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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.
Diseñada en 1613 por el importante arquitecto fray Alberto de la Madre de Dios, se consagró en 1617 con grandes festejos para la Corte y los nobles, que duraron 13 días. El duque consiguió que esta abadía dependiera directamente de Roma. Tiene tres naves en girola, pero carece de crucero. El retablo es barroco con seis imágenes del escultor Juan de Ávila. Se conserva una valiosa estatua sepulcral arrodillada del Arzobispo Cristóbal de Rojas, en bronce dorado, obra de Juan de Arfe. Hay dos órganos de 1615 y 1616 de los más antiguos de la península en el que se dan conciertos barrocos.
es.wikipedia.org/wiki/Lerma_(España)
Designed in 1613 by the important architect Fray Alberto de la Madre de Dios, it was consecrated in 1617 with great celebrations for the Court and the nobles, which lasted 13 days. The duke made this abbey directly dependent on Rome. It has three ships in ambulatory, but lacks a cruise. The altarpiece is Baroque with six images by the sculptor Juan de Ávila. A valuable kneeling sepulchral statue of Archbishop Cristóbal de Rojas is preserved, in gilt bronze, the work of Juan de Arfe. There are two organs from 1615 and 1616 of the oldest in the peninsula in which Baroque concerts are given.
La Colegiata de San Pedro situada en la Plaza de San Pedro de la localidad de Lerma, provincia de Burgos, comunidad autónoma de Castilla y León, España. Se consagró en 1617 con grandes festejos para la Corte y los nobles, que duraron 21 días. El duque de Lerma consiguió que esta abadía dependiera directamente de Roma (por eso se ve el emblema papal por todas partes).
Cuenta con una portada señorial con los escudos de los Sandoval (banda negra sobre oro) y los Rojas (cinco estrellas
Lo primero que llama la atención de la Colegiata es la sencillez de su exterior. La fachada principal de la Colegiata tiene una torre articulada en cuatro cuerpos. El primer cuerpo tiene un arco de medio punto por el que se llega al templo, el segundo cuerpo tiene una hornacina donde se encuentra una escultura de San Pablo, el tercer cuerpo alberga un reloj que aunque no es el originario le imita a la perfección y el cuarto cuerpo da al grandioso campanario. En la torre que posee la Colegiata en el exterior se encuentran el baptisterio y la contaduría. Otra de las fachadas, la fachada del mediodía permite la entrada a la Colegiata a través de una portada clasicista muy sencilla.
es.wikipedia.org/wiki/Colegiata_de_San_Pedro_(Lerma)
The Collegiate Church of Saint Peter located in St. Peter's Square in the town of Lerma, province of Burgos, autonomous community of Castilla y León, Spain. It was consecrated in 1617 with great festivities for the Court and the nobles, which lasted 21 days. The Duke of Lerma made this abbey directly dependent on Rome (that is why the papal emblem is seen everywhere).
It has a stately portal with the shields of the Sandovals (black band on gold) and the Rojas (five stars
The first thing that catches the attention of the Collegiate Church is the simplicity of its exterior. The main façade of the Collegiate Church has a tower articulated in four sections. The first body has a semicircular arch through which you reach the temple, the second body has a niche where there is a sculpture of Saint Paul, the third body houses a clock that, although it is not the original one, imitates it perfectly and the fourth body overlooks the grandiose bell tower. In the tower that the Collegiate Church has on the outside are the baptistery and the accounting office. Another of the facades, the noon façade, allows entry to the Collegiate Church through a very simple classicist doorway.
Church in Venice that was begun in its original form in 829 (consecrated in 832) as an ecclesiastical structure to house and honour the remains of St. Markthat had been brought from Alexandria. St. Mark thereupon replaced St. Theodore as the patron saint of Venice, and his attribute of a winged lion later became the official symbol of the Venetian Republic. San Marco Basilica, built beside the Palazzo Ducale, or Doges’ Palace, also served as the doge’s. It did not become the cathedral church of Venice until 1807. The first basilica was burned in 976 during a popular revolt against the doge Pietro Candiano IV but was restored under his successor, Doge Domenico Contarini (died about 1070); the present basilica was completed in 1071. The plan is a Greek cross, and the building is surmounted by five domes. The design is distinctly Byzantine, and it is likely that both Byzantine and Italian architects and craftsmen were employed in the construction and decoration. Over the centuries, additions of sculpture, mosaics, and ceremonial objects have increased the church’s richness.
Строительство церкви началось в 829 году. На возведение собора Сан-Марко ушло всего лишь три года. К сожалению, первоначальный вид здания не сохранился — постройка сильно пострадала во время пожара. Современный же храм был построен в 1063 году. В последующие годы собор становился все больше и красивее. Архитекторы использовали для постройки базилики несколько десятков тысяч свай из лиственницы. Кстати, прототипом храма считается церковь Двенадцати апостолов в Константинополе. Базилика играла важную роль в жизни Венеции. В соборе короновали дожей, отправляли в дальние странствия известных мореходов, здесь собирались жители города в праздники и дни народных бедствий.
The Sainte-Chapelle (French: [sɛ̃t ʃapɛl]; English: Holy Chapel) is a royal chapel in the Gothic style, within the medieval Palais de la Cité, the residence of the Kings of France until the 14th century, on the Île de la Cité in the River Seine in Paris, France.
Construction began sometime after 1238 and the chapel was consecrated on 26 April 1248. The Sainte-Chapelle is considered among the highest achievements of the Rayonnant period of Gothic architecture. It was commissioned by King Louis IX of France to house his collection of Passion relics, including Christ's Crown of Thorns – one of the most important relics in medieval Christendom, later hosted in the nearby Notre-Dame Cathedral until the 2019 fire, which it survived.
Along with the Conciergerie, the Sainte-Chapelle is one of the earliest surviving buildings of the Capetian royal palace on the Île de la Cité. Although damaged during the French Revolution and restored in the 19th century, it has one of the most extensive 13th-century stained glass collections anywhere in the world.
The Sainte-Chapelle is no longer a church. It was secularised after the French Revolution, and is now operated by the French Centre of National Monuments, along with the nearby Conciergerie, the other remaining vestige of the original palace.
the de-consecrated St. Maximin's Abbey
en.wikipedia.org/wiki/St._Maximin%27s_Abbey,_Trier
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.
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.
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. Legends tell, that it had been given to Aymatus, Bishop of Cahors, by Charlemagne, but what is more likely it was brought to Cahors by bishop Gerard de Cardillac after his trip to the Holy Land in 1113. A relic similar to the "Shroud of Turin".
Prominent features are the two domes (a third one collapsed in the 13th century). The cathedral´s castle-like, west-facing entrance section / bell-tower was added end of the 13th / early 14th century. It is very much like a massive Carolingian / Ottonian westwork. The rose-window makes clear, that this is younger.
It was widely discussed, whether the facade once had the elaborate Romanesque portal, that was later moved to the northern side. Since the 1980s it is proven (Bratke, Durliat), that the Romanesque portal was constructed for the northern side, where it is still today.
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.
Menmaatre Seti I (or Sethos I as in Greek) was a pharaoh of the New Kingdom Nineteenth Dynasty of Egypt, the son of Ramesses I and Queen Sitre, and the father of Ramesses II. As with all dates in Ancient Egypt, the actual dates of his reign are unclear, and various historians claim different dates, with 1294 BC to 1279 BC and 1290 BC to 1279 BC being the most commonly used by scholars today.
The name 'Seti' means "of Set", which indicates that he was consecrated to the god Set (or "Seth"). As with most pharaohs, Seti had several names. Upon his ascension, he took the prenomen "mn-m3‘t-r‘ ", usually vocalized as Menmaatre, in Egyptian, which means "Eternal is the Justice of Re." His better known nomen, or birth name, is transliterated as "sty mry-n-ptḥ" or Sety Merenptah, meaning "Man of Set, beloved of Ptah". Manetho incorrectly considered him to be the founder of the 19th dynasty, and gave him a reign length of 55 years, though no evidence has ever been found for so long a reign.
The greatest achievement of Seti I's foreign policy was the capture of the Syrian town of Kadesh and neighboring territory of Amurru from the Hittite Empire. Egypt had not held Kadesh since the time of Akhenaten. Tutankhamun and Horemheb had failed to recapture the city from the Hittites. Seti I was successful in defeating a Hittite army that tried to defend the town. He entered the city in triumph together with his son Ramesses II and erected a victory stela at the site. Kadesh, however, soon reverted to Hittite control because the Egyptians did not or could not maintain a permanent military occupation of Kadesh and Amurru which were close to the Hittite homelands. It is unlikely that Seti I made a peace treaty with the Hittites or voluntarily returned Kadesh and Amurru to them but he may have reached an informal understanding with the Hittite king Muwatalli on the precise boundaries of the Egyptian and Hittite Empires. Five years after Seti I's death, however, his son Ramesses II resumed hostilities and made a failed attempt to recapture Kadesh. Kadesh was henceforth effectively held by the Hittites even though Ramesses temporarily occupied the city in his 8th year.
The traditional view of Seti I's wars was that he restored the Egyptian empire after it had been lost in the time of Akhenaten. This was based on the chaotic picture of Egyptian-controlled Syria and Palestine seen in the Amarna letters, a cache of diplomatic correspondence from the time of Akhenaten found at Akhenaten’s capital at el-Amarna in Middle Egypt. Recent scholarship, however, indicates that the empire was not lost at this time, except for its northern border provinces of Kadesh and Amurru in Syria and Lebanon. While evidence for the military activities of Akhenaten, Tutankhamun and Horemheb is fragmentary or ambiguous, Seti I has left us an impressive war monument that glorifies his achievement, along with a number of texts, all of which tend to magnify his personal achievements on the battlefield.
Seti's well preserved tomb (KV17) was found in 1817 by Giovanni Battista Belzoni, in the Valley of the Kings; it proved to be the longest at 136 meters and deepest of all the New Kingdom royal tombs. It was also the first tomb to feature decorations (including The Legend of the destruction of mankind ) on every passageway and chamber with highly refined bas-reliefs and colorful paintings - fragments of which, including a large column depicting Seti I with the goddess Hathor, can be seen in the Museo Archeologico, Florence. This decorative style set a precedent which was followed in full or in part in the tombs of later New Kingdom kings. Seti's mummy itself was not discovered until 1881, in the mummy cache (tomb DB320) at Deir el-Bahri, and has since been kept at the Cairo Museum.
His huge sarcophagus, carved in one piece and intricately decorated on every surface (including the goddess Nut on the interior base), is in Sir John Soane's Museum, in London, England; Soane bought it for exhibition in his open collection in 1824, when the British Museum refused to pay the £2,000 demanded. On its arrival at the museum, the alabaster was pure white and inlaid with blue copper sulphate. Years of the London climate and pollution have darkened the alabaster to a buff colour and absorbed moisture has caused the hygroscopic inlay material to fall out and disappear completely. A small watercolour nearby records the appearance, as it was.
From an examination of Seti's extremely well-preserved mummy, Seti I appears to have been less than forty years old when he died unexpectedly. This is in stark contrast to the situation with Horemheb, Ramesses I and Ramesses II who all lived to an advanced age. The reasons for his relatively early death are uncertain, but there is no evidence of violence on his mummy. His mummy was found decapitated, but this was likely caused after his death by tomb robbers. The Amun priest carefully reattached his head to his body with the use of linen cloths. It has been suggested that he died from a disease which had affected him for years, possibly related to his heart. The latter was found placed in the right part of the body, while the usual practice of the day was to place it in the left part during the mummification process. Opinions vary whether this was a mistake or an attempt to have Seti's heart work better in his afterlife. Seti I's mummy is about 1.7 metres (5 ft 7 in) tall.
I have been a smal trip to Trondheim with work, and I tock some pictures up there. I will post them one by one. :-) The first one is of one of the most famus buildings in Norway.
Trondheim is a beautiful Norwegian Town.
Nidaros Cathedral is located in the city of Trondheim in Sør-Trøndelag county, Norway. It is the traditional location for the consecration of the King of Norway. King Harald was consecrated at Nidaros Cathedral on June 23, 1991.
It was the cathedral of the Roman Catholic Archdiocese of Nidaros from its establishment in 1152 until its abolition in 1537. Since the
Along with Vår Frue Church, the cathedral is part of the Nidaros og Vår Frue parish in the Nidaros deanery in the Diocese of Nidaros.
The Cahors Cathedral was erected between 1080 and1135. 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.
Seen from "Croix Magne" are the Cathédrale Saint-Étienne´s domes, the most prominent features. These massive, 32 m-high, domes are huge! There was even a third one, that collapsed in the 13th century. This dome was, where the rectangular Gothic choir (1280) is now. The cathedral´s castle-like, west-facing entrance section/bell- tower was added end of the 13th / early 14th century.
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".
Visaby Cathedral (Swedish: Visby domkyrka, officially Visby S:ta Maria domkyrka) is a cathedral in Visby in Sweden. Belonging to Visby Cathedral Parish of the Church of Sweden, it serves the Diocese of Visby. and was inaugurated on 27 July in 1225
Visby Cathedral was built as a church for German traders in Visby. It was financed by a fee that every German trader arriving in Visby had to pay. Construction started at the end of the 12th century, and the church was probably finished circa 1190. Rebuilding of the church seems to have started already in 1211 however, and in 1225 a new choir was inaugurated. Originally the church was probably only used by visiting Germans, but as some of these settled permanently in Visby, it developed into a church for both resident and visiting German traders, and with time also native Gotlanders. Therefore, when it was consecrated in 1225 by the Bishop of Linköping, it was declared a church for two congregations, each with their own priest: one for visitors, and one for natives. It developed into one of the most important churches of the city, and by the late Middle Ages it was the second largest church in Visby. It is today the only medieval church of Visby still in use, with twelve other churches in the town preserved as ruins only.
Following the Reformation, the church was transformed into a parish church for the town of Visby. All other churches were abandoned. Shortly after the Reformation, in 1572, Gotland was made into its own Diocese, and the church designated its cathedral.
Source: Wikipedia
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Visby domkyrka, Sankta Maria kyrka (eller mer fullständigt Visby Sankta Maria domkyrka) är en kyrka i Visby, vilken är församlingskyrka för Visby domkyrkoförsamling och domkyrka för Visby stift.
Kyrkan, under medeltiden kallad "Vår kära frus kyrka", byggdes ursprungligen som gästkyrka för tyska handelsmän. Den 27 juli 1225 invigdes den som församlingskyrka av biskop Bengt från Linköping och anledningen till invigningen var sannolikt att den nya tyska församlingskyrkan S:t Nicolai förstörts av brand. Sankta Maria kyrka hade från 1225 inga bestämda geografiska församlingsgränser, utan var en församlingskyrka med två kyrkoherdar. Den ena kyrkoherden var för den tyska församlingen, den andra för den gutniska församlingen, vilken ända fram till 1400-talet bara var en tredjedel så stor som den tyska, sedan var de jämnstora. (Det är alltså fel att för tiden efter 1225 beteckna kyrkan som ”tyskarnas kyrka”.) På grund av krympande underlag bestämde sig församlingarna 1429 för att i fortsättningen bara ha en gemensam kyrkoherde. År 1533 eller 1534 blev kyrkan stadens församlingskyrka sedan Visbyborna tvingats överge S:t Hans. Vid Visby stifts bildande 1572 blev Sankta Maria domkyrka.
Källa: Wikipedia
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.
The Cathedral of Notre Dame of Lausanne is a church located in the city of Lausanne, in the canton of Vaud in Switzerland. It belongs to the Evangelical Reformed Church of the Canton of Vaud.
Construction of the Cathedral began as early as 1170 by an original unknown master mason. Twenty years later another master mason restarted construction until 1215. Finally a third engineer, Jean Cotereel, completed the majority of the existing cathedral including a porch, and two towers, one of which is the current day belfry. The other tower was never completed. The cathedral was consecrated and dedicated to Our Lady in 1275 by Pope Gregory X, Rudolph of Habsburg, and the bishop of Lausanne at the time, Guillaume of Champvent. The medieval architect Villard de Honnecourt drew the rose window of the south transept in his sketchbook in 1270. The Protestant Reformation, in particular the variant which came from nearby Geneva, significantly affected the Cathedral. In 1536 a new liturgical area was added to the nave and the colourful decorations inside the Cathedral were covered over. Other major restorations occurred later in the 18th and 19th century which were directed by the great French architect, Eugène-Emmanuel Viollet-le-Duc. During the 20th century major restorations occurred to restore the painted interior decorations as well as to restore a painted portal on the South side of the Cathedral. New organs were installed in 2003.
The Church of the Holy Trinity (Swedish: Trefaldighetskyrkan), consecrated in 1709. Architect: Nicodemus Tessin the Younger.
en.wikipedia.org/wiki/Nicodemus_Tessin_the_Younger
After a fire in 1790 only the badly damaged outer walls remained. In 1791 architect Olof Tempelman was commissioned to design a reconstruction of the church. Details of the facades were simplified to match the neoclassicism of the time. Tessin's large dome was replaced with a lower stepped dome. The church was inaugurated again in 1802.
sv.m.wikipedia.org/wiki/Trefaldighetskyrkan,_Karlskrona (website in Swedish)
The qualities that make Karlskrona a World Heritage Site were described by the World Heritage Committee:
“Karlskrona is an exceptionally well preserved example of a European planned naval base, and although its design has been influenced by similar undertakings it has in turn acted as a model for comparable installations. Naval bases played an important part during the centuries when the strength of a nation’s navy was a decisive factor in European power politics, and of those that remain from this period Karlskrona is the most complete and well preserved."
The key to the nomination is the planning of the city, built from 1680 and on, according to the vision of king Karl XI.
Unesco World Heritage: "Naval Port of Karlskrona", ref 871.
English: en.m.wikipedia.org/wiki/Karlskrona_naval_base
Español - Puerto naval de Karlskrona: es.m.wikipedia.org/wiki/Karlskrona
A stone church was consecrated in Røst by Bishop Kierschow in 1839. It was erected in accordance with architect Lindsow's standard design for country churches, but is, as far as we know, the only "standardised" church to be built of stone. In this way, one hoped to protect it against harmful storms. The church was in use until the year 1900, when it was considered too small, and demolished by royal decree the following year.
The church was consecrated October 20, 1904 by Bishop EH Rodhe, designed by Adrian C. Peterson from the year 1894 church architecture show an imaginative blend of stylistic features from stave church ornamentation, Gothic, Baroque and Art Nouveau. The plan forms the shape of a Greek cross from east to west. To the west rises the tower with lace panels and octagonal spire and nave is covered with slate.
Inside, the nave is covered by an angled ceilings and walls are paneled. Three stands there, the organ loft in the west and one over each cross arms.
Kyrkan invigdes 20 oktober 1904 av biskop E. H. Rodhe efter ritningar av Adrian C. Peterson från år 1894. Kyrkan arkitektur visar på en fantasifull blandning av stildrag från stavkyrkoornamentik, gotik, barock och jugend. Planen bildar formen av ett grekiskt kors i östvästlig riktning. I väster reser sig tornet med spetsgavlar och åttkantig spira och långhuset är belagt med takskiffer.
Invändigt är kyrkorummet täckt av ett vinklat kassettak och väggarna är panelklädda. Tre läktare finns, orgelläktaren i väster samt en över vardera korsarmarna.
Malmö inner lighthouse:
Is 20.2 meters high.
Consecrated in 1878.
Final Ades used for real in 1983.
A light bulb shines now in the city. It comes on when the street lights lit.
The lighthouse bottom part contains the control center for the University Bridge.
Every other Tuesday around 10:00 the bridge is opened (turned sideways) to keep the machinery running smoothly.
An opening followed by a closing 12 minutes.
The Lighthouse day (sometime in August), the lighthouse is open to the public.
Since the lighthouse railing around the top only 90 centimeters high, it requires a certificate to to get up at your own risk.
78 steps.
For about 70 years ago used two twelve year old brothers sneaking up the tower when the lighthouse keeper had to go home for a toilet. They climbed up on the railing and jumped into the water, which is deep on one side of the lighthouse.
Sicily. Ortygia, Syracusa.
Late spring break.
The third chapel is the one consecrated to the "Santissimo Sacramento", also called the "Torres chapel", is defined artistically and structurally as the most beautiful in the Cathedral, due to its frescoes on the dome and due to the elaborate architectural decorations that compose it.
It was built in 1616 by the brothers Andrea and Giovanni Vermexio. Its plan is octagonal and its main feature are the wall bas-reliefs that surround it, composed of Corinthian-style columns adorned with numerous gilded finishes. In Baroque style, the center of the chapel has a tabernacle (or ciborium) in gilded wood in the shape of a small temple, the work of the Neapolitan architect and painter Luigi Vanvitelli, known for being the one who designed the Royal Palace of Caserta in Naples. On the sides of the altar there are two portals, surrounded by elaborate sculptural decorations, which lead to the Sacristy of the Cathedral.
At the center of the altar there is a carved marble frontal, the work of the Florentine sculptor Filippo Valle who worked there in 1762 and which depicts the Last Supper of Jesus. The marble balustrade and the artistic decoration of the floor are the work of the Palermitan Ignazio Marabitti and Neapolitan Giovan Battista Marino, the contract for the work was made to them by the Syracusan architect Pompeo Picherali who, now in old age, admired the work of the young Marabitti and entrusted them with the work in 1746. The floor of the chapel is thought to be the work of the same two sculptors mentioned above, but we rely on intuition for the attribution since no document in this regard has been found, however by observing the similarity and similar harmony that exists with the balustrade, this theory has therefore been deduced.
In the chapel, on the left side, there is the Sepulcher of Archbishop Luigi Bignami, a structure sculpted by the Catanese sculptor Sebastiano Agati. Also laterally in the chapel there is also a precious statue depicting the Madonna del Rosario, the work of unknown artists, the statue is placed on a small altar, placed on a cavity which is surrounded by two slender Corinthian-style marble columns that overlook the gray -green and above them there is a worked tympanum with sculpted bas-reliefs in the center. Three cartaglorias were the work of the Roman silversmith Giuseppe Veladier (1791. The censers and the shuttle were the work of the silversmith Lorenzo Petronelli and other silver furnishings were instead the work of the Syracusan Chindemi brothers. He informs in his studies about the silverware of the chapel, and to relations with the Roman silverware school, the Syracusan (from Canicattini Bagni) Giuseppe Agnello
The wrought iron gates with the Eucharistic symbols found between the Doric columns and the entrance to the chapel were worked by Domenico Ruggeri from Catania on the designs of Alessandro Campo in 1807-1811. The chapel is also called "Torres" because it was the Spanish bishop of Syracuse, Juan de Torres Osorio, who wanted its construction and edification, for this reason the chapel, in addition to the sacrament to which it was dedicated, also bears his name
Situated at the rear of the house, the chapel, was built around 1760 by James Paine for George Fox Lane in the local Magnesian limestone ashlar. It was constructed in the classical style as a single unit of 2 storeys and 3 bays and with a porch and four Ionic columns across the full width of ground floor. Originally built as a Palladian Temple it was later used as an Orangery, a summerhouse and then consecrated as a chapel around 1906.
"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.
"Siddington All Saints Church - A Hidden Gem in Cheshire"
All is not what it seems at this church - the exterior brick hides an amazing interior
The first church here dates from the 14th century, but the earliest written record is from 1474, when it appears to have been a chapel of ease or possibly a domestic chapel for the Fittons of Siddington Hall. The chapel was timber framed, but much of the timberwork was pulled down in the 18th century to be replaced by brick.
Although the exact age of the building is unknown, records at Prestbury Church mention a chapel at Siddington in wills dating from c1337 and c1474. What is absolutely certain, however, is that it was first consecrated for preaching in 1521. In 1721 a licence was granted for burial in the churchyard and baptism, but it was not licenced for marriages until 1883.
The church has a timber frame, filled with wattle and daub plaster. It had a thatched roof for much of its life, but sometime in the 1700s it was decided to reroof the building with heavy flagstone slabs, causing the long walls to bulge. They were encased in a brick ‘sandwich’ in 1816.
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
The Cathedral Basilica of the Immaculate Conception (French: Cathédrale de l'Immaculée-Conception de Mobile) is a cathedral serving Roman Catholics in the U.S. city of Mobile, Alabama. It is the seat of the Archbishop of the Roman Catholic Archdiocese of Mobile. The cathedral is named for Mary, mother of Jesus, under her title, Our Lady of the Immaculate Conception. It is listed on the National Register of Historic Places as a contributing property to the Church Street East Historic District and Lower Dauphin Street Historic District and is listed on the Historic Roman Catholic Properties in Mobile Multiple Property Submission.
Mobile’s Cathedral Parish was established on July 20, 1703, by Jean-Baptiste de la Croix de Chevrières de Saint-Vallier, Bishop of Quebec. Bishop de Saint-Vallier named Father Roulleaux de La Vente, first pastor of the parish church, which was located at the French settlement of Mobile at the citadel of Fort Louis de la Louisiane. The parish is the first established on the Gulf Coast.
When the Mobile settlement was relocated to its present site in 1711, a new parish church was built and was known as Notre Dame de la Mobile (Our Lady of Mobile). In 1781, during the Spanish occupation of Mobile, the parish took its current name, Immaculate Conception.
Mobile was elevated to a diocese in 1829, and Frenchman, Michael Portier, was named its first bishop. Bishop Portier’s first “cathedral” was a small wooden structure located in the Old Spanish Burying Ground, site of the present cathedral. Portier soon set out to construct a "real" cathedral.
The cathedral, designed in 1833, by Claude Beroujon, a former seminarian turned architect, is laid out in a Roman basilica design. Construction began in 1835, but the Panic of 1837, caused a shortage of funds and delayed progress. The cathedral was consecrated for public worship in 1850, by Bishop Portier, though Beroujon’s design was not yet fully realized. The portico and towers were to come later.
The classical portico, with eight massive columns of the Roman Doric order, was added in the 1870s, under the direction of Bishop John Quinlan. The two towers were completed in 1884, during the watch of Bishop Jeremiah O'Sullivan.
Located on South Claiborne Street in downtown, it is bounded by Dauphin Street on the north, Franklin Street on the west, and Conti Street on the south. The front of the church faces east, toward the Mobile River, and overlooks Cathedral Square.
The building, laid out in an east-west axis, is 164 ft (50 m) long and 90 ft (27 m) wide. The ceiling is 60 ft (18 m) at its highest point, and its twin towers rise to 103 ft (31 m).
One of the cathedral’s finest attributes is its stained glass windows. The windows were made in Munich, Germany by Franz Mayer & Co., and installed beginning in 1890. The last window was installed in 1910, during the time of Bishop Edward Patrick Allen.
The twelve main windows, six on the south wall and six on the north wall, are approximately 8 feet (2.4 m) wide and 23 feet (7.0 m) tall. Each window depicts an event involving Mary in the life of her son, Jesus. The subjects of the south wall windows are Our Lady of the Immaculate Conception, the Presentation of Mary at the Temple, the Annunciation, the Visitation, the Nativity of Jesus, and the Holy Family. The themes of the north wall are the Finding of the Child Jesus at the Temple, the Marriage Feast of Cana, the Crucifixion of Jesus, Pentecost, the Assumption of Mary into Heaven, and the Coronation of Mary, Queen of Heaven.
Two large windows flank the portico, one under each of the two towers. The Baptism of Jesus in the River Jordan, by John the Baptist is the subject of the window in the Reconciliation Room, under the north tower. The window under the south tower, in the stairway to the choir loft, appropriately depicts St. Cecilia, patron saint of musicians.
Smaller windows are found in each of the eight doors in the foyer, behind the cathedral’s main doors, at the church’s front entrance. These depict, from left to right, St. Augustine of Hippo, Our Lady of Mount Carmel, the Presentation of Mary at the Temple, St. Louis IX, King of France, St. Patrick, Our Lady of the Immaculate Conception, St. Agnes of Rome, Virgin & Martyr , and the Most Sacred Heart of Jesus. Above the four middle doors is the Holy Spirit window.
Credit for the data above is given to the following websites:
en.wikipedia.org/wiki/Cathedral_Basilica_of_the_Immaculat...(Mobile,_Alabama)
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.
Catedral de la Almudena, Madrid.
La Santa Iglesia Catedral Metropolitana de Santa María la Real de la Almudena, conocida simplemente como Catedral de la Almudena, es un templo catedralicio de culto católico, dedicado a la Virgen María bajo la advocación de la Almudena.
La catedral está ubicada en el centro histórico de Madrid; la fachada principal se encuentra frente al Palacio Real. La fachada del crucero mira hacia la calle de Bailén y el acceso a la cripta se realiza por la cuesta de la Vega, al final de la calle Mayor. A diferencia de la mayoría de templos cristianos, de orientación este-oeste, la catedral tiene una orientación norte-sur, fruto de su concepción como parte integrante del conjunto del Palacio Real.
La catedral es el principal templo de la Archidiócesis de Madrid, sede del arzobispo y del capítulo metropolitano.
Se trata de un edificio de 102 metros de longitud y 73 de altura máxima, construido desde finales del siglo XIX a finales del XX, en diferentes estilos arquitectónicos: neoclásico en el exterior, neogótico en el interior y neorrománico en la cripta.
Fue consagrada el 15 de junio de 1993 por Juan Pablo II,3 en su cuarto viaje a España, siendo la única catedral española consagrada por un papa.
La catedral tiene planta de cruz latina, compuesta por una nave central y dos laterales, amplio crucero de tres naves; cabecera curva con girola y cinco capillas radiales. Contrasta el exterior de la catedral, de estilo ecléctico en el que predominan las líneas neoclásicas y barrocas, con el interior, que sigue los patrones del estilo neogótico, incluyendo vidrieras polícromas y triforio.
The Holy Cathedral Metropolitan Cathedral of Santa Maria la Real de la Almudena, known simply as Cathedral of the Almudena, is a cathedral temple of Catholic worship, dedicated to the Virgin Mary under the invocation of the Almudena.
The cathedral is located in the historic center of Madrid; The main facade is opposite the Royal Palace. The façade of the cruiser faces the street of Bailén and access to the crypt is done by the slope of the Vega, at the end of Calle Mayor. Unlike most Christian temples, east-west, the cathedral has a north-south orientation, fruit of its conception as an integral part of the Royal Palace.
The cathedral is the main temple of the Archdiocese of Madrid, seat of the archbishop and the metropolitan chapter.
It is a building of 102 meters in length and 73 of maximum height, built from the late nineteenth century to the end of the twentieth, in different architectural styles: neoclassical in the exterior, neogothic in the interior and neorrománico in the crypt.
It was consecrated on June 15, 1993 by Juan Pablo II, 3 on his fourth trip to Spain, being the only Spanish cathedral consecrated by a pope.
The cathedral has a plant of Latin cross, composed by a central nave and two lateral, extensive cruise of three ships; Curved head with twist and five radial chapels. It contrasts the exterior of the cathedral, with an eclectic style dominated by neoclassical and baroque lines, with the interior, following neo-Gothic style patterns, including polychrome stained glass and triforium.
"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)
Consecrated in 1895, This church sits about 23km SW of the town of Beverley in the Avon Valley, east of Perth.
It's one of the many small churches that dot the countryside, built in the days when the only way to get to the Sunday Service was by horse.
The raised mortar in the stonework joints give it (IMO) a somewhat bizarre appearance.
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.
"Bayeux Cathedral (Cathédrale Notre-Dame de Bayeux) is a Norman-Romanesque cathedral, located in the town of Bayeux. It is the seat of the Bishop of Bayeux. It was the original home of the Bayeux Tapestry and is a national monument of France.
The site is an ancient one and was once occupied by Roman sanctuaries. The present cathedral was consecrated on 14 July 1077 in the presence of William, Duke of Normandy and King of England. It was here that William forced Harold Godwinson to take the oath, the breaking of which led to the Norman conquest of England."
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
.
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.
The Parish Church of St. John the Baptist is the largest of the churches in the Benefice. Situated in Church Street, in the heart of the village of Somersham, the church stands on a site which in all probability has been consecrated for Christian worship since the second half of the seventh century. The current building though dates from the period between 1250 and 1300 and is likely to have been built and paid-for by one of the bishops living in the (now disappeared) Bishops Palace which was sited only a few hundred yards from where the church now stands
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.
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 )
"St Michael's, Coventry Cathedral," Coventry, West Midlands was consecrated in 1962... Architect: "Sir Basil Spence"
Stain glass fish detail.
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 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.
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.
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.