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Gracias por vuestras visitas y comentarios.
Thanks for your visits and comments.
ⓒRebecca Bugge, All Rights Reserved
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Interior from Garmo stave church at Maihaugen in Lillehammer, Norway. The baptismal font is made from soapstone and dates to the 12th century.
This stave church originally dates to the middle of the 12th century - later expanded in the 18th century. In the 19th century the church was replaced with a newly built on in Garmo and this one was dismantled and sold at auction(!) in 1880. It was bought by Trond Eklestuen, who spent much time buying traditional Norwegian objects (and buildings) and giving them away to museums for preservation. The church ended up at Maihaugen (the largest open-air museum in northern Europe, founded in 1904), a place dedicated to the preservation of Norwegian history and architecture. The church was rebuilt there in 1921.
Harmonia axyridis, son comportement, sa prolificité et sa voracité en font désormais une espèce invasive nuisible pour les coccinelles autochtones qu'elle tend à éliminer.
Conrail font doesn't mingle on former Southern high hoods, it just doesn't look right. Take away the Conrail influenced number boards, other added modern appliances and this SD40-2 on train, G19 is right at home stepping through the 1970's Southern Railway era infrastructure at CP Grove in McDonough, Georgia. January 2005 (Slide Scan)
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Salve, Umbria verde, e tu del puro fonte
nume Clitumno! Sento in cuor l'antica
patria e aleggiarmi su l'accesa fronte
gl'itali iddii.
Chi l'ombre indusse del piangente salcio
su' rivi sacri? ti rapisca il vento
de l'Apennino, o molle pianta, amore
d'umili tempi!
...
Giosuè Carducci
"Alle fonti del Clitumno"
Ad fontes - Zu den Quellen.
Manchmal kann es nicht schaden, sich zwischen all den mehr oder weniger weit von zu Hause entfernt entstandenen Aufnahmen, die sich im Laufe der letzten Jahre im Archiv angesammelt haben, auch mal wieder diejenigen anzuschauen, mit denen die Begeisterung für das Sujet "Bahn und Landschaft" eigentlich angefangen hat. So bin ich bei dieser "Rückbesinnung" unter anderem auf diese Morgenstimmung gestoßen, die ich am 20. April 2011 in der weiten Hügellandschaft der Westpfalz (von bornierten Geistern vom Haardtrand mitunter, anknüpfend an vergangene bayerische Zeiten, standhaft als "Hinterpfalz" bezeichnet...) bei Rehweiler festgehalten habe.
In den ersten Sonnenstrahlen des noch jungen Frühlingstags bahnte sich ein einzelner 643er als RB 12913 (Kusel - Kaiserslautern) seinen Weg durch das Blütenmeer, während sich in der Senke, die der Glan hier geformt hat, noch letzte Reste des morgendlichen Bodennebels hielten. Bei meiner Ankunft am kleinen Haltepunkt des Orts etwa eine halbe Stunde zuvor war dieser noch erheblich dichter gewesen und ich sah die geplanten Fotos schon gefährdet... Doch manchmal hat man eben einfach Glück! ;)
View on the parish church from the hill, slightly below the castle. At background you can see the Vistula river :)
Parish church of St. Bartholomew and John the Baptist - the oldest sanctuary in Kazimierz Dolny (the parish existed there already in 1325), the church was first gothic, then developed in the style of “Lublin renaissance” (between 1586-91 and then 1610-13 under supervision of Italian architect Jakub Balin). The ceiling of the church is covered in stucco decorations, geometric, mannerist, shaped in circles, squares, hearts, stars and rosettes. In the interior of the church, there are a few items particularly worth noticing: late gothic main portal, 1620 organ inspired by Flemish art), stalls in the presbyterium (from the 1st half of the 18th century), a baptismal font made of stone (by Santi Gucci, a Florence artist), 17th and 18th century cordovan antependia (the covers of the front part of the altar made of pressworked and dyed leather), an inlaid pulpit from 1615. The church was thoroughly renovated between 2010 and 2012.
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Kościół farny widziany ze wzgórza, nieco poniżej zamku. W tle widok na Wisłę i okolice :)
Kościół św. Jana Chrzciciela i św. Bartłomieja – kościół farny położony przy rynku w Kazimierzu Dolnym. Ufundowany został przez Kazimierza Wielkiego ok. 1325 roku i rozbudowany w stylu renesansowym w latach 1610-1613. Badania architektoniczne wskazują, że kościół wybudowany około 1325, jednak pierwsza pewna informacja o nim pochodzi z 1440 roku. Kościół ten był znacznie mniejszy od obecnego i mieścił się w obrębie jego nawy. W 1561 roku kościół ten spłonął podczas pożaru miasta. W latach 1610-1613 pod kierunkiem muratora Jakuba Balina zbudowano nowe prezbiterium. O renesansowym stylu przebudowy świadczą: półokrągła absyda, kolebka z lunetami oraz dekoracje architektoniczne. Pozostają jednak pewne cechy gotyckie: rzut poziomy, strzelistość, wąskie wysokie okna i skarpy. Kościół położony jest na wzgórzu, poniżej ruin zamku. Strop kościoła pokrywają dekoracje stiukowe, geometryczne, manierystyczne, uformowane w koła, kwadraty, serca, gwiazdy i rozety. We wnętrzu kościoła na szczególną uwagę zasługuje późnogotycki portal główny, organy z 1620 roku inspirowane sztuką flamandzką), stalle w prezbiterium (z I poł. (autorstwa Santi Gucci, florenckiego artysty oraz intarsjowana ambona z 1615 r. W latach 2010–2012 kościół został gruntownie odnowiony.
Le Fonti di Clitunno un Parco naturale immerso nel verde dell'Umbria, un luogo dal sapore fiabesco, accarezzato dal verde della natura che nasce straordinariamente anche da sotto l'acqua creando meravigliosi colori e riflessi.
♥♫ È per te ..... ♥♫
DUOMO DI ORVIETO
Nel 1372 si portava alla fabbrica del Duomo un grande blocco di marmo rosso da utilizzare per il fonte battesimale, fin dal 1373 venivano preparati i modelli dei leoni che dovevano sostenere il fonte. Nel 1385 la si trasportò all’interno del Duomo e nel 1390 Luca di Giovanni di Siena procedeva a scolpirla. L’opera andò forse persa e nel 1402 Pietro di Giovanni di Friburgo ebbe l’incarico di scolpire un nuovo fonte con figure, foglie e fiori e sempre in marmo rosso, opera tuttora conservata. Giacomo di Pietro di Guido da Firenze l’anno dopo la fissò dove ancora la vediamo. Nel 1407 Sano di Matteo da Siena compiuta la copertura del fonte a piramide ottagonale vi poneva la data e la sua firma. Nel 1424 Donato da Firenze, il Donatello, fuse per il fonte una figura di San Giovanni Battista, oggi mancante
The 12th century Tournai font in Winchester Cathedral.
The magnificent Tournai black marble font has been used to baptize the cathedral's congregation since about 1150 AD. Its square shape lends its sides to tell the story of St Nicholas. He is easily recognized in his bishop’s mitre and crozier and in a cartoon like way is shown going about his kindly acts.
One part of the carving tells the tale of a poor nobleman who comes kneeling before St Nicholas. He has led a life of shame because he cannot afford to give his three daughters a dowry.
St. Nicholas takes pity on the man giving him a purse of gold coins. The nobleman passes it onto his daughter whilst the young man she hopes to marry stands to the side. It is difficult to imagine the impact of such imagery in a time when there were few images created. The font would have been rather like a picture book for those gazing upon it.
A wonderful boat filled with travellers rears up on the other side, with St Nicholas saving lives at sea. The depiction of the boat is thought to be the earliest showing a boat with high prow and fixed stern rudder.
Contrary to its description as a black marble, Tournai stone is in fact a fine grained Lower Carboniferous, dark limestone which takes a polish. It has the appearance of marble when polished and hence its name.
123 pictures in 2023 (88) sacred