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Piarist Church in the background.
After the plague of 1740-41, in the hope of protection from further diseases, the city dedicated a column to the Trinity and raised a chapel named after Saint Rókus beside the cemetery where the victims of the plague were buried. In 1745 the Piarist Church was consecrated.
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Settlement in Vác dating as far back as the Roman Empire has been found.
Bishops from the diocese were influential within the Kingdom of Hungary, with many serving as chancellors or later becoming archbishops.
The town was conquered by the Ottoman Empire in 1541. During the Habsburg Monarchy's wars against the Ottomans, the Austrians won victories against the Turks at Vác in 1597 and in 1684.
During the Hungarian Revolution and War of Independence of 1848-49, the Honvédség routed the Austrian forces stationed in the city after a major battle (April 10, 1849); the Second Battle of Vác ended in Russian victory (July 17).
www.vac.hu/nyelv/eng/index.php
"Bristol Cathedral, formally the Cathedral Church of the Holy and Undivided Trinity, is the Church of England cathedral in the city of Bristol, England. Founded in 1140 and consecrated in 1148, it was originally St Augustine's Abbey but after the Dissolution of the Monasteries it became in 1542 the seat of the newly created Bishop of Bristol and the cathedral of the new Diocese of Bristol. It is a Grade I listed building." - Wikipedia.
This summer 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. I recently got through my initial sifting through my photos and I'm now ready to share some of my favourites.
Bristol Cathedral, Bristol, Gloucestershire, England.
Consecrated by Bishop Bronescombe in 1260. Altered and added to by Bishop Grandison circa 1330. Mainly Early English. Built like Exeter Cathedral, with 2 towers above transepts. Has nave and aisles and Lady Chapel. Groining later and north aisle is Perpendicular. Very rich roof with pendants. Some fine tombs. Was a Collegiate Church from 1337 to 1545 when it was dissolved. It is an imposing structure of grey stone. The interior was restored drastically mid C19 by Butterfield and others
Christ's Resurrection Basiilica (Lithuanian: Kauno mūsų Viešpaties Jėzaus Kristaus Prisikėlimo bazilika) in Lithuania's second city, Kaunas, was consecrated in 2004 and finished in 2005. It is located on a hill immediately to the north of the city centre and is on a monumental scale, with the main tower rising to 70 metres.
After Lithuania regained independence in 1918, the concept of a new church that would express gratitude to God for its regained freedom arose. A committee led by president Antanas Smetona was established in 1926 to oversee its construction. The City of Kaunas was chosen as its site, since the historic capital of Lithuania, Vilnius, was part of Poland between 1920 and 1939. A design competition was held in 1928 and the proposal drawn up by Karolis Reisonas was chosen for the church as the best. Due to the technical difficulties arising from the grand scope of the design, and dramatic escalation of its cost estimates, the final design was not approved until 1933.
The first cornerstone for the church was brought from Jerusalem's Mount Olive in 1934, marking the church's first symbolic milestone. Funds for the construction were raised in Lithuania and abroad. The prominent Lithuanian parson Feliksas Kapočius was particularly involved not only in the details of the building project, but also in its funding. He traveled through the United States, where many Lithuanian émigrés were living, to enlist support. The construction underwent several setbacks, and at times was suspended for lack of funding.
In 1936 certain Czechoslovak architects from Prague said that the church will become a masterpiece of modern architecture in the Baltics.[2] In 1938 the walls and roof of the church were completed, and by 1940 it was largely finished; at this point around one million litas had been spent, most of it from individual donations. Further work on the church was suspended during World War II. The Nazi occupational authorities used the church as a storeroom; during the Soviet period of Lithuanian history, the building was confiscated by the government. In 1952 Stalin decreed that it be used as a factory; the cross atop the tower was demolished, as was the chapel.
The church structure was used as a radio factory until the Lithuanian national awakening in 1988. Soon thereafter, control of the church was returned to a newly founded council. During the 1990s, its rehabilitation met with further obstacles; church and state had been officially separated, and Lithuanian citizens struggled with economic downturns during the transition to a market economy. In any event, the work continued. Funding was provided by both private sources and the Lithuanian government, and the church was consecrated in 2004.
In 2015 the church received the minor basilica title from Pope Francis.
This description incorporates text from the English Wikipedia.
The Oude Kerk (English: Old Church) is a Reformed church in Amsterdam, Netherlands, being the oldest parish church of the city. The oldest structure in Amsterdam, the building was founded about 1213 and consecrated in 1306 by the bishop of Utrecht with Saint Nicolas as its patron saint. After the Reformation in 1578, it became a Reformed (Calvinist) church, which it remains today. It is located in De Wallen and since 2012, includes an art exhibit within its structure. The square surrounding the church is the Oudekerksplein.
History
By around 1213, a wooden chapel had been erected at the location of today's Oude Kerk. Over time, this structure was replaced by a stone church that was consecrated in 1306.
The church has seen a number of renovations performed by 15 generations of Amsterdam citizens. The church stood for only a half-century before the first alterations were made; the aisles were lengthened and wrapped around the choir in a half circle to support the structure. Not long after the turn of the 15th century, north and south transepts were added to the church creating a cross formation. Work on these renovations was completed in 1460, though it is likely that progress was largely interrupted by the great fires that besieged the city in 1421 and 1452. This delayed the building for almost 1 year.
Before the Alteratie, or Reformation in Amsterdam of 1578, the Oude Kerk was Roman Catholic. Following William the Silent's defeat of the Spanish in the Dutch Revolt, the church was taken over by the Calvinist Dutch Reformed Church. Throughout the 16th-century battles, the church was looted and defaced on numerous occasions, first in the Beeldenstorm of 1566, when a mob destroyed most of the church art and fittings, including an altarpiece with a central panel by Jan van Scorel and side panels painted on both sides by Maarten van Heemskerck. Only the paintings on the ceiling, which were unreachable, were spared.
Locals would gather in the church to gossip, peddlers sold their goods, and beggars sought shelter. This was not tolerated by the Calvinists, however, and the homeless were expelled. In 1681, the choir was closed-off with an oak screen. Above the screen is the text, The prolonged misuse of God's church, were here undone again in the year seventy-eight, referring to the Reformation of 1578.
In that same year, the Oude Kerk became home to the registry of marriages. It was also used as the city archives; the most important documents were locked in a chest covered with iron plates and painted with the city's coat of arms. The chest was kept safe in the iron chapel.
Rembrandt was a frequent visitor to the Oude Kerk and his children were all christened here. It is the only building in Amsterdam that remains in its original state since Rembrandt walked its halls.[citation needed] In the Holy Sepulchre is a small Rembrandt exhibition, a shrine to his wife Saskia van Uylenburgh who was buried here in 1642. Each year on 9 March (8 March in leap years), at 8:39 am, the early morning sun briefly illuminates her tomb. An early spring breakfast event is held annually.
Structure
The church covers an area of some 3,300 m2 (36,000 sq ft). The foundations were set on an artificial mound, thought to be the most solid ground of the settlement in this marshy province.
The ceiling of the Oude Kerk is the largest medieval wooden vault in Europe. The Estonian oak planks date to 1390 and boast some of the best acoustics in Europe.
The Oude Kerk contains 12 misericords, leaning posts installed under the folding seats of the choir stalls.
Graves
The floor consists entirely of gravestones. The reason for this is that the church was built on a cemetery. Local citizens continued to be buried on the site within the confines of the church until 1865. There are 2,500 gravestones in the Oude Kerk, under which are buried 60,000 Amsterdam citizens, including:
Jacob van Heemskerck, naval hero
Jan Pieterszoon Sweelinck, composer and organist
Adriaen Block, trader and explorer
Catharina Questiers, poet and dramatist
Jacob de Graeff Dircksz., Amsterdam regent
Andries de Graeff, Amsterdam regent
Cornelis de Graeff, Amsterdam regent
Catharina Hooft, woman of the Dutch golden age
Pieter Lastman, painter
Willem van der Zaan, Admiral
Laurens Bake, poet
Abraham van der Hulst, Admiral
Saskia van Uylenburgh, Wife of Rembrandt
Cornelis Hooft, statesman
Jan Jacobszoon Hinlopen, merchant
Kiliaen van Rensselaer, owner of the only successful patroonship in New Netherland, Rensselaerswyck.
Frans Banninck Cocq, burgomaster (mayor) of Amsterdam and central figure in Rembrandts masterpiece The Night Watch
Nicasius de Sille, Ambassador
Caspar Commelijn, botanist
Jan van der Heyden, painter and print maker
Johannes Hudde, burgomaster of Amsterdam and mathematician
Lucretia Wilhelmina van Merken, dramatist and poet
Jacob Beeldsnyder, the ony enslaved person so far identified
Organs
The Oude Kerk holds four pipe organs, the old church organ built in 1658 and the cabinet organ built in 1767. The third was built by the German Christian Vater in 1724 and is regarded as one of the finest Baroque organs in Europe. It was acknowledged by the church Commissioners as "perfect". The organ was dismantled whilst renovations were made to the church tower in 1738, and upon reassembling it, Casper Müller made alterations to give the organ more force. It became known as the Vater-Müller organ, to acknowledge the improvement of sound. The organ underwent a complete restoration between 2014 and 2019. The fourth was constructed for the church by Organi Puccini of Pisa in 2010.
A bust of the organist and composer Jan Pieterszoon Sweelinck (1562–1621) celebrates the lifetime he spent playing in the church. His early career began at the age of fifteen when he succeeded his deceased father Pieter Swybertszoon as the Oude Kerk's organist. He went on to compose music for all 150 Psalms and secured an international reputation as a leading Dutch composer. His music would also be played over the city from the church's bell tower. He is buried in the church.
Today
Oude Kerk holds church services on the Lord's Day (Sunday) at 11 am, as well as vespers at 6:30 pm.
The Oude Kerk includes a centre for contemporary art and heritage. Artists including Nicolas Jaar, Marinus Boezem, Christian Boltanski, Janet Cardiff and George Bures Miller were commissioned by the Oude Kerk to create site-specific installations. The church also has a permanent exhibit on its history and that of the city of Amsterdam.
In mid-March each year, Catholics arrive at the Oude Kerk to celebrate the "Miracle of Amsterdam" that occurred in 1345. After taking communion, a dying man vomited the Host. When his vomit was thrown into a fire, the Host did not burn and was proclaimed a miracle. The Host was put in a chest and installed at the Oude Kerk; however, it disappeared during the Reformation.
(Wikipedia)
Die Oude Kerk (deutsch Alte Kirche) ist ein protestantisches Kirchengebäude und das älteste erhaltene Bauwerk in der niederländischen Hauptstadt Amsterdam. Sie befindet sich im Amsterdamer Rotlichtviertel (De Wallen). Die Kirche wurde vorreformatorisch im Jahre 1306 dem Patrozinium des heiligen Nikolaus anvertraut. Neben Gottesdiensten finden Ausstellungen und Konzerte in der Kirche statt.
Geschichte
Am Standort der Oude Kerk befand sich im 13. Jahrhundert eine kleine hölzerne Kapelle mit Friedhof. Mutterkirche war die Kirche von Ouderkerk, doch wuchs die Kirche in Amsterdam schnell und wurde 1334 selbständige Pfarrkirche, die zu Ehren des heiligen Nikolaus geweiht war. Zu Beginn des 15. Jahrhunderts wurde von dieser die am städtischen Hauptplatz Dam gelegene Nieuwe Kerk (Neue Kirche) abgepfarrt, woher sich die jeweiligen Bezeichnungen ableiten.
Der hölzerne Ursprungsbau der Kirche war in der 2. Hälfte des 13. Jahrhunderts durch einen steinernen Saalbau ersetzt worden. Nach 1300 erfolgte der Bau einer dreischiffigen Hallenkirche, die vermutlich die erste Hallenkirche der Niederlande war. Um 1330 erhielt die Kirche einen neuen Chor, zwischen 1330 und 1350 wurden breitere Seitenschiffe angefügt. In späterer Zeit wurde die Kirche nach Osten vergrößert und ein fünfseitiger Chorumgang gebaut. 1380–1412 erfolgte im Norden der Anbau der Georgskapelle, 1450–1460 im Süden der Anbau der Sebastianskapelle. Im 16. Jahrhundert wurde das Kirchenschiff erhöht und der Turm vergrößert.
Im Mittelalter war die Kirche, zeitweise nur teilweise, mit Buntglasfenstern ausgestattet, die die Kirche in unterschiedlichen Farbvarianten belichteten. Die drei Buntglasfenster links im Frauenchor sind die einzigen Fenster aus der vorreformatorischen Zeit. Die zwei östlichen Fenster wurden restauriert. Auf dem linken ist Maria auf ihrem Sterbebett mit den umstehenden Aposteln abgebildet. 1566 fiel die mittelalterliche Ausstattung dem Reformatorischen Bildersturm zum Opfer, nach 1578 erfolgte eine Neugestaltung für den protestantischen Gottesdienst. Von 1584 bis 1611 diente die Kirche auch als Börse.
1951 musste die Kirche wegen Einsturzgefahr geschlossen werden und wurde 24 Jahre lang restauriert. Eine erneute Renovierung fand 1994–1998 statt.
Begräbnisstätte
In der Oude Kerk befinden sich an die 2.500 Gräber, in denen etwa 10.000 Amsterdamer Bürger beigesetzt sind, darunter:
Jacob van Heemskerck, Admiral von Holland
Jan Pieterszoon Sweelinck, niederländischer Organist an der Oude Kerk und Komponist
Adriaen Block, Händler und Kartograph
Jakob Dircksz de Graeff, Regent von Amsterdam
Cornelis de Graeff, niederländischer Politiker und Regent von Amsterdam
Andries de Graeff, niederländischer Politiker und Regent von Amsterdam
Pieter Lastman, Künstler
Willem van der Zaan, niederländischer Admiral
Laurens Bake, Poet und Dichter
Abraham van der Hulst, niederländischer Admiral
Saskia van Uylenburgh, Ehefrau von Rembrandt van Rijn
Andries Bicker, niederländischer Politiker und Regent von Amsterdam
Cornelis Hooft, Regent von Amsterdam
Jan Jacobszoon Hinlopen, Kaufmann, Regent von Amsterdam
Kiliaen van Rensselaer, einer der Gründer von Neu Amsterdam in Manhattan, heutzutage als New York bekannt.
Frans Banning Cocq, Kapitän in Rembrandt van Rijns Gemälde Die Nachtwache
Johann Gottlieb Plüschke, deutscher Theologe und Direktor des theologischen Seminars zu Amsterdam
Orgeln
Große Orgel
Die heutige große Orgel wurde 1724 bis 1726 von Christian Vater, einem Schüler von Arp Schnitger, mit 45 Registern in norddeutscher Tradition gebaut. Sie ersetzte das Instrument von Hendrik Niehoff, an dem Jan Pieterszoon Sweelinck 44 Jahre Organist war. Nicht geklärt ist, wie Vater den Auftrag für den Neubau in Amsterdam erhielt. Möglicherweise stellte sein Mitarbeiter Matthias Schultze die Verbindung her. Johann Caspar Müller, ein jüngerer Bruder von Christian Müller, erweiterte die Orgel 1742 um neun Register. Änderungen erfolgten 1869/1870 und 1879 durch Christian Gottlieb Friedrich Witte, der die Klaviaturen und die Traktur erneuerte sowie einige Register im romantischen Stil umdisponierte. Die Firma S. F. Blank rekonstruierte 1979 die Bälge und 1987 die Klaviaturen. In den Jahren 2015–2019 führte Orgelmakerij Reil eine umfassende Restaurierung des gewachsenen Zustands durch, wobei möglichst wenig Eingriffe in die Intonation vorgenommen wurden.
Kleine Orgel
Im Jahr 1544 baute Niehoff eine kleine Orgel (II/P/13) im Querschiff, die 1658 von Hans Wolff Schonat ersetzt wurde. Orgelbauer J. C. Friedrichs verwendete das Pfeifenwerk 1823 für die Orgel in der Zuiderkerk, während das Gehäuse in der Oude Kerk verblieb. Im 19. Jahrhundert führten Umdisponierungen zu einer Veränderung des Klangbilds. Als die Zuiderkerk 1929 geschlossen wurde, erwarb die Oosterkerk in Aalten die Orgel. Dort wurde 1977 die Friedrichs-Orgel rekonstruiert. Das Schonat-Pfeifenwerk gelangte 1975 an die Groene of Willibrordkerk in Oegstgeest. In der Oude Kerk rekonstruierten Ahrend & Brunzema 1965 die Schonat-Orgel anhand der 1773 von Joachim Hess überlieferten Disposition, ergänzt um ein Gemshoorn 2′, hinter dem alten Gehäuse von Schonat. Die gleichstufige Stimmung wurde im Jahr 2002 in eine mitteltönige Stimmung verändert. Die Pfeifen der Octaaf 2′ wurden eingekürzt und für ein Sifflet 1 1⁄3′ wiederverwendet und die Quint 3′ zu einer Fluit 4′ umgearbeitet.
Glocken und Carillon
In der Glockenstube hängen vier Glocken: Glaube (b0, ≈3.700 kg, ø 1.750 mm), Hoffnung (d1, ø 1.400 mm), Liebe (f1, ø 1.170 mm) und Freiheit (b1, ø 870 mm). Die Glocken hängen an verkröpften Jochen und werden seit jeher von Hand geläutet. In der unteren Laterne des Turmhelms hängt ein Carillon, das ursprünglich im Jahre 1658 von François Hemony gegossen wurde.[4] Die Tonfolge reicht von b0 (≈3.400 kg), c1, d1 chromatisch bis b4. Von den ursprünglichen 35 Hemony-Glocken sind heute nur noch die größten 14 erhalten (b0 bis cis2), die anderen sind von Eijsbouts. Das Glockenspiel ist in mitteltöniger Stimmung gestimmt. Der Stokkenspieltisch wurde 1991 von der Glockengießerei Eijsbouts gebaut.
In der darüberliegenden Turmlaterne befindet sich eine Uhrschlagglocke aus dem Jahre 1505. Im Dachreiter über der Vierung hängt seit 2006 anstelle einer Vorgängerin wieder eine Angelusglocke (ø 770 mm) aus der Glockengießerei Eijsbouts, die zum Vaterunser geläutet wird.
(Wikipedia)
Kirillo-Belozersky Monastery (Russian: Кирилло-Белозерский монастырь), translated into English as White Lake [translation of the town name of Beloozero] St. Cyril's Monastery, used to be the largest monastery in Northern Russia. The monastery was consecrated to the Feast of the Dormition of the Theotokos, for which cause it was sometimes referred to as the Dormition Monastery of St. Cyril. By the 20th century, the town of Kirillov had grown nearby.
The monastery was founded in 1397 on the bank of Lake Siverskoye, to the south from the town of Beloozero, in the present-day Vologda Oblast. Its founder, St. Cyril or Kirill of Beloozero, following the advice of his teacher, St. Sergius of Radonezh, first dug a cave here, then built a wooden Dormition chapel and a loghouse for other monks. Shortly before the creation of the monastery, the area fell under control of the Grand Duchy of Moscow.
Being a member of the influential Velyaminov clan of boyars, Kirill relinquished the office of father superior of the greatest cloister in medieval Moscow—the Simonov monastery. His ties with the ruling elite were still close, however, as his letters to sons of Dmitri Donskoi clearly demonstrate. It seems that the Muscovite rulers regarded Kirill's monastery as an important strategic point, both for Northern trade and in their struggle with the Novgorod Republic. By 1427, when Kirill died, the prince of Belozersk-Mozhaisk (subject to the Grand Prince of Moscow) was the monastery's patron and the monastery was administratively subordinate to the Archbishop of Rostov. Under Hegumen Trifon (1434/5–1447/8), social and administrative reforms were undertaken, including the adoption of an Athonite cenobitic rule. A Byzantine-style secondary school was established at which translations of textbooks on grammar, semantics, geography, and history were used. A lasting legacy of the school were bibliographical studies, exemplified by the elder Yefrosin, and text critical studies, exemplified by Nil Sorsky (1433–1508). Nil also founded a skete on the Sora River near the monastery.
In the 16th century, the monastery was the second richest landowner in Russia, after its model, the Trinity Monastery near Moscow. Ivan the Terrible not only had his own cell in the cloister, but also planned to take monastic vows here. The cloister was also important as a political prison. Among the Muscovite politicians exiled to Kirillov were Vassian Patrikeyev, Tsar Simeon Bekbulatovich, Patriarch Nikon, and the prime minister Boris Morozov. In December 1612, the monastery was besieged by Polish-Lithuanian vagabonds, the Lisowczycy, who failed to capture it.
The vast walled area of the monastery comprises two separate priories with eleven churches, most of them dating to the 16th century. Of these, nine belong to the Uspensky (Dormition, the Orthodox equivalent of the Catholic holiday known as the Assumption of Mary) priory by the lake. The Dormition cathedral, erected by Rostov masters in 1497, was the largest monastery church built in Russia up to that date. Its 17th-century iconostasis features many ancient icons, arranged in five tiers above a silver heaven gate endowed by Tsar Alexis in 1645. A lot of valuable objects kept in the sacristy are personal gifts of the tsars who visited the monastery.
The smaller Ivanovsky priory is dedicated to St. John the Precursor, the patron saint of Ivan the Terrible. The oldest church of the priory was commissioned by Ivan's father, for the benefit of the "mendicant brethren", soon after his visit to the monastery in 1528. Subsequently, the monks incurred the tsar's displeasure by constructing St. Vladimir's Chapel over the grave of the exiled Prince Vorotynsky. Although the tsar chastised them for having broken canonical requirements, the chapel — which became the first family mausoleum in Russia — survived Ivan's reign and was expanded to its present form in 1623.
The monastery walls, 732 meters long and 7 meters thick, were constructed in 1654-80. They incorporate parts of the earlier citadel, which helped to withstand the Polish siege in 1612. At first construction works were supervised by Jean de Gron, a French military engineer known in Russian sources as Anton Granovsky. After the monastic authorities denigrated his Western-style design as alien to Russian traditions, Granovsky was replaced by a team of native masters. The fortress was the largest erected in Muscovy after the Time of Troubles; its walls feature numerous towers, each built to a particular design. The most remarkable are the Chasuble, the Tent-like, the Vologda, and the Smithy towers.
The Lala Mustafa Paşa Mosque, originally known as the Cathedral of Saint Nicholas and later as the Saint Sophia Mosque of Mağusa, is the largest medieval building in Famagusta. Built between 1298 and 1400, it was consecrated as a Catholic cathedral in 1328. The cathedral was converted into a mosque after the Ottoman Empire captured Famagusta in 1571 and it remains a mosque to this day. From 1954 the building has taken its name from Lala Mustafa Pasha, the Grand Vizier of the Ottoman Empire from Sokolovići in Bosnia, who served Murat III and led Ottoman forces against the Venetians in Cyprus. The building originally had twin towers but earthquakes and the Ottoman bombardments of Famagusta in 1571 destroyed them.
The movement for the erection of a church at Jericho began in 1827. Up until this time, the district was being supplied by William Pike, a catechist, who lived at “Park Farm”, Jericho. However it wasn’t until 1838 that a church was built and it was consecrated by Bishop William Grant Broughton on Tuesday 10 May 1838.
Fifty years later, cracks appeared in the building, and it was decided to erect another building on the same site. On the 29th April 1888 the new church, St James’ Church, Jericho was consecrated by Bishop Sandford.
The church is of great significance to the village of Jericho. Architectural fittings and furnishings bear dedications to prominent early members of the district, including Thomas Gregson who was Premier of Tasmania in 1857, and who’s property “Northumbria” borders the church. St. James is listed on the Tasmanian Heritage Register for its community values and its ability to represent a modest sandstone Victorian Gothic Church. The building was designed by the well know architect, Henry Hunter, who was responsible for many fine building around Tasmania. Walter Fish was responsible for the stonework and the woodwork was carried out by Charles Ellen, both of Oatlands.
With thanks once again to Duncan Grant and his invaluable blog 'Churches of Tasmania.'
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 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.
"Jesus raised his eyes to heaven and said:
‘Holy Father,
keep those you have given me true to your name,
so that they may be one like us.
While I was with them,
I kept those you had given me true to your name.
I have watched over them
and not one is lost
except the one who chose to be lost,
and this was to fulfil the scriptures.
But now I am coming to you
and while still in the world I say these things
to share my joy with them to the full.
I passed your word on to them,
and the world hated them,
because they belong to the world
no more than I belong to the world.
I am not asking you to remove them from the world,
but to protect them from the evil one.
They do not belong to the world
any more than I belong to the world.
Consecrate them in the truth;
your word is truth.
As you sent me into the world,
I have sent them into the world,
and for their sake I consecrate myself
so that they too may be consecrated in truth.’"
– John 7:11-19, which is today's Gospel for the 7th Sunday of Easter.
My sermon for today can be read here.
Stained glass window from St Mary's church in Norwich.
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.
"O God, who consecrated that abundant first fruits of the Roman Church by the blood of the Martyrs, grant, we pray, that with firm courage we may together draw strength from so great a struggle and ever rejoice at the triumph of faithful love. Through our Lord Jesus Christ, your Son, who lives and reigns with you in the unity of the Holy Spirit, one God, for ever and ever."
– Collect for the feast of the First Martyrs of the Church of Rome (30 June).
This monumental painting by Léon-François Benouville was completed in 1855, and it is now displayed in the Musée d'Orsay in Paris. I was quite mesmerised by this painting, and stood before it for some time, contemplating the fortitude of the Martyrs, and thinking of the bravery and charity that we need as Christians in a world that often opposes the Gospel.
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.
Consecrated in 1273, this church is an excellent example of the transition from Romanesque to German Gothic styles. Originally built as a Romanesque basilica with two choirs, it was re-modeled during the 14th century. During this, aisles and the soaring western choir were added. The two towers were completed in the 15th century. The church was very badly damaged during the Second World War and has been completely restored. In places it was decided to add new features to replace those which could not be repaired. The images of the two main doorways show an original carving and a new one added during the restoration. The interior is probably the finest in Nuremberg.
The nave and west choir are late Romanesque, with a narrow chancel containing a simple altar and an ancient bronze baptismal font. The larger east choir, consecrated in 1379, is Gothic and contains the church’s most important treasures. Just behind the altar is the elaborate shrine of St. Sebald, whose remains are encased in a monument cast in brass by Peter Vischer in 1519. It’s supported by an array of snails and dolphins and adorned with a host of statuettes. The nave of the church also holds several important works of art, including 14th-century statues of St. Catherine and St. Sebald and the Madonna with a Halo (1440).
In this chapel newly consecrated to the Climats, terroirs of Burgundy and regional gastronomic traditions, it was necessary to celebrate this beverage that fills the glasses and frees the spirit.
This moving form, composed of a single face that rises towards the vault, is a very particular mathematical object, the Möbius spiral, a sign of infinity, recalling the divine dimension of wine.
This artist's installation is also reminiscent of the shape of a wine glass, the fragrant wisps that escape from it, the explosion of flavours in the mouth.
A tribute to the intoxication of the senses.
Chapel of Climats and Terroirs
International City of Gastronomy and Wine
Dijon
Burgundy
(France)
Dans cette chapelle désormais consacrée aux Climats du vignoble de Bourgogne et à la gastronomie régionale, il fallait célébrer ce breuvage qui remplit les verres et libère l'esprit.
Cette forme mouvante composée d'une seule face qui monte vers la voûte est un objet mathématique très particulier, la spirale de Möbius, un signe d'infini, rappelant la dimension divine du vin.
Cette installation d'artiste rappelle aussi la forme d'un verre de vin, les volutes odorantes qui s'en échappent, l'explosion des saveurs en bouche.
Un hommage à l'ivresse des sens.
Chapelle des Climats et des Terroirs
Cité Internationale de la gastronomie et du vin
Dijon
Bourgogne
(France)
Mosfellskirkja (Mosfell Church) is located in historic Mosfellsdal (Mosfell Valley) and was constructed and consecrated on April 4, 1965 . Mosfell church was the gift of Stefán Þorláksson, a man who believed the best use for his fortune was to build a church. The church is located near the site of several historic Churches build in the early days of Iceland.
Mosfellsdal was the location of early Viking settlements and farms. The valley is featured in historical writings of the12th and 13th century.
Writings such as Egil’s Saga, Gunnlaug’s Saga and Hallfred’s Saga and well as the information held in the Book of the Icelanders (Islendingabók) touch on the people who lived here. Some of the famous stories from the valley are the death scene of Egil Skallagrimson and a murder described in The Saga of Gunlaug Serpent-Tongue. Egill Skallagrímsson was a Viking poet and warrior who is supposedly buried in the valley along with his silver treasure.The writings mention an early church in the valley at Hrísbrú on Grím’s farmstead and how it was later pulled down in order to be moved. In the last 50 years archaeologists have succeeded in not only excavating the first church, but also the second, rebuilt church, located 500 m to the east. These archeological areas lie nearby the present day church.
The farm where Mosfellskirkja (Mosfell Church) is located was the boyhood home of Nobel Prize winner Halldór Laxness. He is the only Icelander to ever win the Noble Prize. In his later years, the author wrote the book úninu heima (Home in the Hayfield), in which he described his childhood experiences at his home in the Mosfellsdalur (Mosfell Valley).
Palatine Chapel, Aachen, begun c. 792, consecrated 805 (thought to have been designed by Odo of Metz), significant changes to the architectural fabric 14–17th centuries (Gothic apse, c. 1355; dome rebuilt and raised in the 17th century, etc), mosaics and revetment scream 19th century, and are indeed 19th century, columns were looted by French troops in the 18th century though many were later returned, they were added back without knowledge as to their original locations in the 19th century. Finally, the structure was also heavily damaged by allied bombing during WWII and significantly restored again in the second half of the twentieth century.
Built in 1886-1889 and consecrated in 1913, this Gothic Revival-style church was designed by William Schickel and Company to house the congregation of St. Louis Roman Catholic Church, which was founded in 1829, and was the first Catholic Parish to be created in Buffalo. The church stands on land donated by French nobleman Louis Stephen LeCouteulx de Caumont, and replaced a previous structure built of brick on the same site in 1843, which burned down in 1885. The building is laid out in a latin cross plan with a rusticated red medina sandstone exterior, a tall steeple with an open stone spire, gothic arched stained glass windows with tracery, octagonal towers flanking the main bell tower, buttresses with multiple pinnacles, entrance doors on the front facade with decorative portal surrounds, a clock by Seth Thomas on the front of the tower, cross gabled roof, a rear apse, low side aisles flanking the nave with shed roofs, stained glass rose windows on the ends of the transepts featuring tracery, and an undercroft. The church is one of the most distinctive in Buffalo, and continues to serve as a major Catholic parish church. The building is a contributing structure in the Allentown Historic District, listed on the National Register of Historic Places in 1980.
The village church of Wust is a flat-roofed brick building consecrated between 1191 and 1206. The church consists of a nave and a semicircular apse. The tower dates from the Baroque period and consists of a massive substructure and a two-story half-timbered tower from 1727.
Adjacent to the apse in the east is the baroque crypt of the von Katte family from 1708. The lieutenant Hans Hermann von Katte is buried in this crypt.
Hermann von Katte was a lieutenant in the Prussian army and a close friend of the young Frederick II. Both were interested in playing the flute and in poetry. In the spring of 1730, during a maneuver, the crown prince got into a heated argument with his father, Frederick William I. Frederick revealed to his friend his plan to flee to France to escape the educational power of his strict and sometimes brutal father. Katte tried to dissuade him, but eventually supported him. Frederick tried unsuccessfully to escape on August 5, 1730, while Katte kept in touch in Potsdam. A compromising letter exposed Hermann von Katte as an accomplice and he was arrested a short time later.
The king threatened to have the crown prince and Katte executed for desertion. Finally, Frederick William I ordered Katte's execution by beheading. The king is said to have forced his son to watch the execution of his friend.
The present building was begun in 1118, consecrated in 1238 and the structure of the building remains essentially as it was on completion. Most significantly the original wooden ceiling survives in the nave, the only one of its type in this country and one of only four wooden ceilings of this period surviving in the whole of Europe, having been completed between 1230 and 1250. It has been over-painted twice, but retains its original style and pattern.
The main beams and roof bosses of the tower date back to the 1370s and those of the Presbytery to 1500. The renewal of the Presbytery roof coincided with an extensive building programme which included the processional route provided by extending the East End of the church. This 'New Building' is an excellent example of late Perpendicular work with fine fan vaulting probably designed by John Wastell, who went on to work on Kings College Chapel in Cambridge.
In 1539 the great abbey of Peterborough was closed and its lands and properties confiscated by the king. However to increase his control over the church in this area he created a new bishop and Peterborough Abbey church became a Cathedral.
Two queens were buried in the Cathedral during the Tudor period. Katherine of Aragon's grave is in the North Aisle near the High Altar, whilst Mary Queen of Scots was buried on the opposite side of the altar, though her grave is now empty (she was re-buried in Westminster in 1612).
In 1031 was in the former village of Brunswik consecrated the St. Magni-church and assumed her 16 little places in the vicinity, among them Bienrode.
The tower of the church is most likely the oldest building in the village and probably dated from the time before the 1000th century. It belonged to the outer fortification of the later city of Brunswick.
It can be assumed, that the oldest church or chapel already in the 12th century might have arisen.
The name "The Holy Trinity" was given to the Church in 1957 by decision of the National Church Office Wolfenbüttel.
In the years 1972-1974, the interior was redesigned. Today, the church applies as a little jewel at Bienrode, in the northwest of Brunswick.
Im Jahre 1031 wurde in dem damaligen Dorfe Brunswik die St.-Magnis-Kirch geweiht und ihr 16 kleine Orte in der näheren Umgebung unterstellt, unter ihnen auch Bienrode.
Der Turm der Kirche ist wohl das älteste Bauwerk des Dorfes und stammt wahrscheinlich aus der Zeit vor 1000. Er gehörte zur Außenbefestigung der späteren Stadt Braunschweig. Es ist anzunehmen, dass das älteste Kirchlein oder Kapelle bereits im 12. Jahrhundert entstanden sein mag. Über die Schutzheiligen schweigen sich die Urkunden fast aus. Um 1500 wird einmal der Name "St. Margarethen" erwähnt, scheint aber in der Reformationszeit wieder in Vergessenheit geraten zu sein. Den Namen "Zur Heiligen Dreifaltigkeit" trägt die Kirche erst seit 1957 auf Beschluss des Landeskirchenamtes Wolfenbüttel nach einem Vorschlag des damaligen Kirchenvorstandes.
In den Jahren 1972-1974 wurde das Kircheninnere neu gestaltet. Heute präsentiert sich die Kirche als ein kleines Schmuckstück in den Schunterwiesen, im Nordwesten Braunschweigs.
Church of Saint Mary of the Assumption in Piazza Vittorio Emanuele II, Polignano a Mare.
"The Mother Church, former Cathedral of Polignano and consecrated to Santa Maria Assunta in 1295, stands on the same area previously occupied by a pagan temple. The entrance to the building, which can be reached by passing the iron fence and the churchyard, is inserted in a façade that combines Gothic and Baroque styles. The bell tower stands out, more than 23 meters high, it is made up of three orders, added in different periods. The lower part is characterized by two narrow windows that give light to the Buonospirito Chapel, or the Crib Chapel, where a crib is kept, now a National Monument, the work of Stefano da Putignano dating back to 1503). The interior is divided into three naves by arches resting on six columns. A notable artistic work is the eighteenth-century organ of the Neapolitan school, located high above the entrance. But the gaze of the faithful and the visitor is immediately captured by the majesty of the high altar (on the back is a painting from the 1600s), the choir and the chapel of San Vito, all framed by a double order of arches, imposing and superbly decorated. Of particular note is the choir, located in the apse. Dating back to 1611, it consists of three orders of benches, decorated with paintings and small columns: a preciousness of work and art.
The Chapel of the SS. Crucifix and that of the Madonna del Rosario flank the main altar. The first was the subject of restoration work in 2004 which brought to light fragments of decorations from a sixteenth-century altar. The Y-shaped cross inserted in the niche dates back to the same period. The particular shape of the crucifix represents a real rarity, as it is the only example in all of Puglia and in the South.
Numerous other paintings and sculptures of high artistic value are present in the sacristy, which make it an art gallery where one can admire, among others, a Deposition (1600 by Tommaso Scalera), various eighteenth-century works by unknown authors, a polyptych by Bartolomeo Vivarini (15th century) and, last but not least, a ring with precious stones and enamels, a Tuscan work from the 16th century." (polignano.it)
(www.polignano.it/cosa-vedere-a-polignano-a-mare/chiesa-ma...)
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You are looking at St. Boniface Church, named after the German apostle. It is the first consecrated Catholic Church in the State of Washington. The church not only represents the spiritual commitment of early Palouse immigrants and their modern-day ancestors, but also the commitment to building, from the ground up, a new society in a strange new place. This spirit would come to personify the people of the Palouse.
One of the most dramatic social changes experienced in the Palouse region was westward migration. As Europeans and Americans encroached on tribal lands in the 1860s, they brought with them a new culture. As the United States military removed area tribes, such as the Palus, Spokanes and Yakamas from their ancestral homelands on to reservations, the region was opened for homesteading. With abundant farming lands available after the Indian Appropriations Act in 1871, along with an effective suppression of Native American resistance, thousands of northern European farmers began migrating to the Palouse in search of economic prosperity.
In the late 19th Century, groups of German immigrants (predominantly from the regions of Bavaria, Baden, and Rhineland) settled their own enclaves in areas throughout the Palouse. One of the most prominent and prosperous immigrant communities was in Uniontown, originally settled by German Catholics in 1873. One year before settlement, a “party of young Germans” set out from Minnesota to homestead in Oregon Country. The group arrived in Walla Walla early in 1873, and from there to Palouse Country. Deciding to remain in an area south of Colfax, they named the settlement Uniontown (after the area’s unofficial name of Union Flats). The group even sent one man, Mr. Jacobs, back to Minnesota to send word of their arrival and bring back more German-American migrants.
The group of devout Catholics initially set about establishing a community church, a difficult task due to the lack of building materials. At first, Jesuit Fathers from the Lapwai Mission performed Mass inside homes. By the early 1880s, a Catholic organization was formed and a Dominican Friar, Father Caesary, became the first resident priest. In 1893, construction of the current structure began, at which time only the foundation was made. Financial hard times had befallen both Uniontown and the rest of the nation during the Panic of 1893, which effectively kyboshed the town’s Catholics from continuing the construction of their church for another 11 years. In May, 1904, under direction of Uniontown’s new Pastor, J.A. Faust, construction once again commenced and the grand structure was completed in less than year, opening its doors in April, 1905 at a total cost of around $20,000.
The construction of St. Boniface Church was indicative of the prosperity experienced among the German immigrants who brought their specific knowledge of wheat farming to the region over 140 years ago. It was the introduction of the German-American culture that helped to make the Palouse both culturally diverse and economically successful. They brought with them not just unique social and religious qualities, but they also brought distinct farming techniques from Europe, many of which are still used today. St. Boniface stands as a testament to the long-standing and positive influence that German immigrants have created in the Palouse.
Shot with Sony a6000 and Rokinon 12mm f/2.0.
Constructive criticism always appreciated.
In 1819-22, a stone church was built in Dubenki instead of a wooden church.
The church in Dubenki of the Sudogodsky district was consecrated in 1820. There were two thrones in the meal - in the name of St. St. Nicholas the Wonderworker and St. Vic. Paraskevs. The iconostases of the old church were moved to the newly built church. The main church was consecrated in 1823 in honor of the Nativity of Christ, while the iconostasis was bought in the Ilyinsky Church of Vladimir. In 1837, a stone bell tower was built at the church. In 1843, the refectory of the church was expanded, new iconostases were installed in it. At the same time, the chapel in the name of St. Nicholas the Wonderworker was renamed in the name of St. George. In 1863, a new iconostasis was built in the cold church and the throne was renamed in the name of the Ascension of the Lord. Of the holy icons in Dubenki and the surrounding villages, the icon of the Holy Vic was especially revered. Paraskeva, according to legend, appeared on an oak tree. The old altar Gospel of the edition of 1644 was kept in the church.
There is no information about how this Gospel came to the Dubenkov church. There was also a wooden chalice with the image of the Savior, the Mother of God and St. Nicholas. St. John the Baptist. At the end of the X1X century, it was taken to the ancient repository of the brotherhood of St. Alexander Nevsky.
The church in Dubenki Sudogodsky district From the village of Dubenok was born Fr. Arseny (Ivan Aleksandrovich Tikhomirov) - "protodeacon of all Russia". He had a rare powerful velvety bass. First, he sang in the choir in his church, then in the Trinity Sergius Lavra, where he took vows with the name Arseny. Once in the Lavra, Metropolitan Filaret noticed him and took him to Moscow. All of Moscow flocked to listen to the wonderful archdeacon. This continued for five years, when Emperor Nikolai Pavlovich, hearing his voice at a divine service, wished to see him in St. Petersburg. Saint Filaret dismissed Fr.Arseny went to the capital, where his life at the imperial court began. It was difficult to resist the sinful passions of the upper world. The career of the protodeacon ended with his expulsion to one of the monasteries of Novgorod, where he soon died.
The parish consisted of the village of Dubenok and the villages: Sorokin (3 km), Sipunov (2 km), Medvedtsev (3 km), Kudryavtsev (2 km), Pavlikov (7 km), Morugin (8 km), Potapovskaya (10 km), Naumovskaya (10 km), Klavdin (2 km), Lobanov (7 km), Fedorovka (10 km).
At the end of the 19th century, according to the clerical records, there were 411 households in all these villages, and there were 1,098 male and 1,176 female residents in them. Since 1891, there was a parochial school in Dubenki, in which there were 32 students.
In 1929, the priest Fr. Mikhail (Davydovsky) was arrested, then Fr. Ivan (Dvoeglazov) and Fr. Grigory (Pokrovsky).
Worship in the church stopped in the 30s. At one time, the headman of the temple had the keys to the temple. After the war, a granary was built in the temple, and then a machine and tractor station. In 1958, the bell tower was destroyed. According to the old-timers, when removing the cross, it fell and went into the ground to such a depth that they could not dig it out.
Small work on the preservation of the church began in 2005 under the leadership of Archpriest Oleg Tolkachev. By 2014, repair work was intensified to restore the roof of the altar and the refectory of the church. Prayers and memorial services are held in the warm season two or three times a month.
В 1819-22 годах вместо деревянной церкви в Дубенках был построен каменный храм.
Храм в Дубенках Судогодского района Трапеза была освящена в 1820 году. В трапезе было два престола - во имя св. Николая Чудотворца и св. вмц. Параскевы. Иконостасы старого храма были перенесены во вновь построенный храм. Главный храм освятили в 1823 году в честь Рождества Христова, при этом иконостас был куплен в Ильинской церкви Владимира. В 1837 году при храме была устроена каменная колокольня. В 1843 году расширили трапезную часть храма, поставили в ней новые иконостасы. При этом придел во имя св. Николая чудотворца был переименован во имя св. вмч. Георгия. В 1863 году в холодном храме был устроен новый иконостас и престол был переименован во имя Вознесения Господня. Из святых икон в Дубенках и окрестных деревнях особо почиталась икона св. вмц. Параскевы, по преданию, явленной на дубе. В церкви хранилось старое напрестольное Евангелие изд. 1644 года.
Каким образом это Евангелие поступило в Дубенковскую церковь никаких сведений не имеется. Был еще деревянный потир с изображением Спасителя, Божией Матери и св. Иоанна Предтечи. В конце Х1Х века он был взят в древлехранилище братства св. блг. кн. Александра Невского.
Храм в Дубенках Судогодского района Из села Дубенок родом был о. Арсений (Иван Александрович Тихомиров) - "протодиакон всея Руси". Он обладал редкостным могучим бархатистым басом. Сначала он пел на клиросе в своем храме, потом в Троице Сергиевой Лавре, где принял постриг с именем Арсения. Как-то в Лавре на него обратил внимание митрополит Филарет и взял его в Москву. Вся Москва стекалась послушать замечательного протодиакона. Так продолжалось в течение пяти лет, когда император Николай Павлович, услышав его голос на богослужении, пожелал его видеть в Санкт-Петербурге. Святитель Филарет отпустил о.Арсения в столицу, где началась его жизнь при императорском дворе. Трудно было устоять перед грешными страстями высшего света. Карьера протодиакона закончилась его высылкой в один из монастырей Новгорода, где вскоре он и скончался.
Приход состоял из села Дубенок и деревень: Сорокина (3 км), Сипунова (2 км), Медведцева (3 км), Кудрявцева (2 км), Павликова (7 км), Моругина (8 км), Потаповской (10 км), Наумовской (10 км), Клавдина (2 км), Лобанова (7 км), Федоровки (10 км).
В конце 19 века по клировым ведомостям во всех этих селениях числилось 411 дворов, а в них 1098 жителей муж. пола и 1176 женского. С 1891 года в Дубенках была церковно-приходская школа, в которой числилось 32 ученика.
В 1929 году был арестован священник о. Михаил (Давыдовский), затем репрессированы о. Иван (Двоеглазов) и о. Григорий (Покровский).
Богослужение в храме прекратились в 30-х годах. Ключи от храма были одно время у старосты храма. После войны в храме устроили зернохранилище, а затем машинно-тракторную станцию. В 1958 году была разрушена колокольня. Со слов старожил при снятии креста он упал и ушел в землю на такую глубину, что его так и не могли откопать.
Небольшие работы по консервированию храма начались еще в 2005 году под руководством протоиерея Олега Толкачева. К 2014 году активизировались ремонтные работы по восстановлению кровли алтаря и трапезной части храма. Молебны и панихиды совершаются в теплое время года два-три раза в месяц.
" Unless we understand the mutual relationship between faith and spiritual forces we shall regard the healing powers of a saint either as miraculous or as self-deception. But what we call miraculous is nothing but a short-cut in the interaction of natural forces, i.e. a direct action from mind to mind, without the usual roundabout way via the senses and material agents. Faith merely acts as a conductor, which makes this short-cut possible. Just as electricity - which is potentially present everywhere - becomes effective only in the presence of a conductor, so spiritual power becomes effective only in the presence of faith, be it faith in a divine power, or a human Guru, or faith in an ideal or in one's own inner reality....
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As long as we are convinced that the mind is not merely a product of physical functions or chemical reactions, but the primary fact of life, the builder of the body and not its slave, so long it is only natural to ascribe health to a balanced, harmonious mind and to ascribe diseases to mental disorders or spiritual disharmony. Even the earliest Buddhist scriptures described the mind as the forerunner of all things (mano puhbangama dhamma) the conditio sine qua non of all that exists.
Tibetans, therefore, rather than trying to cure physical symptoms, endeavor to go to the root of all disease by curing the mind. This can be done either by the direct influence of a saintly personality or through certain means which help the transference of power or a stimulation of faith through the medium of consecrated objects, symbols and rites, etc., all of which are intended to guide the mind in a certain direction." ~ Lama Anagorika Govinda, The Way of the White Clouds.
Nikkon D700,
Nikkor 17-35 mm @ 28 mm
1/4 s @ f/8, ISO 400
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.
Delamere.
Delamere was the tiny settlement on the hill tops above Rapid Bay. It was settled in 1842 just after the first settlements at Rapid Bay. One of the early settlers of here and Cape Jervis was Alexander Christie who gave his name to the beachside suburb near Noarlunga. In 1870 the second Anglican Church in the southern districts, apart from the one in Yankalilla, opened at Delamere- an indication of its importance. The surrounding area was quite populous in those days. A local farmer donated the land and the church was consecrated as St James’ Church by Bishop Augustus Short in 1871. Even the Governor attended the opening! St James Church became the place of worship for residents of Second Valley, Delamere and Rapid Bay. In 1877, the diocese of Salisbury in England gave a font to St James’ Church. It had been in use in Britford near Salisbury for two hundred years but its origin was believed to date as far back as the Saxon era making it over nine hundred years old. The font is considered to be unmatched in Australia and is on the register of the National Estate. The small Wesleyan Church which opened in Delamere in 1877 is still in use nearby in a valley towards the coast. Delamere also had an early local and then state school
Palatine Chapel, Aachen, begun c. 792, consecrated 805 (thought to have been designed by Odo of Metz), significant changes to the architectural fabric 14–17th centuries (Gothic apse, c. 1355; dome rebuilt and raised in the 17th century, etc), mosaics and revetment scream 19th century, and are indeed 19th century, columns were looted by French troops in the 18th century though many were later returned, they were added back without knowledge as to their original locations in the 19th century. Finally, the structure was also heavily damaged by allied bombing during WWII and significantly restored again in the second half of the twentieth century.
consecrated in 1250 ; suppressed in 1538 ; a road now runs through what were the south transept & the nave
Palatine Chapel, Aachen, begun c. 792, consecrated 805 (thought to have been designed by Odo of Metz), significant changes to the architectural fabric 14–17th centuries (Gothic apse, c. 1355; dome rebuilt and raised in the 17th century, etc), mosaics and revetment scream 19th century, and are indeed 19th century, columns were looted by French troops in the 18th century though many were later returned, they were added back without knowledge as to their original locations in the 19th century. Finally, the structure was also heavily damaged by allied bombing during WWII and significantly restored again in the second half of the twentieth century.
Palatine Chapel, Aachen, begun c. 792, consecrated 805 (thought to have been designed by Odo of Metz), significant changes to the architectural fabric 14–17th centuries (Gothic apse, c. 1355; dome rebuilt and raised in the 17th century, etc), mosaics and revetment scream 19th century, and are indeed 19th century, columns were looted by French troops in the 18th century though many were later returned, they were added back without knowledge as to their original locations in the 19th century. Finally, the structure was also heavily damaged by allied bombing during WWII and significantly restored again in the second half of the twentieth century.
St. Vitus Cathedral is the largest and the most important temple in Prague. Apart from religious services, coronations of Czech kings and queens also took place here. The cathedral is a place of burial of several patron saints, sovereigns, noblemen and archbishops.
The cathedral is the third church consecrated to the same saint on the same site. Around the year 925, Prince Wenceslas (Václav) founded a Romanesque rotunda here, which after 1060 was converted into a basilica with three naves and two steeples.
The importance of the church grew especially after the establishment of the Prague bishopric in 973 and the founding of the body of canons - the St. Vitus chapter, which later became an important cultural and administrative institution.
In 1344, Charles IV began the construction of a Gothic cathedral. Its first builders, Matthias of Arras and later Peter Parler, built the chancel with a ring of chapels, St. Wenceslas Chapel, the Golden Gate and the lower part of the Great South Tower.
It was already Peter Parler who started the construction of the South Tower, however he did not complete it. In the 16th century, is was finished with a Renaissance view gallery and a helmet. Later in the 18th century, the older helmet was replaced by a new dome.
Unfortunately, in 1419 the construction of the Cathedral stopped because of the Hussite Wars. In spite of the endeavours of some sovereigns to secure the continuation of the construction work, the Cathedral remained uncompleted for whole centuries. The facade of the Cathedral was provisionally closed and for example the music choir was bulit.
It was not until the latter half of the 19th century that the Union for the Completion of the Cathedral began the repair of the original part and the completion of the Cathedral in Neo-Gothic style. The church was solemnly consecrated in 1929. Its interior was subjected to adaptations even in later years.
Visitors enter the Cathedral through the portal in the western facade, opposite the passage-way between the Second and Third Courtyard of Prague Castle.
Its bronze door is decorated with reliefs with scenes from the history of the Cathedral and from the legends about St. Wenceslas and St. Adalbert.
The Neo-Gothic part of the Cathedral consists of the main nave and the narrow side aisles, lined with chapels, and the northern wing of the transverse nave. The chapels have stained glass windows. In the cross nave, the ceremonial entrance into the Cathedral can be seen - the Golden Gate - leading to the Third Courtyard.
Situated in the chancel of the Cathedral, in front of the high altar, is the Royal Mausoleum below which there is the royal crypt. The chancel is surrounded by a ring of Gothic chapels. Czech sovereigns and patron saints are interred in some of them.
St. Wenceslas Chapel
St. Wenceslas Chapel is a cult centre of St. Vitus Cathedral. Its magnificent decoration and the different conception of its architecture emphasize its singularity as the central point of the Cathedral with the tomb of the most important Czech patron saint. The facing of the walls, consisting of precious stones, and the wall paintings of the Passion Cycle are parts of the original 14th-century decoration of the chapel. The scenes from the life of St. Wenceslas forming another decorative band are attributed to the workshop of the Master of the Litomerice Altar (the cycle dates back to 1509).
The door in the south-western corner of the chapel leads to the Crown Chamber in which the Bohemian Coronation Jewels are kept.
www.hrad.cz/en/prague-castle-for-visitors/objects-for-vis...
"The Roman Catholic parish church of Spitz is in the market town of Spitz in the Krems-Land district in Lower Austria. The parish church consecrated to St. Mauritius belongs to the Deanery Spitz in the diocese of St. Pölten. The church is a listed building.
The church consecrated to Saint Mauritius was originally also consecrated to Saint Godehard and is located in the eastern part of the village on Kirchenplatz. A chapel was mentioned in a document in 1163. It was incorporated into the St. Florian Monastery and until 1239 a branch of St. Michael in the Wachau. From 1222/25 onwards a parish church was named a pastor in a document. From 1238 to 1803 the parish church was the Niederaltaich monastery incorporated. The late Gothic hall church under a high gable roof with the main portal in the presented west tower has a long choir bent out of its axis under a slightly higher gable roof. A medieval, formerly fortified enclosure wall, partly as a lining wall with stepped supporting pillars and partly with large, uncut stone blocks, has been preserved.
The late Gothic church building consists of a nave and a retracted long choir with three-lane pointed arched windows with richly varied tracery and stepped buttresses. The four-storey west tower with a local stone structure has a steep hipped roof with a small roof house. The lower two tower floors are from the beginning of the 14th century with a presumably Romanesque wall core, in the bell floor there are two-lane tracery windows from the 16th century. A head sculpture is walled in over the beveled pointed arch portal of the tower. The main portal of the vestibule in the tower from the end of the 15th century is wicker-arched in an ogival shape richly profiled with pear rods, in the tympanum is a three-passport with crab decoration, the portal to the nave is a chamfered two-passportal. The tower ground floor is vaulted with ribs and a keystone with a profiled rosette and mask face from the beginning of the 14th century. On the north and south sides of the nave there is a late Gothic light house with a keel arch crown from around 1500. The retracted two-bay choir withThe five- eighth closure is from the 1st quarter of the 16th century, the southwest buttress is marked with H. Wilhelm Paldauv 1694, a buttress with 1547, has a stone cross on the ridge at the transition to the nave, a crypt window and a late Gothic niche between two buttresses Mesh rib vault. In the south of the tower is the donor and burial chapel of Wolfhard von der Au and Anna Murstetter, with a pent roof and pointed arch window, before 1395. In front of it is a niche gabled on the south side from the beginning of the 19th century with a crucifix from the beginning of the 18th century. To the north of the west wall is a shallow two-storey extension with small Gothic windows, a staircase and a former healing chamber. On the south side of the nave is a gable-independent staircase with small rectangular windows from the 15th century that extends to the eaves. On the south wall of the nave there are remains of a crucifix fresco and next to it a donor couple from the 1st third of the 16th century. There are gravestones Sigmundt Ler. 1603 with wife 1612, Niclas Zalbinger 1532, 1422, around 1500, Wolfgang Kernstockh 1521 and Martha 1521, Michel Ern 1486, Margret around 1500.
The richly structured three-aisled, four-bay late Gothic nave was built in several sections with the direction of construction from west to east from the 14th century to the 1st quarter of the 16th century. The cross-rib vaulted side aisles are open to the central nave with pointed arches. The central nave has a ribbed vault on octagonal pillars and relief keystones with the coats of arms of Spitz and Niederaltaich. The eastern three-aisled yoke is somewhat widened and not quite in the axis, it was built in the 15th century to 1517, is separated from the western nave and choir by retracted arches and has a parallel net rib vault in the northern nave yoke, a star rib vault with a coat of arms in the central nave yoke with 1517; the southern nave yoke, which is shortened because of the sacristy adjoining it to the east, has a warped, star-ribbed vault with a painted coat of arms in relief with crossed raft hooks; The square sacristy has a ribbed vault from the 2nd half of the 15th century. The three-aisled gallery building before 1438 is vaulted with cross ribs in the side aisles, in the central nave with mesh ribs vaulted has a richly structured parapet with tracery in double quadrangular shapes and a two-axis organ foot each, in the middle part there are blind niches with apostles' figures, some with keel arches. A two-lane tracery window from the 14th century leads to the upper floor of the sacristy. The square sacristy has a ribbed vault from the 2nd half of the 15th century. The three-aisled gallery building before 1438 is vaulted with cross ribs in the side aisles, in the central nave with mesh ribs vaulted has a richly structured parapet with tracery in double quadrangular shapes and a two-axis organ foot each, in the middle part there are blind niches with apostles' figures, some with keel arches. A two-lane tracery window from the 14th century leads to the upper floor of the sacristy. The square sacristy has a ribbed vault from the 2nd half of the 15th century. The three-aisled gallery building before 1438 is vaulted with cross ribs in the side aisles, in the central nave with mesh ribs vaulted has a richly structured parapet with tracery in double quadrangular shapes and a two-axis organ foot each, in the middle part there are blind niches with apostles' figures, some with keel arches.in the middle part there are blind niches with figures of apostles, some with keel arches.in the middle part there are blind niches with figures of apostles, some with keel arches.
A retracted pointed arch triumphal arch with 1406 and 1506 forms the transition to the choir, which is also raised in the floor, with a sharp bend to the north. The choir is vaulted with net ribs with painted coats of arms Zollern, Kirchberger, with colored head sculptures at the intersections of the ribs, the pierced, partially crossed ribs rest on bundled services. The services are presented with statue canopies with crossed keel arches as well as pinnacles and crab ornaments, the consoles have lush branches and foliage. The session is in a richly profiled arched niche. Under the choir is a lower church with vaulted rooms.
A shoulder-arched south portal is walled up at the donor's chapel south of the tower. The two oblong yokes have cross ribbed vaults on consoles around the change from the 14th to the 15th century. There is a rectangular sacrament niche with an original wrought iron door. There are remains of a wall painting Crucifixion, St. Christophorus from the 2nd third of the 14th century on the previously unobstructed south side of the tower, now visible in the attic of the Stifterkapelle.
Remains of ornamental panes are preserved in the sacristy window (grisaille) from the 2nd half of the 14th century. The church's colored figural stained glass was created between 1910 and 1916.
The high altar from the end of the 17th century was transferred from Niederaltaich in 1718 and consecrated and renovated in 1724 and designated 1735. The aedicule structure has a split gable, the extension is framed with twisted columns and a segmented gable, with rich acanthus decor. The altarpiece of the Martyrdom of St. Mauritius is named Martin Johann Schmidt, 1799. The figures of angels, putti, St. Michael are from the end of the 17th century, in the pillared pedestals are the figurines of Saints Ulrich and Urban from around 1730. The three-part tabernacle from the 1st quarter of the 18th century has niche figurines with holy bishops. On both sides of the pillars are sacrificial portals with foliage decoration from around 1700.
The left Marian altar from the 2nd quarter of the 18th century has a structure with inclined pillars and columns on pedestals, has fragments of entablature and a scroll framed excerpt. The altar figures are Saints Joseph and Zacharias, angels, putti, and in the central niche Maria Immaculata are from the 2nd half of the 16th century. The upper image of St. Joseph with child is from the 2nd quarter of the 18th century.
The right St. Nicholas altar from the 2nd quarter of the 18th century is a foundation of the rafters, the structure is as on the left. The altar figures are the saints Florian and Maria Magdalena, putti, in the excerpt the figure of St. Johannes Nepomuk, altarpiece St. Nicholas over the village of Spitzby the painter Ferdinand Mory from 1744. There are two further side altars on the nave pillars with the same structure from 1744, reredos with volute struts on the sides and excerpts flanked by valutes. The left Sebastian altar has the figures of Saints Karl Borromeo and Rochus from the workshop of Matthias Schwanthaler, the altarpiece Apotheosis of St. Sebastian and the essay picture St. Thekla was painted by the painter Wolf Körner in the middle of the 18th century. The right altar of Catherine has the altar figures of Saints Maria Madgalena and Margareta, the altarpiece Mystical Marriage of St. In 1751 Katharina painted Anton Hamel, the top picture St. Religious is from the 2nd quarter of the 18th century. In the choir there are console figures of Saints Benedict and Scholastica from the 4th quarter of the 17th century, the 4 evangelists from the 1st.Quarter of the 18th century, in the nave the console figures of Saints Sebastian and Joseph from the 1st quarter of the 18th century. There is the figure Risen Christ as a gardener around 1500.
The wooden figures of Christ and the 12 apostles in the blind niches in the middle of the gallery parapet from the 4th quarter of the 14th century are painted in color. In niches on the gallery pillars are two stone figures of Saints Benedikt and Godehard, from Niederaltaich around 1500.
In the chapel is a monumental crucifix from around 1520 with the figures of Saints Mary and John from the early 17th century. There are three images of fasting, the crucifixion by Martin Johann Schmidt from the end of the 18th century, the coronation of thorns and the flagellation from the 18th century. The 14 Stations of the Cross were created around 1800. Behind the high altar is a wall paneling with structure in the manner of choir stalls with panel paintings with mainly Old Testament scenes from the 1st quarter of the 17th century. There are late Gothic iron plate doors with vine tendrils from the beginning of the 16th century.
The pulpit from the middle of the 18th century has a curved basket with volute struts, putti and evangelist symbols with the church fathers as a relief, the sound cover with volute top has St. Mauritius. The choir stalls are from the middle of the 17th century, the communion bench was built around 1730. The pews and vestry cupboards are from the 3rd quarter of the 18th century. The holy water font with a bowl is from the beginning of the 16th century.
The organ case from the 2nd quarter of the 19th century is partly in neo-Gothic form and provided with gold-plated rocailles, today's organ was built by Friedrich Heftner in 1981/82.
Spitz an der Donau is a market town in the district of Krems-Land in the Austrian state of Lower Austria, in the midst of the UNESCO World Heritage area Wachau, further down from Willendorf on the left bank of the Danube. The ferry across the Danube here is interesting in that it has no motor or sail: it is powered by rudder set against the river current, anchored to a cable above the river. The ferry carries passengers, bicycles, motorcycles, and automobiles.
Occupied since Celtic times, it was first mentioned in 830. A hill "Tausendeimerberg" (the "Hill of a Thousand Buckets") is so named because of the many grapes that grow there, for the Wachau valley, for which Spitz is in, is famous for them. The Late Gothic church to St. Maurice is famous for its Apostles (1380) and an altarpiece by Kremser Schmidt. To the south of Spitz is the famous fortress of Hinterhaus.
In February 2008, Spitz made an appearance in domestic news following the poisoning of then–mayor Dr. Hannes Hirtzberger.
Spitz lies on the left bank of the Danube in the Waldviertel in Lower Austria. The area of the market town covers 23.83 square kilometers. 69.21 percent of the area is forested. In Spitz, the Spitzer stream flows into the Danube.
The Wachau (German pronunciation: [vaˈxaʊ]) is an Austrian valley with a picturesque landscape formed by the Danube river. It is one of the most prominent tourist destinations of Lower Austria, located midway between the towns of Melk and Krems that also attracts "connoisseurs and epicureans" for its high-quality wines. It is 36 kilometres (22 mi) in length and was already settled in prehistoric times. A well-known place and tourist attraction is Dürnstein, where King Richard the Lionhearted of England was held captive by Duke Leopold V. The architectural elegance of its ancient monasteries (Melk Abbey and Göttweig Abbey), castles and ruins combined with the urban architecture of its towns and villages, and the cultivation of vines as an important agricultural produce are the dominant features of the valley.
The Wachau was inscribed as "Wachau Cultural Landscape" in the UNESCO List of World Heritage Sites in recognition of its architectural and agricultural history, in December 2000." - 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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Moscow, Russia - April 27, 2019: Believing Muscovites consecrate in church Easter eggs and Easter cakes on the eve of a religious holiday of orthodox Easter
The Cahors Cathedral was erected between 1080 and 1135. It got consecrated by Pope Calixtus II in 1119. The same pope, who two years later could imprison his rival "Antipope" Gregory VIII. Four years later, Calixtus ended the Investiture Controversy by agreeing with Emperor Henry V on the Concordat of Worms.
During the times of medieval pilgrimage this cathedral was an important place on the "Via Podiensis", as the "Sainte Coiffe" could be venerated here. This "Holy Headdress" was believed to have been used during Jesus' burial. It had been given to Aymatus, Bishop of Cahors, by Charlemagne. A relic similar to the "Shroud of Turin".
On the northern side of the cathedral and intricate Romanesque portal faces the "Via Podiensis". This was what the pilgrims saw first - and this portal they used entering the basilica. The carvings are very soft and elegant. The tympanum depicts Christ in a mandorla, surrounded by angles. Very interesting are the archivolts. One of them is populated with hunters and craftsmen.
Here is a farrier shoeing a horse.
Farriers are highly esteemed artisans since about 2000 years. "The Worshipful Company of Farriers" exists in London since 1356.
The scene is in deed vertically - I made it horizontally...
Cormac's Chapel begun 1127, (consecrated 1134) for
Cormac Mac Cárthaigh, king of Desmond (South Munster), , sandstone (Romanesque), Rock of Cashel, County Tipperary, Ireland
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.
A couple take a photo at the viewpoint of the Sacre-Coeur.
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.
Palatine Chapel, Aachen, begun c. 792, consecrated 805 (thought to have been designed by Odo of Metz), significant changes to the architectural fabric 14–17th centuries (Gothic apse, c. 1355; dome rebuilt and raised in the 17th century, etc), mosaics and revetment scream 19th century, and are indeed 19th century, columns were looted by French troops in the 18th century though many were later returned, they were added back without knowledge as to their original locations in the 19th century. Finally, the structure was also heavily damaged by allied bombing during WWII and significantly restored again in the second half of the twentieth century.
Winchester Cathedral was consecrated in 1093, and it has the longest nave and greatest overall length of any Gothic cathedral in Europe. The present nave was remodelled by Bishop Edingdon (1346–1366) and completed under Bishop Wykeham, c.1390.
Sénanque Abbey, founded 1148, consecrated 1178, is a brilliant example of the sober architecture, Bernhard of Clairvaux wanted to see, for the monastries of the Cistercians (aka "White Monks"). Though raided and looted during the Wars of Religion, nationalized and sold after the French Revolution, the whole complex still very intact and untouched. It is probably the by far most photographed abbey in the Provence. The majotity of guidebooks I have seen, have a photo of this abbey on the front. And there are certain spots, called "Kodak Points", where 90% of these photos are taken. This one too.
This two storey timber and stucco building was constructed as the Masonic Temple at Norman Park in 1927. It was built on land acquired by Trustees of the Norman Park Lodge in 1925 and was officially dedicated and consecrated on 28 July 1927. The hall served the local masonic community for over fifty years before being sold to the Rosicrucian Order, AMORC, in 1978. The Order added a block work extension to the building in 1989.
Although the first residential subdivisions took place in Norman Park during the 1880s and the tramline arrived in 1904, the area remained mostly farmland until after World War I. Early surviving houses at Norman Park include ‘Rose Hill’ (circa 1896), ‘Lozelles’ (circa 1888) and ‘Eulalia’ (1889) which was part of the Early Street Historical Village from 1965 to the late 1990s. Residential development increased during the interwar years, encouraged by the opening of the Norman Park railway station in 1911. As the population grew, community buildings such as the Methodist Church (1917) and the Anglican Church of the Transfiguration (1925) were built.
Freemasonry had its beginnings in medieval England with the formation of lodges of skilled stonemasons. By the early eighteenth century, men who were not stonemasons were admitted and the first Grand Lodge was established. Freemasonry was established in Queensland in 1859, although the Queensland lodges operated under the ultimate authority of the Grand Master of New South Wales until well into the twentieth century.
The first Masonic Lodge in Brisbane was built on the corner of Albert and Ann Streets in 1866 and served as the centre for Queensland freemasonry until a larger temple was constructed in Alice Street in 1886. (Both have since been demolished). Many of Brisbane’s most influential men, including John Petrie, the first Mayor of Brisbane, and Sir Charles Lilley, Premier of Queensland and champion of free education, were active masons. Lodges were established under the English, Irish and Scottish constitutions and it was not until 1921 that the United Grand Lodge was formed in Brisbane uniting 281 lodges. The imposing Masonic Temple in Ann Street, designed by Lange Powell, was opened in 1930, replacing the Alice Street Temple.
The Norman Park Lodge was established in 1923. Members used the local Presbyterian Church for meetings while plans were made to construct their own temple. In 1925, the Lodge acquired three 16 perch allotments (1214m²) in Norman Avenue. Members of the Lodge provided an interest free loan to cover the expense of building the temple which was expected to cost £1,500 to £1,800.
According to the Brisbane Courier, the stump capping ceremony held on 19 February 1927 was attended by “a large gathering of Masons, including many interstate visitors”. Each of the fifty stumps received a specially constructed metal cap and donations totalling £40 were placed under the caps by various donors. The first stump was ceremoniously capped by the Grand Master Brother C. Stumm. The remaining stumps were capped by members of the Norman Park Lodge, visiting masons and Mrs J. Bothwell and Mrs A. T. Atherton. The new temple was to be built and furnished by a father and three sons, all of whom were members of the Norman Park Lodge. On 28 July 1927, the Grand Master returned to officiate at a dedication and consecration ceremony for the new temple.
In addition to providing a venue for masonic meetings and rituals, the Norman Park Masonic Temple was used to hold social events. For example, on 8 March 1930, a dance and musical evening was held at the hall to raise extra building funds. In 1961, the Brisbane City Council approved an addition to the site which is likely to be the timber section at the rear of the building on the southern side.
The masonic temple was damaged in the severe flooding of 1974, prompting the Norman Park Masonic Lodge to sell the site to the Rosicrucian Order AMORC (Ancient and Mystical Order Rosae Crucis), a non-profit, educational and spiritual organisation. Although the titles were transferred in 1978 to the Rosicrucian Order, financial settlement did not occur until 1981.
The Order carried out extensive repairs to the flood damaged building that included reinforcing the first floor with steel girders. The members of the Order continued to use the upper floor as a temple, modifying the interior to fit their requirements and adding various paintings and symbols. There is no visible evidence in the temple of any original Masonic insignia. In 1989, the Rosacrucians built a two storey block work addition on the western side of the building.
The former masonic temple at Norman Park is one of several surviving pre-World War II Masonic halls entered on the Brisbane City Planning Heritage Register. Others include those at Sandgate (1889), Taringa (1902) and Wynnum (1920).
The Norman Park Masonic Temple provides evidence of the expansion of the Masonic movement in Brisbane during the Interwar period. Under the ownership of the Rosacrucian Order, it continues to operate as a place of ritual. It is one of several surviving pre-World War II Masonic temples entered on the Brisbane City Heritage Register.
Source: Brisbane City Council Heritage Register.