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"The Collégiale church, begun in 1185 and consecrated in 1276, is a graceful example of early Gothic. Stairs from Rue du Château bring you up to the east end of the church, with its three Norman apses. The main entrance (daily 8am–6pm), to the west, is crowned by a giant rose window of stained glass. Within the vaulted interior, the nave draws you along to the glowing transept, lit by a lantern tower, and the unique Cenotaph of the Counts of Neuchâtel on the north wall of the choir (shielded for renovations since 1997, and due for re-display in 2000). Begun in 1372, and the only artwork of its kind to survive north of the Alps, the monument comprises fifteen near-life-size painted statues of various knights and ladies from Neuchâtel’s past, framed by fifteenth-century arches and gables." (source: Wikipedia)
The Italian Renaissance church was consecrated in 1585 by Pope Sixtus V. The facade of the church was designed by Carlo Maderno and it was finished in 1570. Domenico Fontana constructed the double flight of stairs in 1587, under the guidance of Pope Sixtus V. The inscription explains that the Kings of France were instrumental in the construction of the church. The clock was added on the left tower in 1613.
The Obelisco Sallustiano (13.91 m), which stands in front of the church of Santissima Trinità dei Monti, arrived in Rome in the 3rd century. It is not known which emperor commissioned the obelisk, which sports a copy of the hieroglyphs on the Obelisco Flaminio, in Piazza del Popolo. It was erected in 1789, by order of Pope Pius VI (r. 1775-99), in front of the church of Santissima Trinità dei Monti.
There are three inscriptions on the base. The longer inscription, on the west face, reads: Pius VI, Pontifex Maximus, dedicated to the august Trinity the obelisk of Sallust, which, broken in its fall, a former age had abandoned prostrate, set atop the hill of the gardens in view of the streets below, and crowned with the victory trophy of the Cross.
The newly consecrated National Cathedral of the Romanian Orthodox Church, still under construction in Bucharest
Orthodox Patriarchs of Constantinople and Bucharest consecrate Cathedral
en.wikipedia.org/wiki/Romanian_People%27s_Salvation_Cathe...
The Cathedral was consecrated on 25 November 2018 by the Ecumenical Patriarch of Constantinople Bartholomew I, Patriarch Daniel of Romania and Metropolitan Chrysostomos (gr) of Patras from the Greek Orthodox Church.
High about the medieval town on the Eichberg recumbent ones, to holy Nicholas of Myra consecrated church is to be added to the brick Romanesque and is dated on the beginning of the 13th century, because on the one hand the place Mölln after the list of the Ratzeburger chapter still about 1194 to the parish belonged to Breitenfelde, is mentioned but then already in the Ratzeburger tenth register of 1230 even as a place with a church.
The church was built as a Late-Romanesque pillar basilica. Model for this church construction the basilica old brim might have been. The choral space was supposed around 1217 was ready when the bishop from Ratzeburg held here the first synod.
In the second half of the 15th century the church received important rebuildings: In 1470/71 the south ship was extended Gothic, grown in 1497 to the east to this the today's baptistry and the originally double-storied sacristy. On the north side of the nave a chapel consecrated to the holy Jobst was grown. In 1896 the church was radically redeveloped. Besides, the Jobstkapelle and the upper floor of the sacristy were torn off, partly because of dilapidation, partly to restore the basilikalen overall impression. The south ship received a new roof with three saddle roofs, and the painting was restored inside partly, was explained partly anew in the style of the new Gothic. Most neo-Gothic paintings were removed in 1959 again.
Massive 'opus caementicium' construction, originally completed 126 CE by Hadrian
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Building owes its survival to being consecrated as a church, Santa Maria della Rotonda
_DSC4451 Anx2 1400h Q90
Looking from near North Carlton towards the Grade I Listed Lincoln Cathedral, in Lincoln, Lincolnshire.
Building commenced in 1088 and continued in several phases throughout the medieval period. It was reputedly the tallest building in the world for 238 years (1311–1549) before the central spire collapsed in 1549 and was not rebuilt.
It is highly regarded by architectural scholars; the eminent Victorian writer John Ruskin declared: "I have always held... that the cathedral of Lincoln is out and out the most precious piece of architecture in the British Isles and roughly speaking worth any two other cathedrals we have."
Remigius de Fécamp, the first bishop of Lincoln, moved the Episcopal seat there between 1072 and 1092. Up until then St. Mary's Church in Stow was considered to be the "mother church" of Lincolnshire (although it was not a cathedral, because the seat of the diocese was at Dorchester Abbey in Dorchester-on-Thames, Oxfordshire).
Bishop Remigius built the first Lincoln Cathedral on the present site, finishing it in 1092 and then dying on 9 May of that year, two days before it was consecrated. In 1141, the timber roofing was destroyed in a fire. Bishop Alexander rebuilt and expanded the cathedral, but it was mostly destroyed by an earthquake about forty years later, in 1185. The earthquake was one of the largest felt in the UK. The damage to the cathedral is thought to have been very extensive.
After the earthquake, a new bishop was appointed. He was Hugh de Burgundy of Avalon, France, who became known as St Hugh of Lincoln. He began a massive rebuilding and expansion programme. Rebuilding began with the choir (St. Hugh's Choir) and the eastern transepts between 1192 and 1210. The central nave was then built in the Early English Gothic style.
The cathedral is the 3rd largest in Britain after St Paul's and York Minster, being 484 feet by 271 feet. Until 1549 the spire was reputedly the tallest medieval tower in Europe, though the exact height has been a matter of debate. Accompanying the cathedral's large bell, Great Tom of Lincoln, is a quarter-hour striking clock.
The two large stained glass rose windows, the matching Dean's Eye and Bishop's Eye, were added to the cathedral during the late Middle Ages. The former, the Dean's Eye in the north transept dates from the 1192 rebuild begun by St Hugh, finally being completed in 1235.
After the additions of the Dean's eye and other major Gothic additions it is believed some mistakes in the support of the tower occurred, for in 1237 the main tower collapsed. A new tower was soon started and in 1255 the Cathedral petitioned Henry III to allow them to take down part of the town wall to enlarge and expand the Cathedral, including the rebuilding of the central tower and spire.
In 1290 Eleanor of Castile died and King Edward I of England decided to honour her, his Queen Consort, with an elegant funeral procession. After her body had been embalmed, which in the 13th century involved evisceration, Eleanor's viscera were buried in Lincoln cathedral, and Edward placed a duplicate of the Westminster tomb there.
Information Source:
The cathedral was born from the ashes of two early Christian churches collapsed in 1117 due to an earthquake; completely rebuilt in the Romanesque style, and was consecrated September 13, 1187. The facade, Romanic, is tripartite, presents a gable and at the center is located a porch with a lower part in white and rose marbles, presents spiral columns supporting an arch, whose sides are carved plant motifs, hunting scenes and figures saints; the upper part of the vestibule is tuff and presents an arch surmounted by a gable and leaning on two griffins and eight columns. The portal is carved with images of prophets and animals; prothyrum the side on which stands the Campanile Michele Sanmicheli presents two orders of columns with capitals-decorated, bas-reliefs and the remains of the fourteenth century frescoes.
Началось все с небольшой церкви, которая располагалась точно на том месте, которое сейчас занимает церковь Святой Елены. Эта церквушка была построена в 4 веке и освящена Святым Зеноном – епископом Вероны в 362-380 гг. нашей эры. По прошествии нескольких лет стало очевидно, что церковь слишком мала для богослужений, что послужило причиной для возведения на ее месте более крупной и просторной базилики. В 7 веке новый собор был разрушен во время пожара или землетрясения. В архитектуре собора в его современном виде от этих двух первоначальных церквей сохранились красивые мозаичные полы. Новый собор на месте разрушенного был возведен длительное время спустя – лишь между 8 и 9 веками. Однако вновь возведенный собор повторил судьбу своего предшественника – очередное землетрясение в 1117 году серьезно повредило его, также, как и многие другие здания Вероны. Ремонт и реставрация здания заняли более 20 лет.
"The Collégiale church, begun in 1185 and consecrated in 1276, is a graceful example of early Gothic. Stairs from Rue du Château bring you up to the east end of the church, with its three Norman apses. The main entrance (daily 8am–6pm), to the west, is crowned by a giant rose window of stained glass. Within the vaulted interior, the nave draws you along to the glowing transept, lit by a lantern tower, and the unique Cenotaph of the Counts of Neuchâtel on the north wall of the choir (shielded for renovations since 1997, and due for re-display in 2000). Begun in 1372, and the only artwork of its kind to survive north of the Alps, the monument comprises fifteen near-life-size painted statues of various knights and ladies from Neuchâtel’s past, framed by fifteenth-century arches and gables." (source: Wikipedia)
Otranto Cathedral is a Roman Catholic cathedral in the Italian city of Otranto. The cathedral, consecrated in 1088, is a fascinating example of Romanesque, gothic architecture with Byzantine, and Baroque influences.
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All rights reserved. All images on this website are the property of Ricardo Gomez Angel. Images may not be reproduced, copied or used in any way without written permission.
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en.wikipedia.org/wiki/Norwegian_Church,_Cardiff
The Norwegian Church Arts Centre is a point of cultural and historical interest located in Cardiff Bay (Tiger Bay), Wales. It was a Lutheran Church, consecrated in 1868. Under the patronage of The Norwegian Seamen's Mission provided home comforts, communication with family and a place of worship for Scandinavian sailors and the Norwegian community in Cardiff for over a hundred years.
History
In the 19th century, Cardiff was one of Britain's three major ports, along with London and Liverpool. The Norwegian merchant fleet at the time was the third largest in the world, and Cardiff became one of the major centres of its operations.
Sjømannskirken – the Norwegian Church Abroad organisation, which is part of the Church of Norway – followed in its footsteps. Under Carl Herman Lund from Oslo, a Church was built in 1868 in Cardiff Bay between the East and West Docks on land donated by the John Crichton-Stuart, 3rd Marquess of Bute, to serve the religious needs of Norwegian sailors and expatriates.[1]
Consecrated in December 1868, the church was clad in iron sheets on the instruction of the harbourmaster, to allow it to be moved if necessary. However, the construction form allowed it to be extended many times:[1]
Known until this point as the Norwegian Iron Church, it now became known as the Little White Church, and became a welcome home point for sailors. Resultantly, and open to all sailors as a mission offering food and shelter, between 1867 and 1915 the number of visiting sailors to the church rose from 7,572 to 73,580 seamen per annum.[1]
Original Community
When the church was in its prime it had a lot of public activity; from the Nordic community settling in Cardiff and making roots there, to the Norwegian sailors using the place as a rest stop on their travels. The church had become a home away from home for the sailors during World War II as they weren't able to go back to Norway due to Nazi occupation. The church hosted many important family occasions, such as weddings and christenings, for the community as well as more educational projects like cookery classes.[2]
Decline
Even pre-World War I, coal exports from Cardiff were in decline. Post World War II, shipping trade had moved from Cardiff, and in 1959 the mission's work was discontinued. In the early 1960s, the Norwegian Seamen's Mission withdrew its patronage, and the last seaman's priest Per Konrad Hansen was withdrawn. The residual congregation and other Lutheran organisations funded its continued use by the resident expatriate Norwegian community. It was closed and de-consecrated in 1974.
Preservation
In light of developments in Cardiff Bay in the late 1980s, and the proposed building of new roads around Atlantic Wharf, the now derelict and vandalised church was threatened with total destruction.
The community formed the Norwegian Church Preservation Trust, to save the building in the redeveloped docks. In partnership with the Norwegian Support Committee in Bergen, the trust raised £250,000, enabling the church to be dismantled in 1987, preserved and stored pending reassembly. The remaining original features were rescued, including the pulpit, one side-window, the chandelier and the model-ship; all of which were returned to the church.
With the Wales Millennium Centre built on its original site, with land donated by Associated British Ports, in 1992 reconstruction on the current site was started. In April 1992, the church was re-opened by Princess Märtha Louise of Norway.[3]
Roald Dahl
The writer Roald Dahl, who was born in Cardiff to Norwegian parents, was baptised in the church, as were his sisters. The family worshipped in the church. Throughout his life Dahl had ties with the church and in the 1970s when the church first fell into a state of disrepair, Dahl was at the forefront of a campaign to raise money to save it.[4] This led to Dahl being appointed the first president of The Norwegian Church Preservation Trust after it was set up in 1987 by the church.[5]
A room in the church is named 'The Dahl Gallery', in memory of Dahl and to commemorate what he did for the church. In this room is;
A shield given to the church's pastor as a gift, as during WW2 the church was home to sailors who couldn't return to their homeland.
An anchor and oars in the shape of a cross. The oars are believed to be from a Norwegian sailing ship and the anchor is a gift to honour the church's maritime heritage.
As well as this honour, Dahl is also celebrated yearly in September, the month of his 1916 birth. In 2016 Cardiff Bay celebrated the centenary of Dahl's birth, with a project launched by The Norwegian Church.[6]
Present day
In 2006 the Norwegian Church Preservation Trust was transferred to Cardiff County Council, under the management of the Cardiff Harbour Authority.
The building is now used as an arts centre, and is known as the Norwegian Church Arts Centre. The centre includes a café and an art gallery. In May 2011 the church underwent a £500,000 refurbishment,[7] including a new outdoor terrace and a DDA compliant lift. The Greig room hosts a diversity of local arts and culture.[8]
Present community
The church has been refurbished, moved and opened in Cardiff Bay, and continues to receive a large number of visitors. Though no longer primarily a resting place and home for Norwegian sailors, it is still open to the public with a gallery and a small café for the remaining Norwegian community to relax and meet in. As the church has a strong link with Roald Dahl, every September the church honours him and his work. As well as this, the community in Cardiff and those involved with the church gather together every year for an annual celebration of Dahl's birthday and Christmas. In 2016 the Norwegian Church led Cardiff Bay's celebrations of the centenary of Dahl's birth.
Popular culture
A 2008 episode of the BBC Television drama series Torchwood, "To The Last Man", had some scenes shot outside the church.
First consecrated in 324, the Archbasilica of Saint John Lateran is one of four Papal Basilicas, and contains the Cathedra of the pope. It takes precedence over all other churches in Catholicism, even St Peter's in the Vatican. Massive four metre high statues of the Twelve Apostles line the nave.
St Mark's Basilica
Basilica di San Marco
The Patriarchal Cathedral Basilica of Saint Mark
Basilica Cattedrale Patriarcale di San Marco
Location: Venice, Italy
Denomination: Catholic Church
Consecrated: 8 October 1094
Titular saint: Mark the Evangelist
Designation: Cathedral (minor basilica)
1807–present
Episcopal see: Patriarchate of Venice
Prior status
Designation: Ducal chapel
c. 836–1797
Tutelage: Doge of Venice
Built: c. 829–c. 836
Rebuilt: c. 1063–1094
Styles: Byzantine, Romanesque, Gothic
en.wikipedia.org/wiki/St_Mark%27s_Basilica
www.basilicasanmarco.it/?lang=en
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music:
Old Roman chant - Qui habitat in adiutorio altissimi (Part II)
youtu.be/X5xoJfXT1LU?si=Tjj5luVnwdwjuoB_
~ Psalm 90 ~
Latin:
Qui habitat in adiutorio Altissimi, in protectione Dei caeli commorabitur. Dicet Domino: Susceptor meus es, et refugium meum, Deus meus: sperabo in eum. Quoniam ipse liberavit me de laqueo venantium, et a verbo aspero. Scapulis suis obumbrabit tibi, et sub pennis eius sperabis. Scuto circumdabit te veritas eius: non timebis a timore nocturno. A sagitta volante per diem, a negotio perambulante in tenebris, a ruina et daemonio meridiano. Cadent a latere tuo mille, et decem millia a dextris tuis: tibi autem non appropinquabit. Quoniam Angelis suis mandavit de te, ut custodiant te in omnibus viis tuis. In manibus portabunt te, ne unquam offendas ad lapidem pedem tuum. Super aspidem et basiliscum ambulabis, et conculcabis leonem et draconem. Quoniam in me speravit, liberabo eum: protegam eum, quoniam cognovit nomen meum. Invocabit me, et ego exaudiam eum: cum ipso sum in tribulatione. Eripiam eum, et glorificabo eum: longitudine dierum adimplebo eum, et ostendam illi salutare meum.
Greek:
Ο κατοικῶν ἐν βοηθείᾳ τοῦ ῾Υψίστου, ἐν σκέπῃ τοῦ Θεοῦ τοῦ οὐρανοῦ αὐλισθήσεται. Ερεῖ τῷ Κυρίῳ· αντιλήπτωρ μου εἶ καὶ καταφυγή μου, ὁ Θεός μου, καὶ ἐλπιῶ ἐπ᾿ αὐτόν, ὅτι αὐτὸς ρύσεταί σε ἐκ παγίδος θηρευτῶν καὶ απὸ λόγου ταραχώδους. Εν τοῖς μεταφρένοις αὐτοῦ ἐπισκιάσει σοι,καὶ ὑπὸ τὰς πτέρυγας αὐτοῦ ἐλπιεῖς· ὅπλῳ κυκλώσει σε ἡ αλήθεια αὐτοῦ. Οὐ φοβηθήσῃ απὸ φόβου νυκτερινοῦ, απὸ βέλους πετομένου ἡμέρας, απὸ πράγματος ἐν σκότει διαπορευομένου, απὸ συμπτώματος καὶ δαιμονίου μεσημβρινοῦ. Πεσεῖται ἐκ τοῦ κλίτους σου χιλιὰς καὶ μυριὰς ἐκ δεξιῶν σου, πρὸς σὲ δὲ οὐκ ἐγγιεῖ· πλὴν τοῖς ὀφθαλμοῖς σου κατανοήσεις καὶ ανταπόδοσιν ἁμαρτωλῶν ὄψει. Ότι σύ, Κύριε, ἡ ἐλπίς μου· τὸν ῞Υψιστον ἔθου καταφυγήν σου. Οὐ προσελεύσεται πρὸς σὲ κακά, καὶ μάστιξ οὐκ ἐγγιεῖ ἐν τῷ σκηνώματί σου. Ότι τοῖς αγγέλοις αὐτοῦ ἐντελεῖται περὶ σοῦ τοῦ διαφυλάξαι σε ἐν πάσαις ταῖς ὁδοῖς σου· ἐπὶ χειρῶν άροῦσί σε, μήποτε προσκόψῃς πρὸς λίθον τὸν πόδα σου· επὶ ασπίδα καὶ βασιλίσκον ἐπιβήσῃ καὶ καταπατήσεις λέοντα καὶ δράκοντα. Ότι ἐπ᾿ ἐμὲ ἤλπισε, καὶ ρύσομαι αὐτόν· σκεπάσω αὐτόν, ὅτι ἔγνω τὸ ὄνομά μου. Κεκράξεται πρός με, καὶ ἐπακούσομαι αὐτοῦ, μετ᾿ αὐτοῦ εἰμι ἐν θλίψει· ἐξελοῦμαι αὐτόν, καὶ δοξάσω αὐτόν. Μακρότητα ἡμερῶν ἐμπλήσω αὐτὸν καὶ δείξω αὐτῷ τὸ σωτήριόν μου.
English:
He that dwells in the help of the Highest, shall sojourn under the shelter of the God of heaven. He shall say to the Lord, Thou art my helper and my refuge: my God; I will hope in him. For he shall deliver thee from the snare of the hunters, from [every] troublesome matter. He shall overshadow thee with his shoulders, and thou shalt trust under his wings: his truth shall cover thee with a shield. Thou shalt not be afraid of terror by night; nor of the arrow flying by day; [nor] of the [evil] thing that walks in darkness; [nor] of calamity, and the evil spirit at noon-day. A thousand shall fall at thy side, and ten thousand at thy right hand; but it shall not come nigh thee. Only with thine eyes shalt thou observe and see the reward of sinners. For thou, O Lord, art my hope: thou, my soul, hast made the Most High thy refuge. No evils shall come upon thee, and no scourge shall draw night to the dwelling. For he shall give his angels charge concerning thee, to keep thee in all thy ways. They shall bear thee up on their hands, lest at any time thou dash thy foot against a stone. Thou shalt tread on the asp and basilisk: and thou shalt trample on the lion and dragon. For he has hoped in me, and I will deliver him: I will protect him, because he has known my name. He shall call upon me, and I will hearken to him: I am with him in affliction; and I will deliver him, and glorify him. I will satisfy him with length of days, and shew him my salvation.
St Marks Anglican Church.
Erected in 1878 the original St Mark's Anglican Church building is today used as the parish hall which is today located at the rear of the current St Mark's church building.
The present St Mark Evangelist Anglican Church building was consecrated by Dr Cambridge, Bishop of Bathurst on 24/11/1909.
St Mark Evangelist Anglican Church Millthorpe, New South Wales, Anglican Church building was consecrated by Dr Cambridge, Bishop of Bathurst on 24/11/1909.
St Mark Evangelist Anglican Church Millthorpe, New South Wales, Australia.
Preparing to consecrate the butter lamps, an offering of light, always seeking the benefit of others. Photo taken at Chagdud Gonpa Ped Gyal Ling, founded by the late Chagdud Tulku Rinpoche ( 1930 ~ 2002 )
The Temple of Hatshepsut arose as a necropolis, consecrated to the goddess Hathor in the eleventh dynasty (2120 - 1991 BC). It was then abandoned until queen Hatshepsut took it over some five hundred years later. After the abandonment (again), it was for a period turned into a monastery, whose existence there is the reason for its being so well preserved, has given it its present Arabic name, Deir el-Bahri.
The temple is built into the rock itself, and consists of three terraces. It was created by the famous architect Senmut. Queen Hatshepsut is best known as the only woman who actually reigned as a pharaoh - probably to her son's annoyance. Hatshepsut took over the rule of Egypt when her husband, Thutmosis II, died. Thutmosis II was incidentally both her husband and half-brother.
When her son, Thutmosis III, came of age, she was so unhappy about handing over the power to him that she, together with the priests, figured out a way to avoid it. This way included wearing male clothes, as well as the false beard made of wood and leather worn by all pharaohs.
On November 17, 1997, Islamist militants massacred 60 foreign tourists and four Egyptians on the West Bank outside the Temple of Hatshepsut; police killed the six assailants. The attack is believed to have been financed by Saudi terrorist Osama bin Laden. Deir el-Bahri, Egypt
The Chesme Church (Russian: Чесменская церковь; full name Church of Saint John the Baptist at Chesme Palace, Russian: це́рковь Рождества́ Иоа́нна Предте́чи при Че́сменском Дворце́), also called the Church of the Nativity of St. John the Baptist, is a small Russian Orthodox church at 12 Lensoveta Street, in Saint Petersburg, Russia. It was built by the Russian court architect Yury Felten in 1780, at the direction of Catherine the Great, Empress of Russia. A memorial church, it was erected adjacent to the Chesme Palace between Saint Petersburg and Tsarskoye Selo to commemorate the anniversary of Russia's 1770 victory over Turkish forces in Chesme Bay (Turkish: Çeşme) in the Aegean Sea during the Russo-Turkish War of 1768–1774.
The church and Chesme Palace were the earliest Neo-Gothic constructions in the St Petersburg area. Considered by some to be St Petersburg's single most impressive church, it is a rare example of very early Gothic Revival influence in Russian church architecture.
Etymology
The church was named "The Church of the Birth of St. John the Baptist" as it was consecrated on the birthday of John the Baptist. As it was built to honour the Battle of Chesma which the Russians won in 1770, the church is also popularly known as the "Chesme Church."
Geography
The church is located in Red Village, which was a country estate of the Sergey Poltoratski family, friends of Alexander Pushkin. It is situated in an area that was known as Kekerekeksinen (Finnish: frog swamp) which is now in a housing area known as Moskovsky Prospekt, approximately halfway between Park Pobedy and the Moskovskaya metro station. While the church was built at a very ordinary location in 1770, over the centuries, it become part of the city of Saint Petersburg. Located between St. Petersburg and the Summer Palace in Tsarskoye Selo, it served as a traveler's resting place.
History
In 1777, King Gustav III of Sweden attended the laying of the church's foundation. The church was built between 1777 and 1780. It is a memorial church to honour the 1770 Russian victory at the Battle of Chesme. Empress Catherine II chose the site as it was here that she got the news of the Russian victory over the Turks. Joseph II, Holy Roman Emperor was present at the church's consecration.
The knights of the Order of St. George were also in possession of the church at some point when it was given the third name, "St. George’s Church."
The church and the Chesme Palace became a labour camp when the Soviet government occupied it. In 1923, the church was closed and used as a storehouse. Between 1941 and 1945, the church suffered damages during the "Great Patriotic War". During the Second World War, the Institute of Aviation Technology took possession of the Church and the Chesme Palace. During 1970–75, it was fully restored under the supervision of the architects M.I. Tolstov and A.P. Kulikov. In 1977, the church became a museum of the Battle of Chesme (with artifacts from the Central Naval Museum). Religious control was restored to the Russian Orthodox Church in 1991, and regular church services have been held at the church since then.
Architecture
The church, built in Gothic Revival style faces southwest. Painted pink and white, the church appears like a "candy cone, with long, vertical white stripes (embossed vertical string cornices drawn together with figured horizontal fascias) giving the impression that it’s rising straight up from the earth like a mirage and shooting upwards." The church was built by Yury Felten who was the court architect to Catherine the Great.
The inspiration for adopting the pseudo-Gothic style of architecture was a symbol of "the exoticism of the Turkish architecture but also reflected the Anglomania that significantly influenced the design of Catherine’s palaces and the parks surrounding them". While the Chesme Palace was built on these lines, the Church of John the Baptist was also built in a similar style. This style introduced during Catherine's time came in vogue in Russia in the subsequent centuries as well. It is also said that the choice of the Gothic Revival architecture style was indicative of "triumph for ancient northern virtues in the spirit of the crusaders."
The church was built with brick and white stone. It has a "quatrefoil" layout in the form of four semi cylinders with barrel vaults. Filials, spires and lancet windows were built over it, and the edifice emerged as a fusion of Gothic and neo-Gothic motifs. The quatrefoil design was common in the late 17th century in many private estate churches and the style was known as the “Moscow baroque”. During the 18th century, its adoption during Catherine's reign was considered an experimentation reflecting "the increasing secularization of the upper nobility. The entrance to the church has a neo-Gothic Rose window and a round window above it. The entrance portal has sculptures of angels. The main tower and four small towers have small domes, which are replacements of the traditional onion domes commonly seen in Russia. The cross that was fixed on the central turret originally was substituted with the Russian proletariat symbol of toil in the form of a hammer, tongs and anvil. The walls are striped and crenellated. The impressive relief design on the top of the walls is also in the form of crenellated parapet with pinnacles. There is also a 100 kilograms (220 lb) bell in one of the towers. The interior, which originally had Italian icons, was destroyed in a fire in 1930. However, it was restored when the church was refurbished.Inside the church, there are many iconic paintings and one particular painting of interest is that of Christ’s arrival in Nazareth.When it was a naval museum, there was a vivid painting, in rich colours, depicting the sea battle and Russian victory over the Turks, in place of the “Christ the saviour in the iconostasis-less altar apse”. Nothing remains of the original interiors.
The exterior views of the church are impressive. The lanterns on the roof are stated to be similar to those seen on the Gothic temple at Stowe House.
The church precincts have been used as a reliquary for war heroes since the time of its consecration and during the Siege of Leningrad. The cemetery is known as the "Chesmenskoe War Veterans' Cemetery", and contains unnamed graves dated 1812-1944 of those who died in Russian wars.
Notable people
The coffin of Rasputin rested in Chesme Church before his burial at Tsarskoye Selo in 1916.
Aya Sofya was commissioned by the Byzantine Emperor Justinian and consecrated as a Church in 537, converted to a Mosque by Mehmet the Conqueror in 1453 and declared a Museum by Ataturk in 1935. It has always struck me that Ataturk's solution to it being revered by Christians and Moslems was a great one and perhaps other places in the world should follow this example. It has had many names; Hagia Sophia in Greek, Sancta Sophia in Latin, The Church of the Divine Wisdom in English, it is Aya Sofya to the Turks. It's dome, at 30m across and 56 m high, was the largest of its kind for many centuries and there are unbelievable quantities of gold leaf here. Istanbul, Turkey.
I remember the venerable Mr. Jay, when preaching, reaching out his hand to an old man who sat just as some of you are sitting there, and saying, “I wonder whether those gray hairs are a crown of glory or a fool’s cap. They are one or the other.” For a man to be unconverted at the age to which some of you have attained is indeed to have a fool’s cap made of gray hairs. But if you have a heart consecrated to Christ, you have a crown of glory upon your brow.
C. H. Spurgeon, 2,200 Quotations: From the Writings of Charles H. Spurgeon : Arranged Topically or Textually and Indexed by Subject, Scripture, and People (ed. Tom Carter; Grand Rapids, MI: Baker Books, 1995), 11.
- was consecrated on September 21st of 1723.
- Napoleonic army plundered the church in 1805 and 1809
- survived bombings during the two World Wars
- has had a three-centuries long pilgrimage tradition each 2nd July which is the day of the Virgin Mary
- was consecrated on September 21st of 1723.
- Napoleonic army plundered the church in 1805 and 1809
- survived bombings during the two World Wars
- has had a three-centuries long pilgrimage tradition each 2nd July which is the day of the Virgin Mary
The Basilica of Our Lady of Scherpenheuvel (Dutch: Basiliek van Onze-Lieve-Vrouw van Scherpenheuvel, French: Basilique de Notre Dame de Montaigu) is a Roman Catholic parish church and minor basilica in Scherpenheuvel-Zichem, Belgium. The church was consecrated in 1627 and raised to the status of a minor basilica in 1922. It is reputedly the most frequently visited shrine of pilgrimage in Belgium. While the cult on the Scherpenheuvel (or Sharp Hill) is older, its present architectural layout and its enduring importance are due to the patronage of the Archdukes Albert and Isabella and the Counter-Reformation.
For many years the Marian cult on the Scherpenheuvel centered on a small statue of the Virgin Mary that hung in an oak tree on top of the hill. According to the foundation legend a shepherd noticed that the image had fallen to the ground and decided to take it home. When he had lifted it, he discovered he was unable to move. As the herd did not return in the evening, his master got worried and went to look for the shepherd. Only by restoring the statue to its original place in the oak tree could the master release the shepherd, thereby discovering the spiritual importance of the site. The veracity of this story is impossible to ascertain. It is however clear that the inhabitants of the nearby town of Zichem would frequent the site in the second half of the sixteenth century whenever a member of the family suffered from illness. They would traditionally walk round the tree three times while praying.
Zichem was part of the barony of Diest, a possession of the House of Orange-Nassau. In the course of the Dutch Revolt the barony changed hands several times. While occupied by forces of the United Provinces between 1580 and 1583, the statue was removed in an act of iconoclasm. After the town was retaken by Alexander Farnese, the parishioners of Zichem restored the cult in 1587. It was later claimed that they did so after discovering the original statue and returning it to the tree. From then on the cult of Our Lady of Scherpenheuvel began to expand. Soldiers and almoners of the Army of Flanders that were stationed in nearby Diest or Zichem helped to spread its reputation.
After an official enquiry, Mathias Hovius, Archbishop of Mechelen, approved the cult of Scherpenheuvel in 1604. The approval was accompanied by the publication of a collection of miracles ascribed to the intercession of the Virgin of Scherpenheuvel in Dutch, French and Spanish. An English translation followed in 1606. Philip Numan, who had authored the collection, produced two more editions (1605 and 1606) as well as three more collections (1613–1614, 1617 and 1617–1618) in short succession. Latin versions were published by the famous humanists Justus Lipsius (1605) and Erycius Puteanus (1622). Lesser authors would produce continuations up to 1706. According to these publications, close to 700 miracles were credited to the intercession of Our Lady of Scherpenheuvel in the course of the seventeenth century. The Latin collections in particular caused a lot of controversy among theologians, with Calvinist authors ridiculing the whole idea of miraculous intercession by saints.
Meanwhile, it had been decided in 1602 to remove the statue from the oak tree and house it in a small wooden chapel nearby. Within the year the chapel proved too small and was replaced by a modest stone edifice. Its foundation stone was laid on 13 July 1603 by Count Frederik van den Bergh on behalf of the Archdukes Albert and Isabella. From that point on the Archdukes showed great interest in the development of the shrine. Attributing the recent relief of the besieged town of 's-Hertogenbosch to the intercession of the Virgin, Albert and Isabella made their first pilgrimage to Scherpenheuvel on 20 November 1603. It would soon become a yearly pilgrimage that took place in May or June and lasted the nine days of a novena.
Under the patronage of the Archdukes, the emerging shrine was raised to the status of a town in 1605 and of an independent parish in 1610. Their support helped to ensure the grant of a papal indulgence on 16 September 1606, the feast of Our Lady of Sorrows. In the previous summer the stone chapel was surrounded by a closed garden or Hortus Conclusus in the shape of a heptagon. Shortly after reaching a cease-fire with the United Provinces, Albert and Isabella announced on 28 April 1607 that they would build a vast church and surround it with a planned and fortified town. The foundation stone of the third and present church was laid by them in person on 2 July 1609, the feast of the Visitation.
With the bell tower left unfinished, the church was dedicated by Archbishop Jacobus Boonen in June 1627. In order to ensure that a sufficient number of priests would be available to meet the needs of the ever growing number of pilgrims, the shrine was handed over to the Oratorians. They built a convent behind the church and connected the two buildings with a long corridor. The Oratorians took care of the sanctuary until the French Republic annexed the Austrian Netherlands and dissolved all monasteries. The church then returned to the status of a parish church.
Consecrated in 1521 and a UNESCO World Heritage Site. The intended design with matching tall towers was never completed.
October 1993
Rollei 35 camera
Kodak Ektachrome 100 film.
Consecrated in 1880, Saint Augustine's was called the "Cathedral of North London" due to its immense size and very tall Spire
Consecrated in April 1873. Since 1993 has only held one service a year in late August or early September.
The Basilica of the Sacred Heart of Paris, commonly known as Sacre-Coeur Basilica, is a Roman Catholic church and minor basilica, dedicated to the Sacred Heart of Jesus, in Paris, France. A popular landmark, the basilica is located at the summit of the butte Montmartre, the highest point in the city. Sacre-Coeur is a double monument, political and cultural, both a national penance for the defeat of France in the 1871 Franco-Prussian War and the socialist Paris Commune of 1871 crowning its most rebellious neighborhood, and an embodiment of conservative moral order, publicly dedicated to the Sacred Heart of Jesus, which was an increasingly popular vision of a loving and sympathetic Christ.
The Sacre-Coeur Basilica was designed by Paul Abadie. Construction began in 1875 and was finished in 1914. It was consecrated after the end of World War I in 1919.
Consecrated in 1108 this relatively small cathedral has suffered from various architectural disasters. In 1187 an extensive fire resulted in a substantial rebuilding programme and the refacing of the nave.
The west-front towers at Chichester have had a particularly unfortunate history because of subsidence, which explains the positioning of a unique 15th century bell tower at some distance from the cathedral. The south-west tower of the façade collapsed in 1210 and was rebuilt. The north-west tower collapsed in 1635 and was not rebuilt until 1901. The masonry spire was built in the 14th century and was repaired in the 17th century by Christopher Wren, but it too collapsed in February 1861. Luckily it telescoped in on itself and did little damage to the rest of the cathedral (although an early photograph of the debris is on the cathedral's Wikipedia page and it looks devastating.) It was rebuilt to the original plans, albeit six feet higher, by George Gilbert Scott (who else, that man never slept!)
Memorial chapel to airmen lost whilst flying from Biggin Hill in WWII. Consecrated 1951, architect W Wylton Todd ARIBA. Red brickwork in Flemish bond, clay Roman tile roof on steel trusses.
PLAN: A wide unaisled nave with sanctuary entered through a slightly narrower ante-room or narthex, both these gabled, the nave at a higher level. To the right (S) is an attached oblong campanile over the small entrance lobby, and beyond this is a flat-roofed sacristy. On the opposite (N) side a flat roofed set back link, formerly vestry, and a large gabled chapel, of later build.
EXTERIOR: The whole building is neatly detailed in brick with tiles, sills and with a continuous brick offset plinth. The W end, facing the road, is gabled, with a tall casement under a half-brick arch with tympanum in herring-bone brick, all set to a recessed blind arched panel, with a tile sill across the bottom. Roof tiles are brought to a close-cut eaves, carried out to flush moulded stone kneelers. Below the main panel is a panel set flush, and inscribed: 'This stone was laid on 25th July 1951 by Air Chief Marshal Lord Dowding GCB GCVO CMG'. The returns each side have two tall casements, detailed as for the nave. The tower is in plain brickwork, with a set-back top stage, containing to each face a louvred opening, rectangular to the sides, and arched to front and rear, the ridge of the gabled roof parallel with the main roof. The W face has an open clock face; the main entrance is an arched opening in three recessed orders to a pair of framed diagonally boarded doors. To the right of the tower is the flat-roofed vestry, with triple steel casements to brick piers on the W and S sides. Left of the main gable is a similar flat-roofed unit, including triple light and arched doorway, now acting as a corridor link to the later chapel. The nave is a plain gabled rectangle with 5 tall oblong steel casements each side, and the blank E end, with verge and kneelers as to the W, and with a broad recessed blind panel to tiled sill. The large chapel to the N is detailed in a more complex way; to the W is an arched doorway in recessed brick orders to half brick voussoirs and a pair of diagonally boarded doors, within a recessed panel including splayed jambs, taken to elaborate kneelers and eaves in three brick-on-edge courses. In the gable is an oculus with double half-brick voussoirs. The returned side has blank recessed panels with a small vertical light. The E end has a sunk panel with elaborate quoins and to a weathered plinth, and a complex 'frieze' with prominent lead dressings.
INTERIOR: The ante-room or narthex has a plain parquet floor, unpainted walls in three bays with internal brick piers, and a fibre-boarded ceiling. This links through wide doors to the 6-bay nave, also in unpainted brick with internal piers, the floor in square laminated wood blocks, made from aircraft propellers, and with a near-flat ceiling in three facets. At the E end, in the simple sanctuary, is a broad memorial record panel; Squadron losses include Polish, East Indies, French, Dutch, RCAF and RZNA names.
FITTINGS: In addition to the memorial reredos, there is a fine lectern, a stainless steel font with Y-shaped base, and simple benches. Windows each side of the nave all contain memorial stained glass.
HISTORY: This is an elegant little building, a simple and relatively austere version of a Lombardic Early Christian church, that stands as a memorial to those who lost their lives serving from Biggin Hill.
Following the destruction by fire of a memorial chapel (converted from a hut in 1943 and dedicated to St George) in 1946, and consideration of whether to convert the bomb-damaged operations room into a chapel, architects from the Air Ministry Works Directorate (A Beasley, WS Harper and GA Williams) were commissioned to design a simple building in brick and tile, funded through a public appeal for (in Churchill's words) 'a permanent shrine of remembrance') backed by Churchill himself as well as friends and relatives of aircrew who had died in action. The chapel was constructed on the site of one of the hangars destroyed in 1940: Lord Dowding laid the foundation stone in July 1951, and it was opened and dedicated on 10 November 1951. Hugh Easton, the designer of the RAF Memorial Window in Westminster Abbey, designed twelve stained glass windows for the chapel, each with the winged spirit of a young pilot embracing in his arms a badge. The west window was installed in 1981 and four other windows in St George's Room installed by Goddard and Gibbs in 1985 to commemmorate the role of ground support. The memorial tablet records the names of airmen lost from Biggin Hill, and illustrates the large number of nations whose pilots used the base.
Biggin Hill acquired a reputation as the most famous fighter station in the world, primarily through its associations with the Battle of Britain, the first time in history that a nation had retained its freedom and independence through air power. It was developed as a key fighter station in the inter-war period, playing a critical role in the development of the air defence system - based on radar - that played a critical role in the Second World War. Of all the sites which became involved in The Battle of Britain, none have greater resonance in the popular imagination than those of the sector airfields within these Groups which bore the brunt of the Luftwaffe onslaught and, in Churchill's words, 'on whose organisation and combination the whole fighting power of our Air Force at this moment depended'. It was 11 Group, commanded by Air Vice Marshall Keith Park from his underground headquarters at RAF Uxbridge, which occupied the front line in this battle, with its 'nerve centre' sector stations at Northolt, North Weald, Biggin Hill, Tangmere, Debden and Hornchurch taking some of the most sustained attacks of the battle, especially between 24 August and 6 September when these airfields and later aircraft factories became the Luftwaffe's prime targets.
For further details of the history of the site, see description for Station Headquarters.
This List entry has been amended to add sources for War Memorials Online and the War Memorials Register. These sources were not used in the compilation of this List entry but are added here as a guide for further reading, 16 June 2017.
Consecrated in 1187, the Duomo is a mix of architectural styles: Romanesque in its lower parts, developing into Gothic as it goes up.
Want to see this photograph on your wall? Get in touch via peter@peterhill.au or at peterhill.au/contact/
The cathedral in Pienza, Tuscany, was consecrated by local-borne Pope Pius II in 1462. I spent a number of hours inside over several days in awe of its style and enormity. Flash photography was not allowed, nor were tripods, so this is handheld, using available light. Canon EOS 5D Mark II, Canon TS-E 24, f3.5L, ISO 800, f5 at 1/40 second.
St. Stephen's Cathedral (more commonly known by its German title: Stephansdom) is the mother church of the Roman Catholic Archdiocese of Vienna and the seat of the Archbishop of Vienna, Christoph Cardinal Schönborn, OP. The current Romanesque and Gothic form of the cathedral, seen today in the Stephansplatz, was largely initiated by Duke Rudolf IV (1339–1365) and stands on the ruins of two earlier churches, the first a parish church consecrated in 1147. The most important religious building in Vienna, St. Stephen's Cathedral has borne witness to many important events in Habsburg and Austrian history and has, with its multi-coloured tile roof, become one of the city's most recognizable symbols. en.wikipedia.org/wiki/St._Stephen%27s_Cathedral,_Vienna
- was consecrated on September 21st of 1723.
- Napoleonic army plundered the church in 1805 and 1809
- survived bombings during the two World Wars
- has had a three-centuries long pilgrimage tradition each 2nd July which is the day of the Virgin Mary
The little church of San Nicolas in Yaxunah (Yaxuná), Yucatan was consecrated in 1817 and suffered significant damage during the Caste War (1847-1901). According to Alexander in “Yaxcabá and the Caste War of Yucatan”, “both the Maya rebels and the Spanish-Creole militia repeatedly attacked and pillaged villages such as Yaxuná. The parish of Yaxcabá, to which both Yaxuná and Cetelac belonged, would suffer in the words of one historian, ‘almost Biblical destruction during the Caste War’ (Rugeley, 1997, p. 5).” As with many of these heavily damaged churches, despite the lack of roof, floor, pews or sometimes sections of walls, they are still used.
One of the goals on my trip to Mexico was to photograph churches damaged during the Caste War. The Caste War (1847-1901) was an over 50-year Mayan revolt in the Yucatan in which cities and churches on the frontier, such as Yaxunah, suffered what can only be described as devastation. By some estimates, one half of the population of these areas perished during the war from starvation, disease and casualties. Cities were taken and then retaken (and burned and devastated) by both sides.
If you'd like, take a look at more of my images from Mexico
The newly consecrated National Cathedral of the Romanian Orthodox Church, still under construction in Bucharest
Orthodox Patriarchs of Constantinople and Bucharest consecrate Cathedral
en.wikipedia.org/wiki/Romanian_People%27s_Salvation_Cathe...
The Cathedral was consecrated on 25 November 2018 by the Ecumenical Patriarch of Constantinople Bartholomew I, Patriarch Daniel of Romania and Metropolitan Chrysostomos (gr) of Patras from the Greek Orthodox Church.
The Basílica i Temple Expiatori de la Sagrada Família -
(English: Basilica and Expiatory Church of the Holy Family), is a large Roman Catholic church in Barcelona, Catalonia (Spain), designed by Catalan architect Antoni Gaudí (1852–1926). Although incomplete, the church is a UNESCO World Heritage Site, and in November 2010 Pope Benedict XVI consecrated and proclaimed it a minor basilica, as distinct from a cathedral which must be the seat of a bishop.
Construction of Sagrada Família had commenced in 1882 and Gaudí became involved in 1883, taking over the project and transforming it with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted his last years to the project, and at the time of his death at age 73 in 1926 less than a quarter of the project was complete. Sagrada Família's construction progressed slowly, as it relied on private donations and was interrupted by the Spanish Civil War, only to resume intermittent progress in the 1950s. Construction passed the midpoint in 2010 with some of the project's greatest challenges remaining and an anticipated completion date of 2026, the centenary of Gaudí's death.
The basílica has a long history of dividing the citizens of Barcelona: over the initial possibility it might compete with Barcelona's cathedral, over Gaudí's design itself, over the possibility that work after Gaudí's death disregarded his design, and the recent proposal to build an underground tunnel of Spain's high-speed rail link to France which could disturb its stability. Describing Sagrada Família, art critic Rainer Zerbst said, "It is probably impossible to find a church building anything like it in the entire history of art" and Paul Goldberger called it, "The most extraordinary personal interpretation of Gothic architecture since the Middle Ages."
The church shares its site with the Sagrada Família Schools building, a school originally designed by Gaudí in 1909 for the children of the construction workers. Relocated in 2002 from the eastern corner of the site to the southern corner, the building now houses an exhibition.
The Basilica of the Sagrada Família was the inspiration of a bookseller, Josep Maria Bocabella, founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by that at Loreto.
Antoni Gaudí began work on the church in 1883 but was not appointed Architect Director until 1884.
On the subject of the extremely long construction period, Gaudí is said to have remarked: "My client is not in a hurry." When Gaudí died in 1926, the basilica was between 15 and 25 percent complete. After Gaudí's death, work continued under the direction of Domènec Sugrañes i Gras until interrupted by the Spanish Civil War in 1936. Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war by Catalan anarchists. The present design is based on reconstructed versions of the plans that were burned in a fire as well as on modern adaptations. Since 1940 the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Gari and Francesc Cardoner have carried on the work. The illumination was designed by Carles Buigas. The current director and son of Lluís Bonet, Jordi Bonet i Armengol, has been introducing computers into the design and construction process since the 1980s. Mark Burry of New Zealand serves as Executive Architect and Researcher. Sculptures by J. Busquets, Etsuro Sotoo and the controversial Josep Subirachs decorate the fantastical façades.
The central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. As of 2006, work concentrated on the crossing and supporting structure for the main tower of Jesus Christ as well as the southern enclosure of the central nave, which will become the Glory façade.
One projection anticipates construction completion around 2026, the centennial of Gaudí's death—while the project's information leaflet estimates a completion date in 2028, accelerated by additional funding from visitors to Barcelona following the 1992 Barcelona Olympics.
Computer-aided design technology has been used to accelerate construction of the building, which had previously been expected to last for several hundred years, based on building techniques available in the early 20th century.[citation needed] Current technology allows stone to be shaped off-site by a CNC milling machine, whereas in the 20th century, the stone was carved by hand.
In 2008, some renowned Catalan architects advocated a halt to construction,[18] to respect Gaudí's original designs, which, although they were not exhaustive and were partially destroyed, have been partially reconstructed in recent years.
A 2010 exhibition, Gaudí Unseen, Completing La Sagrada Família at the German Architecture Museum, Frankfurt am Main, describes the current construction methods and future plans for the Sagrada Família.
The Church will have three grand façades: the Nativity façade to the East, the Passion façade to the West, and the Glory façade to the South (yet to be completed). The Nativity Façade was built before work was interrupted in 1935 and bears the most direct Gaudí influence. The Passion façade was built after the project which Gaudi planned in 1917. The construction was begun in 1954, and the towers, built over the elliptical plan, were finished in 1976. It is especially striking for its spare, gaunt, tormented characters, including emaciated figures of Christ being scourged at the pillar; and Christ on the Cross. These controversial designs are the work of Josep Maria Subirachs. The Glory façade, on which construction began in 2002, will be the largest and most monumental of the three and will represent one's ascension to God. It will also depict various scenes such as Hell, Purgatory, and will include elements such as the Seven Deadly Sins and the Seven Heavenly Virtues.
Constructed between 1894 and 1930, the Nativity façade was the first façade to be completed. Dedicated to the birth of Jesus, it is decorated with scenes reminiscent of elements of life. Characteristic of Gaudí's naturalistic style, the sculptures are ornately arranged and decorated with scenes and images from nature, each a symbol in their own manner. For instance, the three porticos are separated by two large columns, and at the base of each lies a turtle or a tortoise (one to represent the land and the other the sea; each are symbols of time as something set in stone and unchangeable). In contrast to the figures of turtles and their symbolism, two chameleons can be found at either side of the façade, and are symbolic of change.
The façade faces the rising sun to the northeast, a symbol for the birth of Christ. It is divided into three porticos, each of which represents a theological virtue (Hope, Faith and Charity). The Tree of Life rises above the door of Jesus in the portico of Charity. Four towers complete the façade and are each dedicated to a Saint (Matthias the Apostle, Saint Barnabas, Jude the Apostle, and Simon the Zealot).
Originally, Gaudí intended for this façade to be polychromed, for each archivolt to be painted with a wide array of colours. He wanted every statue and figure to be painted. In this way the figures of humans would appear as much alive as the figures of plants and animals.
Gaudí chose this façade to embody the structure and decoration of the whole church. He was well aware that he would not finish the church and that he would need to set an artistic and architectural example for others to follow. He also chose for this façade to be the first on which to begin construction and for it to be, in his opinion, the most attractive and accessible to the public. He believed that if he had begun construction with the Passion Façade, one that would be hard and bare (as if made of bones), before the Nativity Façade, people would have withdrawn at the sight of it. Some of the statues were destroyed in 1936, and subsequently were reconstructed by the sculptor Sotoo.
In contrast to the highly decorated Nativity Façade, the Passion Façade is austere, plain and simple, with ample bare stone, and is carved with harsh straight lines to resemble the bones of a skeleton. Dedicated to the Passion of Christ, the suffering of Jesus during his crucifixion, the façade was intended to portray the sins of man. Construction began in 1954, following the drawings and instructions left by Gaudí for future architects and sculptors. The towers were completed in 1976, and in 1987 a team of sculptors, headed by Josep Maria Subirachs, began work sculpting the various scenes and details of the façade. They aimed to give a rigid, angular form to provoke a dramatic effect. Gaudí intended for this façade to strike fear into the onlooker. He wanted to "break" arcs and "cut" columns, and to use the effect of chiaroscuro (dark angular shadows contrasted by harsh rigid light) to further show the severity and brutality of Christ's sacrifice.
Facing the setting sun, indicative and symbolic of the death of Christ, the Passion Façade is supported by six large and inclined columns, designed to resemble sequoia trunks. Above there is a pyramidal pediment, made up of eighteen bone-shaped columns, which culminate in a large cross with a crown of thorns. Each of the four towers is dedicated to an apostle (James, Thomas, Philip, or Bartholomew) and, like the Nativity Façade, there are three porticos, each representing the theological virtues, though in a much different light.
The scenes sculpted into the façade may be divided into three levels, which ascend in an 'S' form and reproduce the Via Crucis of Christ. The lowest level depicts scenes from Jesus' last night before the crucifixion, including The Last Supper, Kiss of Judas, Ecce Homo, and the Sanhedrin Trial of Jesus. The middle level portrays the Calvary, or Golgotha, of Christ, and includes The Three Marys, Saint Veronica, Saint Longinus, and a hollow-face illusion of Christ. In the third and final level the Death, Burial and the Resurrection of Christ can be seen. A bronze figure situated on a bridge creating a link between the towers of Saint Bartholomew and Saint Thomas represents the Ascension of Jesus.
The largest and most striking of the façades will be the Glory Façade, on which construction began in 2002. It will be the principal façade and will offer access to the central nave. Dedicated to the Celestial Glory of Jesus, it represents the road to God: Death, Final Judgment, and Glory, while Hell is left for those who deviate from God's will. Aware that he would not live long enough to see this façade completed, Gaudí made a model which was demolished in 1936, whose original fragments were base for the development of the project of the façade. The completion of this façade will require the demolition of the complete block with buildings across the Carrer de Mallorca. To reach the Glory Portico the large staircase will lead over the underground passage built over Carrer de Mallorca with the decoration representing Hell and vice. It will be decorated with demons, idols, false gods, heresy and schisms, etc. Purgatory and death will also be depicted, the latter using tombs along the ground. The portico will have seven large columns dedicated to spiritual gifts. At the base of the columns there will be representations of the Seven Deadly Sins, and at the top, The Seven Heavenly Virtues.
The towers on the Nativity façade are crowned with geometrically shaped tops that are reminiscent of Cubism (they were finished around 1930), and the intricate decoration is contemporary to the style of Art Nouveau, but Gaudí's unique style drew primarily from nature, not other artists or architects, and resists categorization.
Gaudí used hyperboloid structures in later designs of the Sagrada Família (more obviously after 1914), however there are a few places on the nativity façade—a design not equated with Gaudí's ruled-surface design—where the hyperboloid crops up. For example, all around the scene with the pelican there are numerous examples (including the basket held by one of the figures). There is a hyperboloid adding structural stability to the cypress tree (by connecting it to the bridge). And finally, the "bishop's mitre" spires are capped with hyperboloid structures. In his later designs, ruled surfaces are prominent in the nave's vaults and windows and the surfaces of the Passion façade.
Themes throughout the decoration include words from the liturgy. The towers are decorated with words such as "Hosanna", "Excelsis", and "Sanctus"; the great doors of the Passion façade reproduce words from the Bible in various languages including Catalan; and the Glory façade is to be decorated with the words from the Apostles' Creed. The three entrances symbolize the three virtues: Faith, Hope and Love. Each of them is also dedicated to a part of Christ's life. The Nativity Façade is dedicated to his birth; it also has a cypress tree which symbolizes the tree of life. The Glory façade is dedicated to his glory period. The Passion façade is symbolic of his suffering. The apse tower bears Latin text of Hail Mary. All in all, the Sagrada Família is symbolic of the lifetime of Christ.
Areas of the sanctuary will be designated to represent various concepts, such as saints, virtues and sins, and secular concepts such as regions, presumably with decoration to match.
World Heritage status
Together with six other Gaudí buildings in Barcelona, part of la Sagrada Família is a UNESCO World Heritage Site, as testifying "to Gaudí’s exceptional creative contribution to the development of architecture and building technology", "having represented el Modernisme of Catalonia" and "anticipated and influenced many of the forms and techniques that were relevant to the development of modern construction in the 20th century". The inscription only includes the Crypt and the Nativity Facade.
May 31, 2013
It has been so hot outside lately, so I took use of the cooling weather as the sun set and went on a rampage setting up candles that I bought from walmart today :P
Notre-Dame-de-l'Assomption Cathedral was between 1624 and 1790 the Cathedral of the Bishop of Glandèves. Built at the beginning of the 17th century, it was consecrated in 1627 and classified as a Historical Monument in 1996. Integrated into the fortifications of the city at the end of the 17th century, it reveals from this time a crenellated belfry which then serves as a defense tower. Inside, you can admire several objects and other works of art classified like the altarpiece and its painting representing the baptism of Christ, stalls in walnut of the seventeenth century, a statuette of St. John in silver, reliquary bust of Saint Peter in gilded wood, or organs of the early eighteenth century.
Stephansdom (St. Stephen's Cathedral), "is the mother church of the Archdiocese of Vienna and the seat of the Archbishop of Vienna, Christoph Cardinal Schönborn, OP. Its current Romanesque and Gothic form seen today, situated at the heart of Vienna, Austria in the Stephansplatz, was largely initiated by Rudolf IV and stands on the ruins of two earlier churches, the first being a parish church consecrated in 1147. As the most important religious building in Austria's capital, the cathedral has borne witness to many important events in that nation's history and has, with its multi-colored tile roof, become one of the city's most recognizable symbols." Wiki.
We spent 24 days travelling through the Czech Republic and Austria. This set is Vienna, Austria. Photos are tagged as to which day.
Consecrated on November 11, 1973, the interior finishes include white oak furnishings and acoustic paneling and a slate floor. It is naturally lit from the skylights and a large curtain wall, which provides a view of Lake Champlain and the Adirondacks. The cathedral contains a significant pipe organ, Opus 32, built 1973 by Organbuilder Karl Wilhelm of Mont Saint-Hilaire Québec. It is a two manual and pedal mechanical action organ of 32 ranks.
"Santa Maria in Provenzano, or the Insigne Collegiata di Santa Maria in Provenzano, is a late-Renaissance-Baroque style, Roman Catholic, collegiate church in Piazza Provenzano Salvani, in the Terza Camollia, just southwest of the basilica of San Francesco, in the city of Siena, region of Tuscany, Italy. This Marian shrine was built around a 14th-century terracotta icon of the Madonna, which was credited with miracles. The Palio of Siena takes place on the day of veneration of this Marian devotion.
The church was consecrated on October 16, 1611 by the archbishop Camillo Borghesi. The image, which originally was in an aedicule on a wall next to a house, was carried by a procession (translated) into the church on this day. The event was painted by Taddeo Gregori. This painting is presently in the Sacristy of the Collegiata. The procession's members included the widowed former grand-duchess Cristina of Lorraine and the reigning Grand-Duchess Maria Maddalena d'Austria.
Construction of the Mannerist church building, with a Latin Cross layout, was begun in 1595. It has an imposing white marble facade and a peaked dome at the crossing of the transept.
The first altar at the right depicts the Mass of San Cerbone (1630) by Rutilio Manetti. It depicts a miracle that occurred when the holy bishop of Massa Marittima saw apparitions of angels at a service he invoked for the pope. The canvas was commissioned by the bishop of Massa Marittima, Fabio Piccolomini.
The second altar on the right has a canvas depicting Saints Catherine of Siena and Catherine of Alexandria by Francesco Rustici, and one of the Annunciation by Giovanni Domenico Manenti.
The first altar on the left has an altarpiece depicting St Catherine of Siena has a Vision of the Martyrdom of St Lawrence (1685), by Dionisio Montorselli. The canvas was first hanged in the former Sienese church of San Lorenzo, which was destroyed. The second altar on the left has a 19th-century wooden crucifix.
The spandrels of the cupola were frescoed with the four patron Saints of Siena: St Ansano (1715) painted by Giuseppe Nicola Nasini; St Savino and St Crescenzio (1727) by Vincenzo Meucci; and St Vittore (1726) by Gasparo Bidelli. Along the walls are monochrome canvases depicting the Dream of St John the Evangelist and the Mass of St Gregory Magno by Bernardino Mei and Deifebo Burbarini. Along the nave are four large paintings depicting the Nativity of Mary, the Visitation, the Presentation of Jesus at the Temple, and the Coronation of the Virgin by Luigi Boschi and Giovanni Bruni.
In the transept are paintings depicting venerated individuals who had lived in the same neighborhood: St Bernardo Tolomei and the Blessed Savina Petrilli (2013), by Francesco Mori. The polychrome marble floor decoration below the cupola depicts the heraldic symbols of Grandukes of Tuscany Cosimo III de' Medici and Margherita Luisa d'Orléans, and of the Florentine and Sienese states. It is surrounded by the symbols of the nearby bishoprics of the ancient Republic of Siena: Grosseto, Sovana, Pienza, Montalcino, Massa Marittima and Chiusi.
The main altar shelters the terracotta icon of the Madonna di Provenzano in an architectural work (1617-1632) by Flaminio del Turco. The icon is surrounded by a "glory" of silver angels, and bronze statues of Saints Catherine and Bernardino sculpted by Giovanni Battista Querci. Some of the drapery on the altar has the symbols of Pope Alexander VII, the last pope from Siena. In the Sacristy is a Compianto sul Cristo morto by Alessandro Casolani.
The apse displays a flag captured by Sienese mercenary Paolo Amerighi from the Turks during the Battle of Vienna (1683), at the height of the Ottoman invasion of Europe. In the counterfacade is a flag from the Medici Fortress in Siena, given by the Grand-Duke Peter Leopold as a sign of the demilitarization of the city.
Below the church, in its former crypt, is the Oratory del Suffragio, the chapel for the Contrada of Giraffa. It has an entrance on Via della Vergine.
Siena (/siˈɛnə/ see-EN-ə, Italian: [ˈsjɛːna]; in English sometimes spelled Sienna; Latin: Sena Iulia) is a city in Tuscany, Italy. It is the capital of the province of Siena.
The historic centre of Siena has been declared by UNESCO a World Heritage Site. It is one of the nation's most visited tourist attractions, with over 163,000 international arrivals in 2008. Siena is famous for its cuisine, art, museums, medieval cityscape and the Palio, a horse race held twice a year.
Siena, like other Tuscan hill towns, was first settled in the time of the Etruscans (c. 900–400 BC) when it was inhabited by a tribe called the Saina. The Etruscans were a tribe of advanced people who changed the face of central Italy through their use of irrigation to reclaim previously unfarmable land, and their custom of building their settlements in well-defended hill forts. A Roman town called Saena Julia was founded at the site in the time of the Emperor Augustus. Some archaeologists assert that Siena was controlled for a period by a Gaulish tribe called the Senones.
According to local legend, Siena was founded by Senius and Aschius, two sons of Remus and thus nephews of Romulus, after whom Rome was named. Supposedly after their father's murder by Romulus, they fled Rome, taking with them the statue of the she-wolf suckling the infants (Capitoline Wolf), thus appropriating that symbol for the town. Additionally they rode white and black horses, giving rise to the Balzana, or coat of arms of Siena with a white band atop a dark band. Some claim the name Siena derives from Senius. Other etymologies derive the name from the Etruscan family name Saina, the Roman family name Saenii, or the Latin word senex "old" or its derived form seneo "to be old".
Siena did not prosper under Roman rule. It was not sited near any major roads and lacked opportunities for trade. Its insular status meant that Christianity did not penetrate until the 4th century AD, and it was not until the Lombards invaded Siena and the surrounding territory that it knew prosperity. After the Lombard occupation, the old Roman roads of Via Aurelia and the Via Cassia passed through areas exposed to Byzantine raids, so the Lombards rerouted much of their trade between the Lombards' northern possessions and Rome along a more secure road through Siena. Siena prospered as a trading post, and the constant streams of pilgrims passing to and from Rome provided a valuable source of income in the centuries to come.
The oldest aristocratic families in Siena date their line to the Lombards' surrender in 774 to Charlemagne. At this point, the city was inundated with a swarm of Frankish overseers who married into the existing Sienese nobility and left a legacy that can be seen in the abbeys they founded throughout Sienese territory. Feudal power waned, however, and by the death of Countess Matilda in 1115 the border territory of the March of Tuscany which had been under the control of her family, the Canossa, broke up into several autonomous regions. This ultimately resulted in the creation of the Republic of Siena.
The Republic existed for over four hundred years, from the 12th century until the year 1555. During the golden age of Siena before the Black Death in 1348, the city was home to 50,000 people.
In the Italian War of 1551–59, the republic was defeated by the rival Duchy of Florence in alliance with the Spanish crown. After 18 months of resistance, Siena surrendered to Spain on 17 April 1555, marking the end of the republic.
The new Spanish King Felipe II, owing huge sums to the Medici, ceded it (apart from a series of coastal fortress annexed to the State of Presidi) to the Grand Duchy of Tuscany, to which it belonged until the unification of Italy in the 19th century.
A Republican government of 700 Sienese families in Montalcino resisted until 1559.
Tuscany (/ˈtʌskəni/ TUSK-ə-nee; Italian: Toscana [tosˈkaːna]) is a region in central Italy with an area of about 23,000 square kilometres (8,900 square miles) and a population of about 3.8 million inhabitants (2013). The regional capital is Florence (Firenze).
Tuscany is known for its landscapes, history, artistic legacy, and its influence on high culture. It is regarded as the birthplace of the Italian Renaissance and has been home to many figures influential in the history of art and science, and contains well-known museums such as the Uffizi and the Pitti Palace. Tuscany produces wines, including Chianti, Vino Nobile di Montepulciano, Morellino di Scansano and Brunello di Montalcino. Having a strong linguistic and cultural identity, it is sometimes considered "a nation within a nation".
Tuscany is a popular destination in Italy. The main tourist spots are Florence, Pisa, Castiglione della Pescaia, Grosseto and Siena. The town of Castiglione della Pescaia is the most visited seaside destination in the region, with seaside tourism accounting for approximately 40% of tourist arrivals. Additionally, the Maremma region, Siena, Lucca, the Chianti region, Versilia and Val d'Orcia are also internationally renowned and particularly popular spots among travellers.
Seven Tuscan localities have been designated World Heritage Sites: the historic centre of Florence (1982); the Cathedral square of Pisa (1987); the historical centre of San Gimignano (1990); the historical centre of Siena (1995); the historical centre of Pienza (1996); the Val d'Orcia (2004), and the Medici Villas and Gardens (2013). Tuscany has over 120 protected nature reserves, making Tuscany and its capital Florence popular tourist destinations that attract millions of tourists every year. In 2012, the city of Florence was the world's 89th most visited city, with 1.834 million arrivals." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
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All Saints' Church is a late 18th-century church in Lower Pilgrim Street, Newcastle upon Tyne, England, which replaced a medieval church on the same site. All Saints' Church is the only elliptical church building in England, the third tallest religious building in Newcastle and the ninth-tallest structure in the city overall. It is a Grade I listed building.
About 1785 the churchwardens procured plans and estimates for the restoration of the building from William Newton, of Newcastle; but Dr Sharp, the Archdeacon of Northumberland, objected to the proposed design of shortening the chancel, and thus altering the form of an old Gothic church. Two other architects, David Stephenson and John Dodds, were called in, and they reported that it was impossible to give an estimate for restoring the church, as so many unforeseen circumstances might crop up. They reported, "That this decayed building cannot be repaired but at as much expense as building a new one. If one part is taken down the rest will follow." It appeared that "the south wall was in danger of falling by the pressure of the roof; one of the pillars of the steeple had considerably shrunk, and the steeple itself inclined to the south. The stone of the groined arches under the bells was decayed, the timber and bells in great danger of falling in, the stone in several windows decayed, the walls were rotten, and the lime had lost its cement and become almost dust".
On Easter Tuesday (18 April 1786) a general meeting of the parishioners was held, and they resolved unanimously to erect a new church. The work of destroying the old one proceeded immediately and, unfortunately, most of its old monuments, windows, and other interesting relics were not preserved; they either perished or were carried away during the operations. It was found necessary to blast with gunpowder the masonry of the tower, so tenacious was the mortar binding it, and while doing so a sad accident occurred, by which a well-known inhabitant of the town lost his life. This was Captain William Hedley, who was killed by one of the stones of the great west door falling upon him while he was standing watching the work of destruction. He was greatly respected in Newcastle, and well known abroad as the hero of a deed of humanity and daring, in saving a child from drowning in Bordeaux harbour. His conduct on that occasion was praised highly in the French newspapers.
The whole of the old church having at length been taken down, the construction of the new one was commenced with. The design of David Stephenson had been selected, and the foundation stone was laid on 14 August 1786 by the Rev. James Stephen Lushington, Vicar of Newcastle. In proceeding with the building the original design was departed from in two important points. The portico, which was to have had a colonnade of Ionic columns along the south front, was altered to the present Doric design, and the money thus saved was devoted to the improvement of the tower. According to the original design, the latter was to have consisted of "a plain octagonal tower, of uniform width, rising from the arch on which the present spire stands to the height of thirty-seven and a-half feet, and terminating with a semicircular dome twelve feet in diameter, making a total height of one hundred and forty-three feet from the ground. The tame and spiritless appearance of the model, however, happily caused its rejection. A model of the present handsome and superior design was exhibited to the trustees in August 1790, and finally adopted on the 12th of September following."
The new church was finished in 1796, and its cost was £27,000, the whole being obtained by assessment of the parish, except £2061.19s raised by the sale of pews, £30 by donations, and £100 given by Mrs Atlee for the additional expense of making the internal fittings of mahogany instead of oak. The church is built in the form of an ellipse, the longer diameter of which runs nearly north and south. It is in form like the Pantheon at Rome. The roof, without any supporting pillars, is a splendid piece of carpentry. It was first put together in the yard at the Austin Friars, where the bells of the old church were cast. The square tower on which the steeple stands is at the south end, and the interior forms the vestibule. On either side of it there is a wing – that on the left being used as a morning chapel and for baptisms, and that on the right as the vestry where hung the monumental brass of Roger Thornton, now moved to Newcastle Cathedral.
On Tuesday, 17 November 1789, the new church was consecrated by the Right Rev. Thomas Thurlow, Lord Bishop of Durham, and the opening sermon was preached by the Rev. Hugh Moises, morning lecturer of All Saints’ and head-master of the Grammar School. His text was from Leviticus xix: 30: Ye shall keep My Sabbaths and reverence My sanctuary. I am the Lord.
In 1881 the churchwardens called the public attention to the state of the church, and appealed for help to remedy it. Subscriptions were gathered in and the work of restoration was vigorously proceeded with.
About the end of 1881 Richard S. Donkin of Campville, North Shields, a wealthy shipowner, whose place of business was close by the old church, made a handsome offer to improve the graveyard at his own expense. This offer was thankfully accepted by the parishioners, and early in 1882 the work was proceeded with. Many other generous gifts were at the same time made to the church, but we will only mention one more, that of the presentation of the new clock by Mr John Hall, another Newcastle merchant. It was formally set going and illuminated on the evening of 3 February 1882. On the occasion an address was presented to Mr Hall by Mr Joseph Cowen, M.P. for the town, on behalf of the people of the parish. In presenting this address Mr Cowen, standing on the steps of the church, made a speech to the assembled people who crowded below to the number of about ten thousand.
Conceived by Louis IX as his personal chapel. Consecrated in 1248. Fifteen floor-to-ceiling wall-to-wall stained glass windows (oldest in the city) depicting the biblical story from Genesis to the Resurrection. Reached via a spiral staircase from the lower chapel (built for the king's staff). Beyond beautiful. At its pinnacle when the sun is shining, 'tis said. Still, even on an overcast day, as it was when I was there, awe-inspiring.
The chapel's stained-glass is under restoration. The work-scaffolding erected on one side of the interior was behind hoarding, which can be seen as backdrop in the candid capture below, a young girl's response to the stained-glass windows.
Turin Cathedral, consecrated in 1500, is a masterpiece of late Gothic architecture and the spiritual heart of the city. Commissioned by Duke Emmanuel Philibert of Savoy, it was designed by Meo del Caprina and houses the revered Holy Shroud—a linen cloth believed by many to bear the image of Christ. Though modest in size compared to other cathedrals, its elegant proportions, Renaissance chapels, and intimate atmosphere reflect the deep religious devotion of the House of Savoy. The adjacent Chapel of the Holy Shroud, designed by Guarino Guarini, is a Baroque gem of light and geometry, making the cathedral a unique blend of faith, art, and dynastic symbolism.
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.
Duke Frederick II the One-Eyed (1090-1147) of Swabia built a hunting lodge on an island in the Moder. The settlement that grew around was the beginning of Haguenau. Holy Roman Emperor Frederick I Barbarossa fortified the settlement and gave it town rights, important for further development, in 1154. On the site of the hunting lodge, he founded an imperial palace he regarded as his favorite residence. In this palace were preserved the "Crown Jewels of the Holy Roman Empire", i.e. the jeweled imperial crown, scepter, imperial orb, and sword of Charlemagne.
The Romanesque church building began under Duke Frederick II the One-Eyed of Swabia and replaced an older Romanesque chapel. In 1143 the Strasbourg bishop granted the construction of the church, which was completed in 1189. The architecture recalls the style of the Hirsau Abbey which influenced the Romanesque architecture of Swabia.
A Gothic choir was added to the Romanesque nave, which remained unaffected except for the vaults that were inserted later. The choir was consecrated in 1283.
Here are many more photos taken in the Bas Rhin area.
Begun some time after 1239 and consecrated on the 26th of April 1248, the Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. The Sainte-Chapelle has been a national historic monument since 1862. Though small compared to many other famous buildings, this structure is one of the world's most beautiful buildings still standing.
La iglesia de San Pedro (en alemán, Peterskirche) es una iglesia católica de estilo barroco situada en Viena, Austria. Fue transferida en 1970 a los sacerdotes del Opus Dei por el arzobispo de Viena Franz König.
La iglesia más antigua (de la que no se conserva nada en la actualidad) se remonta a la Alta Edad Media, y hay especulación de que podría ser la iglesia más antigua de Viena.
La iglesia antigua se incendió en 1661 y solo se hicieron reparaciones provisionales. La decisión de construir una nueva iglesia se tomó con la llegada de la Fraternidad de la Santísima Trinidad, de la que era miembro el emperador Leopoldo I, que prometió reconstruir esta iglesia cuando Viena fue devastada por la peste bubónica entre 1679 y 1680.
La construcción de la nueva iglesia barroca empezó en torno a 1701 bajo la dirección de Gabriele Montani, que fue sustituido por Johann Lukas von Hildebrandt en 1703. El diseño se inspiró en la Basílica de San Pedro de Roma. En 1722, la mayor parte del edificio estaba finalizado, y en 1733, la Peterskirche se consagró finalmente a la Santísima Trinidad. La nueva iglesia fue la primera estructura con cúpula de la Viena barroca. Debido al limitado espacio disponible, se construyó de una manera muy compacta: no obstante, su interior oval alberga una cantidad asombrosa de espacio y tiene anexos rectangulares. La iglesia hace una impresión abrumadora en el visitante con su sorprendentemente rico interior lleno de estuco dorado y es considerada la iglesias barroca más importante de Viena.
La Iglesia de San Pedro se sitúa en Petersplatz, al lado del Graben y justo al oeste de la Pestsäule. La calle Jungferngasse conduce directamente de la zona peatonal de Graben a la iglesia. La iglesia está tapada por los edificios que la rodean, y solo puede verse claramente desde directamente enfrente.
es.wikipedia.org/wiki/Iglesia_de_San_Pedro_(Viena)
The Peterskirche (English: St. Peter's Church) is a Baroque Roman Catholic parish church in Vienna, Austria.
It was transferred in 1970 by the Archbishop of Vienna Franz Cardinal König to the priests of the Opus Dei.
The old church burned down in 1661 and was given only makeshift repairs. The decision to build a new church was taken up with the arrival of the Fraternity of the Holy Trinity of which the emperor Leopold I was a member. He had taken a vow to rebuild this church when Vienna was ravaged by the plague in 1679-1680.
The construction of the new Baroque church was begun around 1701 under Gabriele Montani, who was replaced by Johann Lukas von Hildebrandt in 1703. The design was inspired by the St. Peter's Basilica of the Vatican in Rome. Francesco Martinelli was the main architect. By 1722, most of the building was finished, and in 1733 the Peterskirche was finally consecrated to the Holy Trinity. The new church was the first domed structure in baroque Vienna. Due to the confinement of available space, it was built in a very compact form, with its oval interior housing an astonishing amount of space and rectangular attachments. The church makes an overwhelming impression on the visitor with its surprisingly rich interior filled with golden stucco.
The Peterskirche is located on Petersplatz, right next to Graben and just west of the Pestsäule. The street Jungferngasse cuts through the pedestrian zone and leads directly to the church. The Peterskirche is largely obscured by the surrounding buildings, and can only be seen clearly from directly in front.