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Saint-Savior parochial church in the village of Corlay, Côtes-d’Armor, northern Brittany. Thought to have been originally a castle chapel, the current church was rebuilt around 1600 to replace the previous one, destroyed during the League Wars between 1592 and 1595.
Photographed for the Fondation pour la Sauvegarde de l’Art Français.
www.lonelyplanet.com/spain/andalucia/ubeda
Úbeda es una ciudad española y un municipio de la provincia de Jaén, capital de la comarca de La Loma de Úbeda, en la comunidad autónoma de Andalucía. La ciudad, junto a la cercana Baeza, fue declarada Patrimonio Cultural de la Humanidad por la Unesco el 3 de julio de 2003, debido a la calidad y buena conservación de sus numerosos edificios renacentistas y de su singular entorno urbanístico.
Llamada «la ciudad de los cerros», constituye un importante centro de atracción, cuenta con hospital comarcal, centros educativos y escuelas universitarias (UNED y SAFA), delegaciones de Hacienda y de la seguridad social, juzgados, capitanía de zona, Centro del Profesorado (CEP), etc., derivando en uno de los índices de centralidad más altos de toda Andalucía. Según el anuario de La Caixa, se trata de la capital de una de las provincias económicas de España, con una zona de influencia de más de 200 000 habitantes que acude habitualmente a comprar en ella., datos que resaltan su centralidad comercial.
Su riqueza de hoy corresponde a su esplendor antiguo. Úbeda vive principalmente del sector terciario, el comercio y la administración, que ocupan el 49% de la población activa. Pero además el peso de la agricultura ocupa a más de un 50% de la población, siendo el centro neurálgico del olivar y de la producción aceitera, siendo uno de los mayores productores y envasadores de la provincia de Jaén de aceite de oliva, piedra angular de toda su economía. De hecho, la comarca de La Loma viene siendo la mayor productora mundial, con un 15% de toda la producción aceitera mundial. Otras actividades complementarias son la industria, la ganadería y un incipiente turismo cultural.
Úbeda (Spanish pronunciation: [ˈuβeða]; from Arabic Ubbada al-`Arab and this from Iberian Ibiut) is a town in the province of Jaén in Spain's autonomous community of Andalusia, with 34,733 (data 2017) inhabitants. Both this city and the neighbouring city of Baeza benefited from extensive patronage in the early 16th century resulting in the construction of a series of Renaissance style palaces and churches, which have been preserved ever since. In 2003, UNESCO declared the historic cores and monuments of these two towns a World Heritage Site.
The most outstanding feature of the city is the monumental Vázquez de Molina Square, surrounded with imposing Renaissance buildings such as the Palacio de las Cadenas (so named for the decorative chains which once hung from the façade) and the Basílica de Santa María de los Reales Alcázares. The Chapel of the Savior or Capilla del Salvador was constructed to house the tombs of local nobility. Both the interior and exterior are decorated; for example, interior has an elaborate metawork screen by the ironworker Bartolomé de Jaen. The Hospital de Santiago, designed by Vandelvira in the late 16th century, with its square bell towers and graceful Renaissance courtyard, is now the home of the town's Conference Hall. Ubeda has a Parador hotel, housed in a 16th-century palace which was the residence of a high-ranking churchman of that period.
The town lends its name to a common figure of speech in Spanish, andar por los cerros de Úbeda (literally 'to walk around the hills of Úbeda'), meaning 'to go off at a tangent'.
The city possesses 48 monuments, and more of another hundred of buildings of interest, almost all of them of Renaissance style. Though to the romantic travelers of the 18th and 19th centuries it impressed more the Muslim flavor of its streets than this Renaissance brilliance. All this patrimony led Úbeda to being the second city of renowned Spain Historical – artistic Set, in the year 1955. In the year 1975 it received the appointment of the Council of Europe as Exemplary City of the Renaissance. Finally, in 2003 it was named a World Heritage Site, together with Baeza, by UNESCO.
La Sacra Capilla del Salvador del Mundo es un templo construido bajo patrocinio de Francisco de los Cobos como panteón anexo a su palacio de Úbeda (provincia de Jaén), en la actualmente llamada Plaza Vázquez de Molina.
Mandada construir en 1536, formaba parte de un extenso programa artístico (del que formaban parte su Palacio, una Universidad y un Hospital)1 destinado a encumbrar la fama, la fortuna y la gloria personal que había alcanzado el secretario personal de Carlos V; para lo que recurrió a artistas de primer nivel. El proyecto inicial se encargó a Diego de Siloé, mientras que la realización corrió a cargo de Andrés de Vandelvira a partir de 1540. El templo fue consagrado en 1559. Su primer capellán fue el Deán Ortega, para quien se construyó el gran palacio que hay a la izquierda de la fachada principal de la capilla.
El Salvador fue la empresa más ambiciosa de toda la arquitectura religiosa privada del Renacimiento español. Declarado monumento histórico-artístico en 1931, se ha convertido, a su vez, en uno de los más divulgados símbolos de esta ciudad cuyo conjunto monumental renacentista, que junto con el de Baeza, fue declarado Patrimonio de la Humanidad por la Unesco en 2003.2
es.wikipedia.org/wiki/Sacra_Capilla_del_Salvador
This famous chapel, built between 1536 and 1559, is the flagship of Úbeda Renaissance architecture. Commissioned by Francisco de los Cobos y Molina as his family's funerary chapel, it presents a marked contrast between the relatively sober proportions of the interior (by Diego de Siloé, architect of Granada's cathedral) and the more decorative western facade. The facade, a pre-eminent example of plateresque style, was designed by Andrés de Vandelvira, one of Siloé's stonemasons, who took over the project in 1540.
The chapel thus represents the first architectural commission obtained by Vandelvira, who went on to endow Úbeda, Baeza and Jaén with most of their outstanding Renaissance buildings. He worked in tandem with the French sculptor Esteban Jamete, who carved an orgy of classical sculpture depicting Greek gods on the underside of the facade arch, and scattered numerous skulls among the facade's decoration in a reminder that the building is a funerary chapel. Classical figures are also prominent in the sacristy (accessed from the northeast corner of the interior), another Vandelvira creation, but are absent from the main body of the chapel – where the Capilla Mayor sits beneath a stately dome painted in gold, blue and red, and features a grand 1560s altarpiece sculpture of the transfiguration by Alonso de Berruguete.
The Cobos family tombs lie beneath the floor of the chapel and aren't open to visitors. The chapel is still privately owned by the Seville-based Medinaceli ducal family, descendants of the Cobos. The audio guide is full of interesting information and anecdotes and well worth listening to as you go round the chapel.
Next to the chapel stands what was originally its chaplain's residence, the Palacio del Deán Ortega – another Vandelvira creation. The mansion is now Úbeda’s luxurious parador hotel.
www.lonelyplanet.com/spain/ubeda/attractions/sacra-capill...
"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.
Explore: Apr 2, 2009 #437
And now the weak say I have strength
By the spirit of power that raised Christ from the dead
And now the poor stand and confess
That my portion is Him and I'm more than blessed
Let now our hearts burn with a flame
A fire consuming all for your Son's holy name
And with the heavens we declare
You are our king
We love you Lord, we worship you
You are our God, you alone are good
You asked your Son to carry this
The heavy cross our weight of sin
I love you Lord, I worship you
Hope which was lost, now stands renewed
I give my life to honor this
The love of Christ, the savior king
Let now your church shine as the bride
That you soar in your heart as you offered up your life
Let now the lost be welcomed home
By the saved and redeemed those adopted as your own
I give my life to honor this
The love of Christ, the savior king
www.lonelyplanet.com/spain/andalucia/ubeda
Úbeda es una ciudad española y un municipio de la provincia de Jaén, capital de la comarca de La Loma de Úbeda, en la comunidad autónoma de Andalucía. La ciudad, junto a la cercana Baeza, fue declarada Patrimonio Cultural de la Humanidad por la Unesco el 3 de julio de 2003, debido a la calidad y buena conservación de sus numerosos edificios renacentistas y de su singular entorno urbanístico.
Llamada «la ciudad de los cerros», constituye un importante centro de atracción, cuenta con hospital comarcal, centros educativos y escuelas universitarias (UNED y SAFA), delegaciones de Hacienda y de la seguridad social, juzgados, capitanía de zona, Centro del Profesorado (CEP), etc., derivando en uno de los índices de centralidad más altos de toda Andalucía. Según el anuario de La Caixa, se trata de la capital de una de las provincias económicas de España, con una zona de influencia de más de 200 000 habitantes que acude habitualmente a comprar en ella., datos que resaltan su centralidad comercial.
Su riqueza de hoy corresponde a su esplendor antiguo. Úbeda vive principalmente del sector terciario, el comercio y la administración, que ocupan el 49% de la población activa. Pero además el peso de la agricultura ocupa a más de un 50% de la población, siendo el centro neurálgico del olivar y de la producción aceitera, siendo uno de los mayores productores y envasadores de la provincia de Jaén de aceite de oliva, piedra angular de toda su economía. De hecho, la comarca de La Loma viene siendo la mayor productora mundial, con un 15% de toda la producción aceitera mundial. Otras actividades complementarias son la industria, la ganadería y un incipiente turismo cultural.
Úbeda (Spanish pronunciation: [ˈuβeða]; from Arabic Ubbada al-`Arab and this from Iberian Ibiut) is a town in the province of Jaén in Spain's autonomous community of Andalusia, with 34,733 (data 2017) inhabitants. Both this city and the neighbouring city of Baeza benefited from extensive patronage in the early 16th century resulting in the construction of a series of Renaissance style palaces and churches, which have been preserved ever since. In 2003, UNESCO declared the historic cores and monuments of these two towns a World Heritage Site.
The most outstanding feature of the city is the monumental Vázquez de Molina Square, surrounded with imposing Renaissance buildings such as the Palacio de las Cadenas (so named for the decorative chains which once hung from the façade) and the Basílica de Santa María de los Reales Alcázares. The Chapel of the Savior or Capilla del Salvador was constructed to house the tombs of local nobility. Both the interior and exterior are decorated; for example, interior has an elaborate metawork screen by the ironworker Bartolomé de Jaen. The Hospital de Santiago, designed by Vandelvira in the late 16th century, with its square bell towers and graceful Renaissance courtyard, is now the home of the town's Conference Hall. Ubeda has a Parador hotel, housed in a 16th-century palace which was the residence of a high-ranking churchman of that period.
The town lends its name to a common figure of speech in Spanish, andar por los cerros de Úbeda (literally 'to walk around the hills of Úbeda'), meaning 'to go off at a tangent'.
The city possesses 48 monuments, and more of another hundred of buildings of interest, almost all of them of Renaissance style. Though to the romantic travelers of the 18th and 19th centuries it impressed more the Muslim flavor of its streets than this Renaissance brilliance. All this patrimony led Úbeda to being the second city of renowned Spain Historical – artistic Set, in the year 1955. In the year 1975 it received the appointment of the Council of Europe as Exemplary City of the Renaissance. Finally, in 2003 it was named a World Heritage Site, together with Baeza, by UNESCO.
La Sacra Capilla del Salvador del Mundo es un templo construido bajo patrocinio de Francisco de los Cobos como panteón anexo a su palacio de Úbeda (provincia de Jaén), en la actualmente llamada Plaza Vázquez de Molina.
Mandada construir en 1536, formaba parte de un extenso programa artístico (del que formaban parte su Palacio, una Universidad y un Hospital)1 destinado a encumbrar la fama, la fortuna y la gloria personal que había alcanzado el secretario personal de Carlos V; para lo que recurrió a artistas de primer nivel. El proyecto inicial se encargó a Diego de Siloé, mientras que la realización corrió a cargo de Andrés de Vandelvira a partir de 1540. El templo fue consagrado en 1559. Su primer capellán fue el Deán Ortega, para quien se construyó el gran palacio que hay a la izquierda de la fachada principal de la capilla.
El Salvador fue la empresa más ambiciosa de toda la arquitectura religiosa privada del Renacimiento español. Declarado monumento histórico-artístico en 1931, se ha convertido, a su vez, en uno de los más divulgados símbolos de esta ciudad cuyo conjunto monumental renacentista, que junto con el de Baeza, fue declarado Patrimonio de la Humanidad por la Unesco en 2003.2
es.wikipedia.org/wiki/Sacra_Capilla_del_Salvador
This famous chapel, built between 1536 and 1559, is the flagship of Úbeda Renaissance architecture. Commissioned by Francisco de los Cobos y Molina as his family's funerary chapel, it presents a marked contrast between the relatively sober proportions of the interior (by Diego de Siloé, architect of Granada's cathedral) and the more decorative western facade. The facade, a pre-eminent example of plateresque style, was designed by Andrés de Vandelvira, one of Siloé's stonemasons, who took over the project in 1540.
The chapel thus represents the first architectural commission obtained by Vandelvira, who went on to endow Úbeda, Baeza and Jaén with most of their outstanding Renaissance buildings. He worked in tandem with the French sculptor Esteban Jamete, who carved an orgy of classical sculpture depicting Greek gods on the underside of the facade arch, and scattered numerous skulls among the facade's decoration in a reminder that the building is a funerary chapel. Classical figures are also prominent in the sacristy (accessed from the northeast corner of the interior), another Vandelvira creation, but are absent from the main body of the chapel – where the Capilla Mayor sits beneath a stately dome painted in gold, blue and red, and features a grand 1560s altarpiece sculpture of the transfiguration by Alonso de Berruguete.
The Cobos family tombs lie beneath the floor of the chapel and aren't open to visitors. The chapel is still privately owned by the Seville-based Medinaceli ducal family, descendants of the Cobos. The audio guide is full of interesting information and anecdotes and well worth listening to as you go round the chapel.
Next to the chapel stands what was originally its chaplain's residence, the Palacio del Deán Ortega – another Vandelvira creation. The mansion is now Úbeda’s luxurious parador hotel.
www.lonelyplanet.com/spain/ubeda/attractions/sacra-capill...
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
Taken @Esfahan, Iran
he, with a bottle of alcohol, sitting in front of the city hall, acted as if he is the savior of the world. He preached aloud, pretending not seeing me , less than 2 meters away, at ground level, aiming the lens at him...
San Francisco, CA
+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~
KARMA will prevail
File name1M6A4352.CR2
File Size21.0MB
Camera Model Canon EOS 7D Mark II
Shooting Date/Time 3/23/2018 12:10:35 PM
Shooting Mode Aperture-Priority AE
Tv (Shutter Speed)1/500
Av (Aperture Value)22
Metering Mode-spot Metering
Exposure Compensation -2/3
ISO Speed 100
LensEF-S10-18mm f/4.5-5.6 IS STM
Image Size 5472x3648
Aspect ratio 3:2
Image Quality Raw
AF Mode One-Shot AF
Picture Style Standard
Sharpness 3
Contrast 0
Saturation 0
Color tone 0
Color Spaces RGB
High ISO speed noise reduction Standard
Auto Lighting Optimizer Standard
Drive Mode Single shooting
Satellite signal status OK
Date/Time(UTC)3/23/2018 4:10:27 PM
Altitude 157.30m
Comment: PLEASE DO
Northern saw whet owl watches intently for it's next meal. Every year many of these diminutive owls undertake a treacherous migration south from their breeding grounds in the boreal forest to areas with less snow cover and more rodents. They must run a gauntlet of predators that await. Many are killed by vehicles and collisions with building windows, guy wires, windmills etc. For the newly fledged it's their first time away from the protection of their heavily forested homeland. Unfortunately for them bird banders have blocked their ancestral paths with mist nets. The helpless owls become hopelessly ensnared and are left dangling for hours under the threat of being killed by barred owls that are attracted to the incessant loud speaker calling the saw whet in to the trap. It's a dinner bell for predators. Next they are extracted from the net by volunteers and dropped into a filthy cloth bag and hung on a coatrack until the banders get around to handling them. They are then stuffed headfirst into an empty orange juice can, weighed and examined under bright lights by banders forcing their wings to spread. A metal band is then clamped around a leg with pliers. Then they are tossed unceremoniously out the window, shocked and disoriented. Many fall prey to barred and other larger raptors or simply languish in the bushes too afraid to move on. Every morning turkey vultures gather to clean up dead birds. For some reason this horrible practice is condoned by the Canadian Wildlife Service on land designated a Nation Wildlife Sanctuary. The blatant hypocrisy is dumbfounding. Only a insignificant number of banded birds are recovered, many likely die of stress from the rough treatment. As an avid wildlife photographer I hear constant compplaints from the birding community about "unethical" behavior such as getting too close, feeding, and playing bird calls, yet the bird banders are deified as saviors of bird populations. One woman told me there wouldn't be birds if it weren't for banders! There isn't a justifiable reason for this cruelty as Saw whet aren't a species of concern to wildlife managers. The Ontario Government has topped up the onslaught by permitting huge numbers of windmills to be erected directly in the path of migratory birds. This done under the guise of The Green Energy Banner. The banner has blood stains all over it. As for the bird banders, they are scared the general public will become aware of this abuse of wildlife and loose their jobs. The chief bird bander of Prince Edward Point Bird Observatory punched me in the head and grabbed at my equipment when he saw my camera set up to photograph saw whet owls. What's he trying to hide?
Lovely colorful image of the architectural ensemble of the Cathedral of Christ the Savior and Patriarchy Bridge at winter twilight. Ice on the frozen Moskva River (Moscow River) had been broken by icebreaker cruise before this shot was taken.
Source: goo.gl/9MvFVw
Photo #107 taken on January 09, 2010 during Moscow by Night tour with my dear clients from Australia, Paul Teare and Marya Hegarty.
©2010 www.Moscow-Driver.com by Arthur Lookyanov
Paper - flyselin
Size: 1,2m - 1.9m
Triangle grid: 224 on small side
Final size: 55cm - 105cm
Time to fold: 1 year
He never "Fell in love" with a dictator, paid a prostitute, stole Top Secret documents, or inspired a resurrection against the US government.
Haghpat monastery complex was founded in the X century.
The monastery has a complex plan. It consists of several buildings, some of which are connected by covered galleries like this one, called "The Savior's Passage", which connects the library depository and the St. N'shan church. It was also used as the monastery academy. The gallery extends around the east end of the church and opens into the courtyard with a view to the mountains and village in the distance.
Haghpat monastery, Armenia, 2011