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The Coptic Church was established in the name of the Lord Jesus Christ by St. Mark the Evangelist in the city of Alexandria around 43 A.D. The church adheres to the Nicene Creed. St. Athanasius (296-373 A.D.), the twentieth Pope of the Coptic Church effectively defended the Doctrine of the Lord Jesus Christ’s Divinity at the Council of Nicea in 325 A.D. His affirmation of the doctrine earned him the title; “Father of Orthodoxy” and St. Athanasius “the Apostolic“.
Sainte Chapelle: A gem of Gothic style. Built in seven years, an impressive feat, the Sainte Chapelle was intended to house precious Christian relics, including Christ's crown of thorns, acquired by Saint Louis. Religious and political influence. Having these sacred relics in his possession made the already powerful monarch head of western Christianity. Stunning stained glass. Arranged across 15 windows, each 15 metres high, the stained glass panes depict 1,113 scenes from the Old and New Testaments recounting the history of the world until the arrival of the relics in Paris. Begun some time after 1238 and consecrated on 26 April 1248, the Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. It was commissioned by King Louis IX of France to house his collection of Passion relics, including Christ's Crown of Thorns—one of the most important relics in medieval Christendom. Along with the Conciergerie, the Sainte-Chapelle is one of the earliest surviving buildings of the Capetian royal palace on the Île de la Cité. Although damaged during the French Revolution, and restored in the 19th century, it has one of the most extensive 13th-century stained glass collection anywhere in the world. www.sainte-chapelle.fr/en
Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris and is the seat of the Diocese of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since Chartres became a bishopric in the 4th century. It is in the Gothic and Romanesque styles.
It is designated a World Heritage Site by UNESCO, which calls it "the high point of French Gothic art" and a "masterpiece".[2]
The cathedral is well-preserved for its age: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
Since at least the 12th century the cathedral has been an important destination for travellers. It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
Christ's College was originally founded in 1437 as 'God's House' by William Byngham, but following a major endowment in 1505 by Lady Margaret Beaufort (mother of Henry VII) it was given its current title and expanded. Several parts of the college still remain from the early Tudor period, including the entrance gate from the street and the chapel in the first quadrangle.
The main gatehouse is an impressive sight with Lady Margaret's image at the centre and two Yales of Beaufort over the arch. On my first visit in 2018 the carved details were refreshed but left in their natural stone colour, but when I returned less than a year later they had been fully recoloured (along with other carved details around the college).
Berlin, St. Hedwig's Cathedral after total remodelling: Looking towards the organ that following the new purist concept, has lost all is former golden ornaments
Die römisch-katholische St.-Hedwigs-Kathedrale ist die Bischofskirche des Erzbistums Berlin. Der Rundbau wurde ab 1747 im Auftrag von Friedrich dem Großen nach Plänen von Georg Wenzeslaus von Knobelsdorff im Stil des Friderizianischen Rokoko errichtet. Der erste katholische Kirchenbau in Berlin nach der Reformation wurde besonders für die neuen römisch-katholischen Einwohner Berlins aus Schlesien errichtet und deshalb dem Patrozinium der als Schutzpatronin Schlesiens verehrten Hedwig von Andechs unterstellt. Im Zweiten Weltkrieg ausgebrannt, wurde die Kathedrale 1952–1963 nach Plänen von Hans Schwippert im Stil der Nachkriegsmoderne wiederhergestellt. In den Jahren 1952 bis 1963 wurde die nunmehr in der Hauptstadt der DDR gelegene Kathedrale wiederhergestellt. Den Innenraum gestaltete der (westdeutsche) Architekt Hans Schwippert in Zusammenarbeit mit Künstlern neu. Er schuf eine außergewöhnliche Raumaufteilung. In dem durch den Bombenabwurf zerstörten Sakralbau wurde ein Zugang zur Unterkirche mit den neugeschaffenen acht Kapellen angelegt. Die in der Substanz weitgehend erhaltene Außenarchitektur des Zentralbaus wurde in Anlehnung an das historische Erscheinungsbild wiederhergestellt. Die Kuppel wurde jedoch im Umriss verändert und erhielt eine mit Kupfer verkleidete, paraboloide Betonschalenkonstruktion aus 84 Segmenten. Sie hat einen Innendurchmesser von 33 Metern. Im November 2013 schrieb das Erzbistum Berlin einen Architektenwettbewerb zur Neugestaltung des Innenraumes und des baulichen Umfelds aus. Die Notwendigkeit begründete das Erzbistum damit, dass die Entwicklungen in Liturgie und Theologie infolge des Zweiten Vatikanischen Konzils (1962–1965) entsprechende bauliche Weiterentwicklungen und Anpassungen verlangen würden. Vor allem durch die Bodenöffnung zur Krypta wäre der Priester zu sehr von der Gemeinde getrennt. Den Architekturwettbewerb gewann der Entwurf des Architekturbüros Sichau & Walter Architekten GmbH aus Fulda mit Leo Zogmayer aus Wien. Von 2018 bis Ende November 2024 war die Kathedrale dannwegen Sanierung und Umbaus geschlossen. Der neue Altar, ein Gussstein, in den nach einer Idee von Leo Zogmayer von Gemeindemitgliedern gespendete Steine aller Art aus allen Gegenden des Erzbistums, das bis nach Mecklenburg-Vorpommern reicht, eingeschlossen sind, wurde am 1. November 2023, dem 250. Jahrestag der ursprünglichen Kirchweihe, geweiht. Auch nach einer Idee von Zogmayer sind in die matten Fenster Luftblasen eingearbeitet, die den Sternenhimmel über Berlin zum Zeitpunkt von Christi Geburt zeigen. Bei dem trüben Licht des Tages, an dem ich in der Kirche war, waren sie allerdings nicht zu erkennen. Die Wiedereröffnung der umgestalteten Kathedrale fand am Christkönigsfest, dem 24. November 2024, statt. Der Umbau war heftig umstritten gewesen, zumal die Nachkriegsgestaltung eigentlich unter Denkmalschutz stand. Auf mich persönlich wirkte die neue Gestaltung sehr kühl und steril, auch fand ich die Kuppelgestaltung mit sichtbaren Betonrippen sehr viel interessanter als die neue glatte Kuppeldecke mit netzartigen Strukturen.
de.wikipedia.org/wiki/St.-Hedwigs-Kathedrale (mit Ausnahme meiner persönlichen Erklärung)
The Roman Catholic St Hedwig's Cathedral is the episcopal church of the Archdiocese of Berlin. The circular building was commissioned by Frederick the Great in 1747 and built in the Friderician Rococo style according to plans by Georg Wenzeslaus von Knobelsdorff. The first Catholic church building in Berlin after the Reformation was erected especially for the new Roman Catholic inhabitants of Berlin from Silesia and was therefore placed under the patronage of Hedwig of Andechs, who was honoured as the patron saint of Silesia. Burnt out during the Second World War, the cathedral was rebuilt in 1952-1963 according to plans by Hans Schwippert in the style of post-war modernism. The cathedral, now located in the capital of the GDR (East Germany), was rebuilt between 1952 and 1963. The interior was redesigned by the (West German) architect Hans Schwippert in collaboration with artists. He created an unusual room layout. An entrance to the lower church with the newly created eight chapels was created in the sacred building, which had been destroyed by the bombing. The exterior architecture of the building with central disposition, the substance of which was largely preserved, was restored to its historical appearance. However, the outline of the dome was changed and it was given a copper-clad, paraboloid concrete shell construction consisting of 84 segments. It has an internal diameter of 33 metres. In November 2013, the Archdiocese of Berlin announced an architectural competition to redesign the interior and the structural surroundings. It justified the need for this by stating that developments in liturgy and theology as a result of the Second Vatican Council (1962-1965) would require corresponding structural developments and adaptations. In particular, the floor opening to the crypt would separate the priest too much from the congregation. The architectural competition was won by Sichau & Walter Architekten GmbH from Fulda with Leo Zogmayer from Vienna. The cathedral was then closed from 2018 until the end of November 2024 for renovation and conversion work. The new altar, a cast stone that incorporates stones of all kinds donated by parishioners from all parts of the archdiocese, which extends as far as Mecklenburg-Western Pomerania, was consecrated on 1 November 2023, the 250th anniversary of the original consecration of the church. Also based on an idea by Zogmayer, air bubbles are incorporated into the frosted windows, showing the starry sky over Berlin at the time of Christ's birth. However, in the dim light of the day when I was in the church, they were not visible. The reopening of the remodelled cathedral took place on the Feast of Christ the King, 24 November 2024. The remodelling had been highly controversial, especially as the post-war design was actually a listed building. I personally found the new design very cool and sterile, and I also found the dome design with visible concrete ribs much more interesting than the new smooth dome ceiling with mesh-like structures.
de.wikipedia.org/wiki/St.-Hedwigs-Kathedrale (with the exception of my personal declaration)
Eine Vergleichsaufnahme mit dem früheren Aussehen der Klais-Orgel findet sich auf Wikipedia:
A foto for comparing the new exterior of the Klais organ with the original aspect can be found on Wikipedia:
de.wikipedia.org/wiki/Datei:Berlin_Hedwigskathedrale_Orgel_(2).jpg
Christ's College, University of Cambridge. 3/3 of the mini Autumn series. An entry for the annual pumpkin carving competition. This one got commended!
Christ's Church College
In 1525, at the height of his power, Thomas Wolsey, Lord Chancellor of England and Cardinal Archbishop of York, suppressed the Priory of St Frideswide in Oxford and founded Cardinal College on its lands.
In 1546, King Henry VIII who had broken from the Church of Rome and acquired great wealth through the dissolution of the monasteries in England, refounded the college as Christ Church as part of the re-organisation of the Church of England, making the partially demolished Priory church the cathedral of the recently created diocese of Oxford.
The Sainte-Chapelle (French: [sɛ̃t ʃapɛl]; English: Holy Chapel) is a royal chapel in the Gothic style, within the medieval Palais de la Cité, the residence of the Kings of France until the 14th century, on the Île de la Cité in the River Seine in Paris, France.
Construction began sometime after 1238 and the chapel was consecrated on 26 April 1248. The Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. It was commissioned by King Louis IX of France to house his collection of Passion relics, including Christ's Crown of Thorns – one of the most important relics in medieval Christendom, later hosted in the nearby Notre-Dame Cathedral until the 2019 fire, which it survived.
Along with the Conciergerie, the Sainte-Chapelle is one of the earliest surviving buildings of the Capetian royal palace on the Île de la Cité. Although damaged during the French Revolution and restored in the 19th century, it has one of the most extensive 13th-century stained glass collections anywhere in the world.
The Sainte-Chapelle is no longer a church. It was secularised after the French Revolution, and is now operated by the French Centre of National Monuments, along with the nearby Conciergerie, the other remaining vestige of the original palace.
2018 BestChristian Music Video | "The True Love of God" (Korean Song English Subtitles)
www.holyspiritspeaks.org/videos/the-true-love-of-god-kore...
Today I come before God again, I see His lovely face.
Today I come before God again, I’ve left my wandering past behind.
Today I come before God again, enjoying His word fills me with joy.
Today I come before God again, my heart has so much to say.
It’s His tender words that water and nourish me to grow up.
It’s His stern words that encourage me to stand up again.
Oh God! We can praise You for You have raised us!
We can sing to You today all because of Your blessing and mercy.
Oh God, You truly love us so! You make us relish Your words every day!
Oh God, You truly love us so! You enlighten us every day!
Oh God, You truly love us so! You water and nourish Your people.
You lead us away from Satan’s influence.
Brothers and sisters! Hurry and rise! Let’s praise our God!
Let’s cherish how He’s gathered us here today.
Be free from all burdens of the flesh! Praise onto Almighty God earnestly!
Fulfill our duty with all our heart and might, show our love for God with action.
We will love You forever, almighty true God!
from Follow the Lamb and Sing New Songs
Recommended for You ：Christian Music Video
Image Source: The Church of Almighty God
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Lily of the Valley (Convallaria Majalis)
The lily of the valley represents sweetness and the return of happiness. It can also symbolize humility.
One legend explains the affection of a lily of the valley for a nightingale. The nightingale would not come back to the woods until the flowers bloomed in May.
Because of the belief in the healing powers of this plant, it is often known as the "ladder to heaven" or "Jacob's tears." Also, it is considered a sign of Christ's second coming.The lily of the valley is mentioned in the Song of Solomon in the Bible, too. Legend tells that Mary's tears turned to the lily of the valley when she cried at the cross. This is the reason for the third alternate name, "Mary's tears."
Prints and Downloads are available at my ►HOMEPAGE
La sobredecorada porta principal del Christ's College, Cambridge.
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The quite lavish main gate of Christ's College in Cambridge.
The Sainte-Chapelle (French: [sɛ̃t ʃapɛl]; English: Holy Chapel) is a royal chapel in the Gothic style, within the medieval Palais de la Cité, the residence of the Kings of France until the 14th century, on the Île de la Cité in the River Seine in Paris, France.
Construction began sometime after 1238 and the chapel was consecrated on 26 April 1248. The Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. It was commissioned by King Louis IX of France to house his collection of Passion relics, including Christ's Crown of Thorns – one of the most important relics in medieval Christendom, later hosted in the nearby Notre-Dame Cathedral until the 2019 fire, which it survived.
Along with the Conciergerie, the Sainte-Chapelle is one of the earliest surviving buildings of the Capetian royal palace on the Île de la Cité. Although damaged during the French Revolution and restored in the 19th century, it has one of the most extensive 13th-century stained glass collections anywhere in the world.
The Sainte-Chapelle is no longer a church. It was secularised after the French Revolution, and is now operated by the French Centre of National Monuments, along with the nearby Conciergerie, the other remaining vestige of the original palace.
A red-flowered poppy (Papaver rhoeas) is accompanied by other wild flowers in a field in front of Meteora, the gigantic rock formations. It is probably in Greek folklore only that the red-flowered poppy has been a symbol of His blood shed during the Crucifixion in order to deliver us from Adam’s sin and from evil. So, the poppy is often a pictorial symbol of the Holy Week and Passion for us, Greeks.
The poppy’s scarlet colour is strongly reminiscent of the local non-combatants’ blood shed. This sacred land was watered by the blood of hundreds of civilians assassinated by Nazi monsters during the operation “Panther” in October 1943. In the Aspropotamos villages there were ladies who were too old for running (away, to save their lives): the Nazis locked them in their houses, then set fire. They fired shots on the younger women and children trying to flee away. They burnt down local churches, too, as well as historic monasteries. At Distomo and elsewhere in Greece, the atrocious beasts even disemboweled pregnant women with their bayonets. They were not soldiers; they were the Antichrist’s precursors…
The locally deceased Nazis shouldn’t have been honoured as “soldiers killed in action,” because they were merely heinous criminals. Nonetheless, the dead evil-doers remained buried in two Nazi cemeteries in Greece (Dionyssus and Maleme) after the end of WWII. Our sacred land gags on the interred rotten carcasses of theirs; the earth retches and heaves with continuous earthquakes all over the place, as it prepares to vomit lots of lava and sulfur, in retaliation for the interred monsters’ hubris, as well as for the quislings (collaborationists, both old and new) who never paid for their treason.
Hitler’s eugenics was merely a pilot study, carried out “shortly” (in aeons’ timescale) before the hindmost abomination. The Nazis’ atrocities were, alas, only a minor experiment, prior to what genetically lies ahead for mankind… Of course the Earth does tremble violently with rage along with all its volcanoes.
Have the Nazis’ Cemeteries ERADICATED from Greek sovereign territory!
(Throughout the English-speaking world, poppies have been used as a symbol of eternal sleep or death; they often adorn tombstones. Poppies are worn to commemorate those who died in war; they also inspired John McCrae to write his poem “In Flanders Fields.” The dead soldiers of our Allied Forces are welcome to forever rest in peace in our land, of course.
In Greek classical mythology the bright scarlet color signifies a promise of resurrection after death.)
Canon EOS RP
Canon RF24-105mm F4 L IS USM @ 79mm
ISO 100 - f/8 - 1/40 sec × 10 shots focus-bracketed
Stained glass depicting the Flight into Egypt. During the construction of the Notre-Dame de l'Assomption cathedral, stained glass windows from the old Romanesque cathedral of Etienne 2 were recovered. They are today grouped together in two stained glass windows of the Sainte Anne chapel.
The oldest, from the beginning of the 12th century, represent the theme of Christ's childhood, an iconography very present at the time, as in Saint Denis and Chartres.
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Vitrail représentant la fuite en Egypte. Lors de la construction de la cathédrale Notre-Dame de l'Assomption, des vitraux provenant de l'ancienne cathédrale romane d'Etienne 2 ont été récupérés. Il sont aujourd'hui regroupés dans deux verrières de la chapelle Sainte Anne.
Les plus anciens datent du début du 12e siècle et représentent le thème de l'enfance du Christ, une iconographie très présente à l'époque, comme à Saint Denis et à Chartres.
Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Roman Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris and is the seat of the Diocese of Chartres. Mostly constructed between 1194 and 1220, it stands at the site of at least five cathedrals that have occupied the site since Chartres became a bishopric in the 4th century. It is in the Gothic and Romanesque styles.
It is designated a World Heritage Site by UNESCO, which calls it "the high point of French Gothic art" and a "masterpiece".[2]
The cathedral is well-preserved for its age: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
Since at least the 12th century the cathedral has been an important destination for travellers. It remains so to the present, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
Does your camera move and ruin some of your best shots? Who would know? You do not have to tell us. I surely will not tattle-tale on you. To me, moving the camera just right takes a lot of practice. Given enough exercise, it can become a form of ART for you also. I am so glad to do digital rather than film. Saving money is important, right? Processing 100,000+ shots on film would cost how much over the six months my fine P&S camera worked. Oh, those days, when I could take a nice foto out of 1,000 daily tries.
Free daily news like below from zenitenglish@zenit.org
Benedict XVI: Prayer Keeps Us Open to Others
Calls It the Primary Weapon Against Evil
VATICAN CITY, FEB. 7, 2008 (Zenit.org).- Benedict XVI says prayer is the guarantee of openness to others, and without it, people run the risk of closing in on themselves.
The Pope affirmed this Wednesday, in the basilica of Santa Sabina on Rome's Aventine Hill, when he presided at a Eucharistic celebration during which the blessing and imposition of the ashes took place.
The Mass was preceded by a moment of prayer in the nearby Church of Sant'Anselmo, after which those present made their way in penitential procession to the basilica of Santa Sabina.
In his homily, the Holy Father reflected on the themes of prayer and suffering, as well as hope.
"Lent, precisely because it invites people to prayer, penance and fasting, represents a providential moment to revive and strengthen our hope," he said.
Prayer "is the primary and foremost 'weapon' with which to 'face the struggle against the spirit of evil,'" the Pontiff affirmed. He contended that "without the element of prayer, the human 'I' ends up by closing in on itself and the conscience, which should be the echo of the voice of God, risks being reduced to a mirror of the self. In the same way, interior dialogue becomes a monologue that gives rise to many forms of self-justification."
Motor of the world
Benedict XVI continued: "Thus prayer is a guarantee of openness to others. Those who free themselves for God and his needs, open themselves to others, to the brothers and sisters who knock at the door of their hearts and ask to be heard, ask for attention, for forgiveness, and sometimes for correction, but always in fraternal charity.
"True prayer is never centered on the self but always focuses on others. [...] True prayer is the motor of the world, because it keeps us open to God. For this reason, without prayer there is no hope, only illusion.
"It is not, in fact, the presence of God that alienates man, but his absence. Without the true God, Father of the Lord Jesus Christ, hope turns into an illusion that induces us to evade reality."
The Pope also said that "fasting and almsgiving, harmoniously linked to prayer, may also be considered as 'places' in which to learn the exercise of Christian hope.
"Thanks to the joint action of prayer, fasting and almsgiving, Lent [...] forms Christians to be men and women of hope, following the example of the saints," he added.
On the subject of suffering, Benedict XVI recalled that Christ "suffered for truth and justice, bringing into the history of mankind the gospel of suffering, which is the other facet of the gospel of love. God cannot suffer, but he is able and wants to show 'com-passion.'"
"The greater the hope that animates us, the greater also is our capacity to suffer for the love of truth and goodness, joyfully offering up the small and great hardships of everyday life, and making them part of Christ's great 'com-passion,'" he said.
After recalling how the 150th anniversary of the apparitions of the Virgin Mary at Lourdes are currently being celebrated, the Pope concluded by inviting people "to meditate on the mystery of Mary's participation in the pains of humanity."
EXPLORE # 490 on Monday, February 11, 2008
Christ's College, University of Cambridge. The Fellows’ Bathing Pool. Dating from before 1688, it is said to be the country's oldest outdoor swimming pool (though the College next door -- Emmanuel -- will probably dispute this:-)
The Sainte-Chapelle (French pronunciation: [sɛ̃t ʃapɛl], Holy Chapel) is a royal chapel in the Gothic style, within the medieval Palais de la Cité, the residence of the Kings of France until the 14th century, on the Île de la Cité in the heart of Paris, France.
Begun some time after 1238 and consecrated on 26 April 1248, the Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. It was commissioned by King Louis IX of France to house his collection of Passion relics, including Christ's Crown of Thorns—one of the most important relics in medieval Christendom.
Along with the Conciergerie, the Sainte-Chapelle is one of the earliest surviving buildings of the Capetian royal palace on the Île de la Cité. Although damaged during the French Revolution, and restored in the 19th century, it has one of the most extensive 13th-century stained glass collections anywhere in the world.
en.wikipedia.org/wiki/Sainte-Chapelle
To be honest, I had never heard of this church, and I had been to Paris twice. It’s really stunning, fascinating.
The Sainte-Chapelle (French pronunciation: [sɛ̃t ʃapɛl], Holy Chapel) is a royal chapel in the Gothic style, within the medieval Palais de la Cité, the residence of the Kings of France until the 14th century, on the Île de la Cité in the River Seine in Paris, France.
Construction began sometime after 1238 and the chapel was consecrated on 26 April 1248. The Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. It was commissioned by King Louis IX of France to house his collection of Passion relics, including Christ's Crown of Thorns – one of the most important relics in medieval Christendom, later hosted in the nearby Notre-Dame Cathedral until the 2019 fire, which it survived.
Along with the Conciergerie, the Sainte-Chapelle is one of the earliest surviving buildings of the Capetian royal palace on the Île de la Cité. Although damaged during the French Revolution and restored in the 19th century, it has one of the most extensive 13th-century stained glass collections anywhere in the world.
Le titre de l'œuvre fait référence à la parabole du Christ adressée aux Pharisiens : « Laissez-les. Ce sont des aveugles qui guident des aveugles. Or, si un aveugle guide un aveugle, ils tomberont tous deux dans la fosse. » (Mt 15,14 ; Lc 6,39).
Conformément à la tradition médiévale, Bruegel choisit de représenter les aveugles comme des vagabonds vêtus de haillons et se livrant sans doute à la mendicité. La scène, subtil mélange de ridicule et d'effroi, rend l'inévitabilité de la chute par une gradation de la représentation. Tandis que le premier aveugle de cette étrange procession est déjà tombé, le second trébuche, le troisième va trébucher, le quatrième semble pressentir le danger et les deux derniers ne se doutent encore de rien. La gradation des postures physiques s'accompagne d'une gradation des sentiments, visible dans la physionomie des visages aux yeux caves. Dans cette œuvre tardive, l'émotion qui se dégage est moins due à une accumulation de détails horribles, comme dans Le Triomphe de la Mort, qu'au sentiment d'inévitable fatalité que la misère humaine engendre.
Ce tableau fit partie des œuvres conservées en Italie (à Naples) et spoliées par l'armée allemande pendant la Seconde Guerre mondiale, sous le couvert de leur protection par le principe établi du Kunstschutz. Elle a été restituée grâce aux actions menées pendant et après la guerre par Rodolfo Siviero.
Au musée du Louvre figure une copie exécutée par Pieter Bruegel le Jeune. La petite église de Sint-Anna-Pede, dont mention est déjà faite en 1259, est à l'arrière-plan de l'œuvre
The title of the work refers to Christ's parable to the Pharisees: "Leave them alone. They are blind people who guide the blind. But if a blind man guides a blind man, they will both fall into the pit. (Mt 15,14, Lk 6,39).
In accordance with medieval tradition, Bruegel chose to portray the blind as vagrants dressed in rags and no doubt begging for begging. The scene, subtle mixture of ridicule and fright, makes the inevitability of the fall by a gradation of representation. While the first blind man of this strange procession has already fallen, the second stumbles, the third stumbles, the fourth seems to sense the danger, and the last two still do not suspect anything. The gradation of the physical postures is accompanied by a gradation of the feelings, visible in the face of the faces with the cellar eyes. In this late work, the emotion that emerges is less due to an accumulation of horrible details, as in The Triumph of Death, than to the inevitable feeling of inevitability that human misery engenders.
This painting was part of the works kept in Italy (in Naples) and despoiled by the German army during the Second World War, under cover of their protection by the established principle of Kunstschutz. It was restored thanks to the actions carried out during and after the war by Rodolfo Siviero.
The Louvre Museum features a copy by Pieter Bruegel the Younger. The small church of Sint-Anna-Pede, whose mention is already made in 1259, is in the background of the work..