View allAll Photos Tagged CONFESSIONAL
well i love this group. the group description says to take a picture that confesses something about yourself. so i objectively thought about myself, and i decided that i really feel like i have no balls when it comes to talking pictures that i really want to take....i REALLY want to take pictures of complete strangers and get their story, to capture the true character of their face, to just speak with them for even just a moment and grab that moment with the camera, to get a CLOSE shot, not just a street shot. but what am i scared of? well, rejection or getting laughed at, which i can deal with, but deeper, i'm scared of not being able to break away from them. i dont know if that makes sense. i don't feel like figuring it out in this little description box at 3:21am.
so, for instance..this picture, i was sitting next to him on the subway. we were very close to each other (in new york,personal space doesn't really exist), but sat in silence. i snapped this because he looked like he was in some sort of peace looking out the window, and it was noisy on the train so he couldn't hear the shutter snap in his ear (which was seriously like 5 inches away, people.) he had the tattoo on his fingers which said life. why wouldn't i talk to him? well mainly, because i got the picture that i wanted out of the situation. but even further... why life?
St Joesph's Chapel was added to the original house and still remains to this day in a much better state than the rest of the building.
Video of the explore including footage from our AR Drone available here.
Part I >> Part II >> Part III >> Part IV >> Part V >> Part VI >> Part VII >> Part VIII
Abandoned Scotland Online
Ridiculed Confessional.
Et mente confusa est, palpitantibus praevalens mentem venit,,
Leiden betont abscheulichen Laudanum Hysterie spricht,
protubérances funestes médicaments intolérables prolonger flammes les poisons de terrible Dérangement,
ιδιοσυγκρασίες μανία πνευματικής αγωνίες τρομερή φόβους κατανοητή,
trance tardive outreaching follia collegamento sensazioni irresponsabili conosce,
נערוועז מעלאַנטשאָליק סטרימז פאַרפאַלן מאַרך אנפאלן,
swineherds gcroí agróirí sotalach foréigean gan chéill troideanna scaoll meargánta,
ружан јело затамњена стражари значи лутају прагове врата,
seirenau dyheu i lawr cyfnod o osteg tonnau llongau mewnol,
å skade følges fostret tunge mastene dysser breezes furling åndedrag frossen,
korlátos kavargó hibák nyögött siránkozás remegni,
vanyan sòlda senbòl mistik konstwi èstetisyen powèt enpòtan espontane,
estetiikka ilmaisuja vahingollisia löytää epäilyttäviä tunteita asianomaisen,
undirdeildir pervading náinn möguleika hlykkjótt sjón loforð eyðilögð eyðublöð,
movimentos comunicativos moderno curvilíneas poesia inspirações bywords cativante feitas!
Steve.D.Hammond.
SAINT SAVIOUR’S, WATERFORD (Blackfriars Abbey)
The Dominicans came to Waterford in 1226. Nine years afterwards, the citizens made application to Henry III., for a vacant piece of ground belonging to the Crown, on which stood an old tower, for the purpose of building an abbey there for the friars. The king granted the application on February 20, 1235 :
"The King to the citizens of Waterford. Approves of their proposal to construct an edifice for the Dominicans, in a vacant space under the walls, of their city, in which anciently existed a small tower.
This was then known as Arundel's Castle and it faced the present market square, called Arundel Square. The central tower, which was the bell tower of the priory and remains in excellent preservation, was probably part of the old castle, which was worked into the new building. This part of Waterford is still called the Blackfriars."
In 1250 there was living a distinguished Dominican friar, Geoffrey of Waterford, or, as he signs himself in the Norman-French of the time, " Jofroi de Watreford de l'ordene az freres precheors le mendre." Three of his writings have come down to us which prove he was a master of Greek, Arabic, Latin and French. He travelled extensively in the East and lived for a long time in France. A transcript of his works, in late thirteenth century hand-writing, is preserved in the Bibliotheque Royale in Paris
Provincial chapters were held here in 1277, 1291 and 1309.
From the middle of the thirteenth century till the end of the fourteenth, regular payments of alms from the king, recorded in the State Papers, were made to the Dominican friars of Waterford amongst others, and in 1400, Henry IV., granted in perpetuity an annual pension of thirty marks to each and several of the friars of those convents.
1540. April 2. William Martin, the prior, " surrendered " the abbey, being then in possession of the same, which contained within its site, a church, chancel and belfry, a chapel called our Lady's chapel, a cemetery, close, dormitory, chapter-house, library and hall, etc.
1540. May 20. Grant to James White of Waterford, gentleman, of the site of the monastery of Preachers, or Blackfriars, of Waterford.
1574. Surrender by Nicholas White, of St. Catherine's, county Kildare, master of the rolls, of the monastery of Friars Preachers at Waterford.
Several of the inquisitions in the reigns of Elizabeth and James I. were held at "Blacke Fryers, Waterford."
1599. April 25. Grant of the abbey to Sir Anthony St. Leger.
1603. Cox (Hib. Anglicana) describes how Doctor James White, accompanied by some of the Dominicans of Waterford, set out for Lord Mountjoy's camp at Gracedieu, sent by the mayor at the Lord Deputy's request. The friars went in their habits, with a crucifix displayed in front of them and gave this message to the Deputy : That the citizens of Waterford could not in conscience obey any prince that persecuted the Catholic Faith.
1617. Assizes were held in the Blackfriars in the city of Waterford, for the county of Waterford, by Sir William Jones, Lord Chief Justice of Ireland. From that period, the Blackfriars continued to be used as a court-house for the county and city of Waterford, until the assizes were removed to Saint Patrick's gate.
In 1622, there were seven fathers in Waterford, the prior being Father Thomas Power, and there were five there in 1629.
In 1651, Father Michael O'Clery, the prior of the Dominicans, and Canon John White, gave their lives for the spiritual welfare of the plague-stricken citizens. Both, having made a general confession, went into the place where the infected were kept apart, and, while hearing their confessions, were themselves stricken with the plague and died.
In the eighteenth century, there were generally three fathers in Waterford. According to the Lords' Committee Returns of 1731, there were two friaries at that date in Waterford, one, consisting of five friars, in St. Stephen's parish, and the other, consisting of three friars, in St. John's parish. The latter, who had full charge of the parish of St. John's was probably the Franciscan, and the former the Dominican community.
In 1800, there were only two fathers in Waterford, and, some years afterwards, the former flourishing community was reduced to one member. The last representative of the older community was Father James Moloney, who died in 1865. For several years he had been attached to St. John's parish a curate and he afterwards officiated in the cathedral, where he had a confessional. On his death, Dr. O'Brien, the bishop, requested the Provincial to found a regular community there, and two fathers and a laybrother came to the city for this purpose, in 1867, and opened a temporary chapel on March 3ist of that year.
On May 3, 1874, the first stone of the present church was blessed and laid by Dr. Power, bishop of Waterford, and the church was opened and dedicated on December 3, 1876, by the same prelate. The present convent was opened in April, 1880.
The following account by Canon Gimlette of the ruins of the old abbey will be read with interest :
"The extent of the monastery of the Dominicans of Waterford was gradually increased after its foundation. Building after building was added. Besides the choir, cloisters, cemetery, refectory, and hall, a grand strangers' hall was erected towards the north, which was used for the entertainment of illustrious guests. It was called the "Baron's hall." It probably stood in the centre of what is now called Baron's strand street. The Watergate, by which the nobles landed from England, was no doubt at the foot of this street. The priory extended over a large part of the east side of High street.
Beneath the ancient tower, the arch of a vault is plainly visible. Some years ago this was opened at the desire of a gentleman interested in the antiquities of Ireland. It was found to be a crypt running nearly due east and west. On the eastern side it had its termination at the old city wall, and was probably entered from the river by a small postern. On the west it ran up through the very heart of the ancient city. It was sufficiently high for one to stand erect in it, and was evidently a means of escape in time of danger.
The main portion of the house was cruciform. The tower stood in the middle of the building. The west porch reached into Arundel Square. The choir extended to the rere of the Great Chapel of Barronstrand-street The northern portal is still to be seen beside Hoare's old book-stall in the Blackfriars. The arches of the cloisters can be traced in Mr. Thompson's bakery. The southern door came as far as Conduit-lane. About twenty-one years since, a great part of the western portion of the abbey was taken down, and a row of houses built on the foundation. This now forms the eastern side of Arundel Square. The priors and brethren were buried outside the portion which was the choir. Several of their graves were discovered when these were built, and a very ancient stone coffin was removed at the time, to the Ursuline convent. The gardens ran down to the city wall. The Dominican grounds were then at the extreme north of Waterford ; the Franciscan gardens at the extreme south. The places of sepulture in both these monasteries can now only be discovered when, from time to time, the bones are thrown up mingled with dust from whence they sprung."
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
forgive me father, for I have sinned.
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My gorgeous photog friend Bonnie Horseman flew up here all the way from Virginia so that I could do a mat. session for her.
A huge thank you to my awesomely talented and inspiring friend Wei from Photobolic for coming on our crazy road trip and shooting with me!!
I don't think we could have had more fun!!
Sint-Anna Monastary (NL) - explored with eye_art_peter
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dashboard confessional at pnc bank arts center on 6/17/16 - holmdel, nj
shot a couple of videos:
swiss army romance - the places you have come to fear the most (2 for 1)
The Church of St. Francis of Assisi at Vilnius, Lithuania.
This is a rather public way of going to confession, isn't it?
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From signage in the church:
Between 1764 and 1781 the church was fitted with an ensemble of late Baroque fixtures: the pulpit, confessionals, pews and eleven altars. The ensemble displayed stylistic harmony, as well as a singleness of purpose-drawing attention to the main altar.
[The main altar] now contains the Crucifix that had previously hung above the altar of the Holy Cross. The cross was known to bestow special grace, and it was at this time that the fresco depicting this Crucifix was painted on the façade of the church. The identity of the person who designed the new interior furnishings is not now known. The interior was executed by several joiners (Giotto, Holtzas, Valteris and others are mentioned). Paintings for the altars were done by . . . a person with the surname Motiejus.
Between 1764 and 1768 Mikaloju Jansonas, a renowned organ builder of the day, restored the church organ and moved it from the side nave to a platform constructed at the back of the presbytery (choir). (At the end of the 19th century the organ was reconstructed once again and moved to the old balcony of the Bernardines.)
From the middle of the 18th century until the end of the 20th century the architecture and furnishings of the church remained largely unchanged. When the church was closed during the Soviet years, the painting over the altar, the liturgical vessels and other fixtures were scattered among museum collections or given to other churches.
The altar ensemble, which was disassembled for reconstruction has only been partially restored. In response to present-day liturgical requirements, a new altar created by Rimas Skakalauakas was constructed in 1998 and placed in the central nave of the church. The altar echoes the lines and shapes of the old Gothic belfry.
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From Wikipedia:
The Church of St. Francis and St. Bernard (also known as Bernardine Church) is a Roman Catholic church in the Old Town of Vilnius, Lithuania. It is located next to St. Anne's Church. Dedicated to Saints Francis of Assisi and Bernardino of Siena, it is an important example of Gothic architecture in Lithuania.
History
After their arrival in Vilnius, Bernardine monks built a wooden church in the second half of the 15th century, and at the end of the same century - a brick one.
In the early 16th century it was reconstructed, apparently with the participation of a master from Gdansk (Danzig) Michael Enkinger.
In the beginning of the 16th century the church was incorporated into the construction of Vilnius defensive wall, so there are shooting openings in its walls.
Afterwards it was renewed many times, particularly after the 1655-61 war with Moscow, when the Cossacks ravaged the church killing the monks and citizens who had taken shelter there.
In the times of the Soviet occupation it was closed down and handed over to the Art institute.
In 1994, the brethren of St. Francis returned to the church.
Church and Monastery are some of the largest sacral buildings in Vilnius, although in the 17th and 18th centuries they acquired the Renaissance and Baroque features.
Being much larger and more archaic than the St. Anne's Church, it forms and interesting and unique ensemble with the latter.
Gothic pointed-arch windows and buttresses stand out on the façade. Above them rises a pediment with twin octagonal towers on the sides and a fresco depicting the Crucifix in the middle niche.
A Gothic presbytery is the oldest part of the church. Eight high pillars divide the church interior into 3 naves.
There are many valuable 16th-century wall paintings in Bernardine church and the oldest known artistic Lithuanian crucifix sculpture from the 15th century. [2]
The walls of the naves are decorated with Gothic polychrome frescoes, partly uncovered in 1981 - dynamic, colourful figural compositions on biblical and hagiographic themes, with occasional inscriptions in Gothic characters, floral ornaments, heraldic insignia etc.
These mural paintings date from the early 16th century and are considered unique in the world: their composition and type of presentation of the subject matter belongs to Renaissance, and the stylistics - to the Gothic style. [3]
The Bernardine monastery north of the church, built simultaneously with the church, was renovated and reconstructed several times. Since its founding, a novitiate and a seminary operated at the monastery, a rich library had been accumulated, and a scriptorium operated. There [were] artists, craftsmen and organists among the monks. The monastery was closed in 1864, and the building housed soldiers' barracks. In 1919 it was given to the art faculty of the university, later - to the Art Institute (now the Art Academy).
en.wikipedia.org/wiki/Church_of_St._Francis_and_St._Berna...
During Passiontide, we are reminded to avail ourselves of the great Sacrament of Mercy. In confession, the Lord comes with his abundant grace to forgive us of our sins, to reconcile us to Him and through Him to the entire Church, and to heal us of the wounds of our sins.
This is a photo of a confessional in a church in Rome.
Name: Westley Cornelious Black
Age: 19
Hometown: Angel City, California
Likes: Preppy clothing, Star Wars, Harry Potter, Twilight, Steven Universe, reality television shows of the early 2000’s, vlogging, my cat(s?) (one is either dead or retarded and I’m not sure which yet.)
Dislikes: My neck brace, my inability to beatbox, social justice warriors, pineapple
Why I should be chosen for Sabrina’s Star School: I am a diehard fan of Sabrina and her crew and I would do anything to win her favor. I would MURDER for Sabrina. And because I think it would be super fun to hang out with her and her friends!!
Faceclaim: Lea Michele
A confessional is a small, enclosed booth used for the Sacrament of Penance, often called confession, or Reconciliation. It is the usual venue for the sacrament in the Roman Catholic Church, but similar structures are also used in Anglican churches of an Anglo-Catholic orientation, and also in the Lutheran Church. In the Catholic Church, confessions are only to be heard in a confessional or oratory, except for a just reason (1983 Code of Canon Law, Canon 964.3).
Full name:Lindsay Preston
Age:19
Hometown:New York,U.S.A
Occupation:Student
Hair Color:Red
Eye Color:Blue/Green
Personal Style:I always like to change but always want to be in fashion
Why I should make it Into TMI: I want to show what I'm capable of anything and I'll show that I deserve to have an opportunity and overcome me sad past with this competition to start my life from the beginning and just a warning for you guys bitches are going to suffer with me
Church of the Assumption of the Blessed Virgin Mary and Saint. Stanisław Bishop Martyr (Kościół Wniebowzięcia NMP i św. Stanisława Biskupa Męczennika), Bodzentyn, Poland
"Take a break from shooting living creatures. Try to tell a story without any people or animals in the frame." - Charalampos Kydonakis
10 June 2007
Alegorical figures on confessionals urge you to repent for your sins!
These figures represent death, as evidenced by the bones in the arm of the left-most figure, the skull overhead and the skull in the figure on the right.
It might further represent the death of sin - a state which is hopeless and separates you from eternal life with Jesus. This extra, eternal death is represented by the snake curving through the skull. The snake tempted Adam and Eve away from God, into sin. Jesus died to free us from that sin. Don't let him down by failing to confess!
Either that or the Jesuits are also members of New England College secret societies.
In the Sint-Pieters- en Pauluskerk, Mechelen, Belgium