be viewed, while at the rear a pergola, over which vines will be twined, furnishes an artistic, sheltered, open-air places for the members to sit. The Grand Parlor has taken steps to secure all books, data and records bearing upon the history and development of California and these doubtless will be stored here. In time, an Historical Museum will also be maintained within the building.

 

In the main hall are twenty circular windows, which it has been decided to use for art glass portraits of twenty Native Sons and Native Daughters who have won distinction in the arts and sciences, literature and drama. The names of the following have so far been selected: Gertrude Atherton, literature; Sybil Sanderson, music; Mary Anderson, drama. Upon the walls of the upper floors will be hung portraits of the distinguished men and women, not natives of California, who have in this State won distinction in literature, science and the arts. The grandeur of the Yosemite and our mountains and lakes may also be depicted upon other windows and these features will add materially to the beauty of our building and will make it unique among the structures of the country. The building will stand as the home of the Order in the State, and as the noblest and most enduring monument to the perpetuity of the organization and for the advancement of its principles of Friendship, Loyalty and Charity.

 

The architects of the building are Righetti and Headman (E.H. Hildebrand, associate). The superintendant of construction was Mr. P.J. Walker and his foreman Mr. J.S. Fifield.

 

Since the destruction of the Native Sons’ Building by the fire of April 18, 1906, it has been the desire of the members to see erected in this city, and upon the lot where that building stood, a home for the fraternity, within which the local lodges may meet and where members from all over California may find an hospitable welcome amidst pleasant and comfortable surroundings. That desire has now been realized.

 

The Hall Association of the Native Sons of the Golden West was incorporated April 5, 1893, for the purpose of securing a site upon which to erect a home for the Order. The first Board of Directors selected was composed of the following members of the fraternity: John H. Grady, Henry Lundstedt, Dr. C.W. Decker, W.W. Shannon, T.E. Keough, George D. Clark, John T. Greany, John A. Steinbach, W.H. Miller, J.R. Kropp, Adolph Eberhart, Lewis F. Byington, T. C. Conmy, John H. Nelson, T.P. Leonard, Joseph B. Keenan, H..J. Seitz, G.H.S. Dryden, W. J. Wynn, W. E. Foley, Daniel Suter, C.H. Hobson, J.P. Donovan, R. Horber, C.H. Mass, J.W. Reinfeld, H.G.W. Dinkelspiel, Sol. Bloom, J.R. Howell, Louis Nonnenmann, H.E. Coffey, Jas. P. Sweeney, L.L. Dennery, L.M. Bannan, W.P. Johnson, and A.E. Holmes.

 

The Association purchased from the Congregation Ohabai Shalome, for $42,500, the lot located on the east side of Mason Street, sixty-eight feet and nine inches north of Geary Street, and having a frontage of sixty-eight feet and nine inches and a depth of one hundred and thirty-seven feet and six inches. One of the first synagogues erected in this city stood upon the lot.

 

Competitive plans for a lodge building were invited and those submitted by Mr. A.C. Lutgens were selected and the handsome five-story “Class C” building erected which stood until destroyed in the early morning of April 19, 1906, by the disastrous fire which then swept the city. It was erected at a cost of about $82,000, and contained a large assembly hall, the offices of the Grand Secretary, the Library and Reading Room and seven lodge rooms. The corner stone was laid on Washington’s birthday, 1895, and the building was dedicated February 9, 1896. Shortly after its completion, Irving M. Scott presented to the Hall Association a magnificent painting by William Keith, California’s greatest landscape artist. It depicted one of California’s fruitful valleys and was entitled “The Heritage of the Native Sons.” It was burned with the building.

 

When the Association concluded to rebuild upon the old site, it was determined to erect a “Class A” building in line with the spirit of progress which animated the citizens of the new San Francisco. The capital stock of the Association was, therefore, increased to $400,000 (50,000 shares of a par value of $8.00 each).

 

The corner stone of the new building was laid February 22, 1911. It is the old corner stone saved from the fire with a new stone covering it. Upon the old stone appears the inscription:

 

HALL OF

NATIVE SONS OF THE GOLDEN WEST

WASHINGTON’S BIRTHDAY

A.D. 1895”

 

And upon the stone above is carved:

 

BUILDING DESTROYED BY FIRE, APRIL 19, 1906

CORNER STONE RELAID FEBRURARY 22, 1911

 

“Program: Dedication of NSGW Building 1912”. Published by NSGW, San Francisco, Cal.

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

Since 2009, artistically designed stained-glass windows by Sigmar Polke have decorated the Grossmünster church. This well-known German artist crafted seven windows in the nave from agate. He cut this semi-precious stone into thin slices that would let light pass through them and give the appearance of brightly glowing walls. The brilliantly colorful result was then expanded with five figurative glass windows.

Another look at these wonky sidewalks. As part of the revitalization of Toronto’s central waterfront, Toronto committed to constructing a series of unique wooden wavedecks along the water's edge. The artistic design has a dramatic 2.6 metre high curve as well as metal railings to prevent injuries.

 

The wavedecks are new public spaces that vary in shape, articulation and design to reflect the movement of Lake Ontario. Each are artistic and functional and have proven to be major public attractions along the harbourfront.

 

en.wikipedia.org/wiki/Toronto_Waterfront_WaveDecks

 

November 3, 2019 - The Broad Museum in Downtown Los Angeles, CA. For the Tuttle Cameras 12 Week Photo Challenge, Week 4, our Challenge is to photograph Abstract Shapes. I chose to photograph The Broad Museum for this week's Photo Challenge. I love the modern artistic design of the exterior of The Broad Musuem in Downtown Los Angeles! #tuttlecameras @tuttlecameras #tuttletribe #tuttletribe12weekchallenge

Artistic design platter at the National Museum in Tehran.

Messina, located at the southern entrance of the Strait of Messina, was in the 8th century B.C. founded by Greek colonists. After the First Punic War, it became Roman and after the fall of the Roman Empire, the city was successively ruled by the Goths from 476, then by the Byzantine Empire in 535, by the Arabs in 842, and in 1061 by the Norman brothers Robert Guiscard and Roger Guiscard, later known as Roger I of Sicily. In 1189 Richard I ("The Lionheart") stopped in Messina on his way to the Holy Land and briefly occupied the city after a dispute over the dowry of his sister, who was married to King William II of Sicily (= William the Good). . . Because a tectonic fault zone, the Messina Fault, runs through the Strait of Messina, earthquakes are common here. The city had to be rebuilt again and again. The Second World War brought further destruction to Messina.

 

The Cathedral was originally erected in the 12th century. The building had to be almost entirely rebuilt in 1919–20, following the devastating 1908 earthquake, and again in 1943, after a fire triggered by Allied bombings. The original Norman structure can be recognized in the apsidal area. The façade has three late Gothic portals, the central of which probably dates back to the early 15th century.

 

The campanile of the cathedral holds the astronomical clock of Messina, constructed by the Ungerer Company of Strasbourg in 1933. The mechanism was designed by Frédéric Klinghammer, with the artistic design based on plans by Théodore Ungerer. Parts of the design are similar to the Strasbourg astronomical clock.

  

I have already uploaded a lot of photos previously taken in Sicily. Now I will add only a few. If you want to see more, follow this link:

 

www.ipernity.com/doc/323415/album/1238300

   

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

Sailor's Monument

 

The Sailor's Monument, a national monument of Norwegian seamen's efforts at sea, from the Viking Age to the 20th century, paid for by funds collected and unveiled on June 7, 1950.

 

In the maritime city of Bergen, it goes without saying that a memorial dedicated to this important and honorable professional group had to be centralized space in the city.

 

This demand was met in full when the municipality allowed Dyre Vaas's towering, seven-meter-high sculptural tribute to the sailor's stand to dominate the eastern end of the city's main street, Torgallmenningen.

 

But many people reacted to the fact that the Sailor Monument here stood a good distance from the right element of seafarers, the sea.

 

It was only in 1999, almost 50 years after the unveiling, that this objection succeeded to some extent. As part of the extensive renovation of the Torgallmenning completed this year, a large water pool was built around the monument. After this, 12 tough sailors, cast in bronze, were able to reflect in the water. Waves around the monument, on the other hand, only criticize the location and the artistic design that has created.

 

The road from idea to realization of the Sailor Monument was very long. The idea was erected as early as 1917 by the Bergen Shipowners' Association and the Bergen Skipperforening, which wanted a memorial to war-lost seafarers.

 

Sofus Madsen undertook to make a draft based on this wish, but it was rejected.

 

It was concluded that the monument should express a general tribute to the sailor's stand rather than dwell especially on the victims of the war.

 

In 1938, open competition was announced, and a total of 45 drafts came in. The winner was "The Trial of Happiness", submitted by the telemarketing Dyre Vaa.

 

Because of the war, it was 12 years before the monument could be unveiled. The honorable assignment was left to the then Minister of Industry Lars Evensen.

 

The result was a startling, but controversial, sculptural account of Norwegian shipping, expressed in the form of 12 burly sailor statues and high above them eight reliefs on two heights that contribute with further knowledge.

 

Four centuries of Norwegian maritime history pass revue on the monument's equally numerous sides.

 

The tenth century is presented as "Vinland's journey", and the statues depict a chieftain with a spear, a skull in leather skins and a berserk with a shield on his back. The reliefs show a Viking ship under sail and a meeting between Vikings and Indians.

 

The eighteenth century, "Greenland's journey", is symbolized by a scouting fisherman, a full-fledged captain in the process of giving orders and a sailor with a pipe in his mouth.

 

The reliefs are related to Greenland's rediscovery from Bergen. You see Hans Egede preaching the Christian gospel to the Eskimos and a stack drain with a sea worm bowing under the ship.

 

On the panel for the nineteenth century, with the inscription "Kornferd", you see a ship with a top hat, a first-time boy and a pilot. The reliefs depict whaling and scenes from a shipyard.

 

The twentieth century has the inscription “Oljeferd”, and the sculptures depict a deck boy, a helmsman with binoculars and a wrench machinist. The reliefs depict a ship in front of a rising sun and a resurrection scene. Drowned awakened to eternal life by an angel.

 

As models, Dyre Vaa did not use seafarers, but people from his community. Several Telemark farmers from that time must have been easily recognizable. The artist was working on the monument throughout the war. In 1944, no less than 25 plaster statues lined up in his studio in Rauland. The number was subsequently more than halved. A very rich memorial must be said to be the Seamen's Monument, a work of art that alone is an entire art exhibition.

 

www.bergenbyarkiv.no/bergenbyleksikon/arkiv/14327928

Vase & Flower at Fotoshoot Studio

White Lilly Flower Bouquet

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.

 

Elizabeth Fry, who is depicted in this north ambulatory window, was born in 1780. She was an eminent philanthropist and was fundamental in prison reform in the Nineteenth Century. She was amongst the first people to insist that prisoners receive help as well as punishment, if they were to become good citizens. She campaigned tirelessly for education for female prisoners incarcerated at Newgate Prison.

 

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.