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Church of the Resurrection of Jesus Christ is known to Petersburgers as the Church of the Savior on the Spilled Blood - or even just the Church on the Blood - as it marks the spot where Alexander II was fatally wounded in an assassination attempt on March 1, 1881. Designed by Alfred Parland in the style of 16th and 17th-century Russian churches, the Church of the Resurrection provides a stark (some would say jarring) contrast to its surroundings of Baroque, Classical and Modernist architecture.
Alexander II died of wounds inflicted in an attack by the terrorist group People's Will. Immediately, his heir, Alexander III, declared his intention to erect a church on the site in his father's memory, and moreover to have this church built in "traditional Russian" style - in distinction to what he saw as the contaminating Western influence of Petersburg.
Eventually, after Alexander had rejected several architects' designs, Archimandrite Ignaty gave the job to Parland, but made the design himself. The church's final composition drew heavily from St. Basil's Cathedral in Moscow and the Vladimir Cathedral in Kiev. Construction began in 1883, and Ignaty died shortly afterward, leaving Parland to complete the job.
www.saint-petersburg.com/cathedrals/church-resurrection-j...
Saviors in disguise.
From my series, "Homebound pinholes".
Le Bambole Mk. X - "The Pin-sta-nair" Pinhole Camera. Fujifilm Instax Mini Film.
Why do we crucify ourselves
Every day
I crucify myself
Nothing I do is good enough for you
Crucify myself
Every day
And my heart is sick of being in chains
I've been looking for a savior...
Looking for a savior...
I've been raising up my hands...
Got enough guilt to start my own religion...
Tori Amos
As modern buses go I like the enviro 500, ADL has seen success with export orders but a batch do run closer to home in Glasgow. Here 38215 is seen one evening in Milton to the North of the city illustrating the refreshed livery. I was told some time ago some of these were earmarked for transfer to Aberdeen during 2015 .....
Alexandra Savior performs on March 16, 2017 at The Parish during the SXSW Music Festival in Austin, Texas, USA
"It was on Holy Saturday in 1880 when the Vorya River flooded and people from nearby villages had no opportunity to cross the river and attend the Easter service in the church, they directed their steps to the estate because they knew that the matins would be held there. The Abramtsevo manor house was full of worshippers and Savva Mamontov got the idea to correct the situation and to build a separate chapel... But the idea did not come true, – recalled Natalya Polenova, the participant of the Abramtsevo Colony. – In 1881 the spring was wonderful, the matins were organized in the Manor House and then the idea was brought up again. But everybody decided that a chapel would be too small and that it would be better to build a church. We chose the appropriate place in the park and were determined to build a church in the name of the Icon of Christ of Edessa, on the model of Old Russian cathedrals".
The basic project for the church was worked out by Vasily Polenov and the prototype for it became the Church of the Saviour at Nereditsa (12th century) located near Novgorod. This project outlined the main proportions and forms of the future building. The dome reposed on the massive drum crowing the high pyramidal roof. The portal of the main façade with the Icon of Christ of Edessa had the look of a belfry. Three apses were at the eastern sanctuary part. For the northern façade the artist designed two windows: the triple one and the small semi-oval window. The walls were strengthened with buttresses. The main difficulty was the southern façade. Well observed through the alley of the park it was as important as the western one. Vasily Polenov left the project unfinished.
Viktor Vasnetsov continued the work at the project. "I was keen on the Kremlin and Moscow churches, later on the Yaroslavl and Rostov ones", – he wrote in his letter to Vladimir Stasov. The artist changed the proportions, made the walls higher and the roof lower. The two windows of the northern façade were shifted to the southern one thus making it impressive and letting more light into the church. The Vasnetsov's church became proportional and harmonious, it better corresponded to its purpose – to be a small estate church, nestled in the Abramtsevo park.
In 1881 Viktor Vasnetsov wrote about the beginning of the construction: "All of us, the artists – Vasily Polenov, Ilya Repin, me – Savva Mamontov and his family set to work together being inspired. Our art assistants – Yelizaveta Mamontova... Yelena Polenova, Natalya Polenova (she was Yakunchikova then), Vera Repina – kept up with us. We were drawing facades and ornaments, painting icons and our ladies were embroidering gonfalons, veils and cloths, they were even carving ornaments in stone standing on the scaffold like real stonemasons. Savva Mamontov was working as a sculptor... There was so much energy and art creativity: everybody was working tirelessly, competing and with interest..."
By the end of July the church was roofed. Decorative work and interior required the detailed studying of the medieval Russian art and participants of the Colony took trips to Rostov, Yaroslavl and other towns. In summer the church was adorned with stone carved ornaments. The ornament of the portal roller had images connected with Christian symbols and Gospel themes: the Lamb personified Christ; the head of a donkey reminded the Christ's entry into Jerusalem; the cock – the denial of the Apostle Peter; the angel, lion, eagle and calf symbolized evangelists and the like. The frieze of coloured tiles made the massive drum more elegant. Later the Icon of Christ of Edessa painted by Vasily Polenov was placed above the portal (1882) and the chimney was covered with tiles (1890s).
The leading role in the interior design was given to Vasily Polenov. His sketches were used to make the iconostasis, icon cases, candleholders, the altarpiece cross, the church chandelier, wedding crowns, gonfalons and other church utensils. The double-level iconostasis dates back to the interiors of the rural churches in the Russian North. Icons of traditional painting collected by the Abramtsevo Colony participants are combined with the authors' icons: "Christ of Edessa" by Ilya Repin (1881–1882), "St. Nicholas" by Nikolay Nevrev (1881), "St. Sergius of Radonezh" and "Virgin and Child" (1881) by Viktor Vasnetsov (1882), "Annunciation" by Vasily Polenov (1882) and other works of the Abramtsevo artists. It was the first time when the icons of the Orthodox Church were painted in realistic manner, anticipating the work of Viktor Vasnetsov in the St. Vladimir's Cathedral of Kiev. The relief "The Head of John the Baptist" on the northern wall was made by Mark Antokolsky (1880s), the icon on the southern wall "St. Prince Fyodor with his Sons Konstantin and David" was painted by Yelena Polenova (1890s). Viktor Vasnetsov painted flowers and butterflies on the choirs. He was also the author of the mosaic floor with a stylized flower and the dates of the construction: 1881–1882 written in Slavonic letters. In 1892 Mikhail Vrubel designed the stove.
Preparation of documents took all summer in 1881. In autumn, when the church was already built, the official laying was held, and the next summer the church was consecrated in the name of the Icon of Christ of Edessa.
the kid said that someone brought these two baby turtles to his home,he didnt like it so he wanted to release these two in to the sea.took this one just before he relesed them.
He never "Fell in love" with a dictator, paid a prostitute, stole Top Secret documents, or inspired a resurrection against the US government.
Salvador del Mundo / Savior of the World
17th Century
FILIPINO
Solid ivory mounted on wooden, stepped base
A solid ivory image of the Christ child in the posture of the Salvador del Mundo or Savior of the World. The Christ child stands with his feet close together with the right knee slightly bent to support his posture. The Christ child holds a small globe (symbolizing the world) on his left hand with his right hand upheld in benediction.
The face of the Christ child is of special interest. His face displays Malay features with a slightly bulging eyes and a flat nose with flaring nostrils and thin lips. His eyes are carved indicating an early date of manufacture. There is a furrow on the front part of the head indicating where a wig (probably made of human hair) would have been affixed. His stomach shows a slight bulge which is a common feature on some earlier images of the Sto. Nino.
There are cracks, shrinkage and significant damage to the image over time. The Christ child has practically lost all fingers on the right hand. The feet have also been damaged and now the front portions of the feet are missing. He stands on a wooden, stepped socle base.
Height: 22 cm or 8.8 in.
A large sandstone church of fine decoration and detail which incorporates sections of the original church built in 1857. This was blessed by Archbishop Polding and later substantially extended in 1873. The design of the major part has been attributed to Architect Edward Gell. The design is Gothic Revival externally while the interior is influenced by the Byzantine style. The interior is distinguished by a magnificent high altar, stencilled decorations to the walls and a fine iron fence dividing the nave and sanctuary. Within the tall buttressed tower was placed the peal of bells in 1903 and an octagonal steeple was built in 1911. The steeply pitched roof is sheeted in slate and the building is in good condition. Architectural Style: Gothic Revival. Building Material: Sandstone.
Info source, and more, here:
www.environment.nsw.gov.au/heritageapp/ViewHeritageItemDe...
+1 in comments!!
here is the golden hour dream catcher photo i promised. I JUST took a few minutes ago :)
"its not always rainbows and butterflies, its compromise that move us along"
- maroon 5
~VIEW LARGE~