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Built in 1590 by Bess of Hardwick, the richest woman in England after Queen Elizabeth. Glass was very expensive, and at the time the building was described as 'More glass than wall'.
This is the south elevation; the longer frontage faces west.
The ES stone openwork (topped with rather audacious crowns) stands for Elizabeth, Countess of Shrewsbury.
book: www.dewilewis.com/collections/pre-order-now/products/fiel...
Ernakulam (Inde) - Les deux portraits qui se suivent sont issus d’une séance photo improvisée en plein milieu du marché aux légumes. L’information selon laquelle un photographe étranger était là s’est répandue comme un trainée de poudre. Tout le monde voulait être photographié. Devant tant de sollicitations et pour éviter l’émeute, j’ai décidé d’improviser un studio de prise de vues en plein air. Des toiles de jute ajourées allaient servir de fond.
C’est l’attroupement. On fait la queue pour passer devant mon objectif. J’ai plus de 40 photos à envoyer par la poste car ici, rares sont ceux qui on un ordinateur ou un smartphone. Heureusement, un commerçant a compris ce qui se passait et s’est proposé de réceptionner les tirages et de les distribuer aux personnes concernées. Ici tout le monde se connait.
Improvised photo studio
Ernakulam (India) - The following two portraits were taken from an improvised photoshoot in the middle of the vegetable market. News that a foreign photographer was there spread like wildfire. Everyone wanted to be photographed. Faced with so much demand and to avoid a riot, I decided to improvise an outdoor shooting studio. Openwork hessian cloths were to serve as a background. This is the crowd. People are lining up to walk past my lens. At the end of the day, I have more than 40 photos to send by post because here, very few people have a computer or a smartphone. Fortunately, a merchant understood what was going on and offered to receive the hard copies and distribute them to the appropriate people. Here everyone knows each other
Excerpt from en.wikipedia.org/wiki/Belfry_of_Bruges:
The Belfry of Bruges (Dutch: Belfort van Brugge) is a medieval bell tower in the centre of Bruges, Belgium. One of the city's most prominent symbols, the belfry formerly housed a treasury and the municipal archives, and served as an observation post for spotting fires and other dangers.
The belfry was added to the Markt (market square) around 1240, when Bruges was an important centre of the Flemish cloth industry. After a devastating fire in 1280, the tower was largely rebuilt. The city archives, however, were forever lost to the flames.
The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic Revival style was added to the rooftop in 1822.
A narrow, steep staircase of 366 steps, accessible by the public for an entry fee, leads to the top of the 83 m (272 feet) high building, which leans 87 centimeters to the east.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 m broad but 84 m deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
Since 1999, the belfry has been on the UNESCO World Heritage List as a part of the Belfries of Belgium and France serial property. In addition, it is a key component of the UNESCO World Heritage Site of the historic centre of Bruges, inscribed in 2000.
The bells in the tower regulated the lives of the city dwellers, announcing the time, fire alarms, work hours, and a variety of social, political, and religious events. Eventually a mechanism ensured the regular sounding of certain bells, for example indicating the hour.
In the 16th century the tower received a carillon, allowing the bells to be played by means of a hand keyboard. Starting from 1604, the annual accounts record the employment of a carillonneur to play songs during Sundays, holidays and market days.
In 1675 the carillon comprised 35 bells, designed by Melchior de Haze of Antwerp. After the fire of 1741 this was replaced by a set of bells cast by Joris Dumery, 26 of which are still in use. There were 48 bells at the end of the 19th century, but today the bells number 47, together weighing about 27.5 tonnes. The bells range in weight from two pounds to 11,000 pounds.
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
Le tombeau de saint Remi, situé dans la basilique Saint-Remi de Reims, est un chef-d'œuvre de l'art gothique flamboyant qui abrite les reliques de saint Remi, évêque de Reims qui a baptisé le roi Clovis en 496 ou 498. L’actuel tombeau est le cinquième connu.
Le second en 852.
Le troisième en 1537.
Le quatrième après sa destruction en 1793, en 1803.
le cinquième en 1847.
Le tombeau mesure environ 4 mètres de haut et 3 mètres de large.
La face avant du tombeau de saint Remi est divisée en trois niveaux :
Le niveau inférieur comporte une plaque en marbre noir avec le texte suivant en latin rappelant les pérégrinations du des la tombe de Rémi.
Le niveau médian comporte une grille en fer forgé ajourée qui ferme l'accès à la châsse contenant les ossements de Saint Remi.
Le niveau supérieur est constitué d'un fronton avec une frise et une plaque en marbre blanc, surmontée des armoiries de Thomas Gousset, archevêque de Reims.
Sur les faces latérales du tombeau, sont disposées, entre les colonnes de marbre, douze statues représentant les pairs de France ecclésiastiques et laïcs. Elles sont attribuées à Pierre Jacques (1520-1596), sculpteur français du XVIe siècle. Ces statues sont issues de l’ancien tombeau construit en 1537 par Robert de Lenoncourt.
L'arrière est occupé par une arcade cintrée abritant un groupe sculpté représentant le baptême de Clovis par saint Remi.
The tomb of Saint Remi, located in the Basilica of Saint Remi in Reims, is a masterpiece of Flamboyant Gothic art that houses the relics of Saint Remi, Bishop of Reims who baptized King Clovis in 496 or 498. The current tomb is the fifth known.
The second in 852.
The third in 1537.
The fourth, after its destruction in 1793, in 1803.
The fifth in 1847.
The tomb measures approximately 4 meters high and 3 meters wide.
The front of the tomb of Saint Remi is divided into three levels:
The lower level features a black marble plaque with the following Latin text recalling the wanderings of the saint from Remi's tomb.
The middle level features an openwork wrought iron gate that closes access to the reliquary containing the bones of Saint Remi. The upper level consists of a pediment with a frieze and a white marble plaque, surmounted by the coat of arms of Thomas Gousset, Archbishop of Reims.
Arranged between the marble columns on the sides of the tomb are twelve statues representing the ecclesiastical and lay peers of France. They are attributed to Pierre Jacques (1520-1596), a 16th-century French sculptor. These statues come from the old tomb built in 1537 by Robert de Lenoncourt.
The rear is occupied by a curved arcade housing a sculpted group depicting the baptism of Clovis by Saint Remi.
At the junction of the Korzenna and Na Piaskach streets, you will notice a bridge with beautiful, openwork railing. The railing becomes less and less visible each year because colourful padlocks hanging there cover it. Lovers come there to symbolically make their relationships more durable by hanging a padlock with their initials, important dates or vows of undying love. For the vow to be valid, they have to throw the key to the padlock to the Radunia river flowing beneath the bridge.
This button dates from around 1920 and is made from chromed openwork metal over abalone shell. The cotton reels range in date from pre-1930 to the early 1950s. The Phlox flowers were picked today in my garden. It's so good to have flowers again. :)
Photographed with Lensbaby Velvet 56.
The beautiful Grade I-listed Church of St Andrew in Slaidburn in the Forest of Bowland dates from the early 15th century, with alterations made in the 17th century. The east wall was rebuilt in 1866.
The church is unusual for its quantity of good early woodwork. It has 17th century and 18th century pews, including box pews. An 18th century three-decker pulpit has raised and fielded panels, a stair of slim turned balusters, and sounding board with carved entablature. The rood screen, probably of the 1630s but possibly later, has tapering square uprights with capitals, decorated arched openwork heads, openwork frieze and dentilled cornice. The open timber roof is probably from the early 17th century. St Andrew's is considered to be one of England's Thousand Best Churches by Simon Jenkins.
Historically in the West Riding of Yorkshire, the village of Slaidburn is now within the Ribble Valley district of Lancashire. The parish covers just over 5,000 acres of the Forest of Bowland, an Area of Outstanding Natural Beauty.
Full architectural details of St Andrew's Church can be seen at britishlistedbuildings.co.uk/101163738-church-of-st-andre....
Hervormde kerk te Oosterzee-Buren The Netherlands
The Oosterzee Reformed Church is a neoclassical church building at Buren 29 in the Frisian village of Oosterzee
The reformed church of Oosterzee was built in 1860 as a replacement for a church from the 12th or the 13th century. The church is located on the east side of the village on a slightly higher ground than the surrounding cemetery, which is bordered on three sides by ditches. On the front is an entrance gate of forged and cast iron, the fence posts are decorated with pine nuts. The front of the church has a distinctive neoclassical shape, with four pilasters, a capital and crowned with a pediment with a semi-circular window. The entrance door is surrounded by two pilasters with a pediment on top. A round window above the door. Two pointed windows on either side of the door. All windows have a tracing of cast iron. Right above the front of the façade is a bell tower with pointed-shaped reverberations. In the tower there is a clock, which was cast in 1498 by Gerardus van Wou. The clockwork in the tower dates from 1602. On the dials, the year of construction of the church, 1860, was installed. The tower is crowned with an octagonal, openwork wooden dome on eight columns.
The interior dates largely from the construction period of the church. The organ was in 1891 by the Leeuwarder organ builder, the firm L. van Dam and Sons. Originally this organ was destined for the reformed church in the Zeeland province of Biezelinge. In 1909 the organ was transferred to Oosterzee.
The church with graveyard and entrance gate have been recognized as a national monument because of its age, architectural design, valuable parts of the interior and the striking location.
The Protestant municipality Echtenerbrug-Oosterzee decided in 2011 to divest the church and offered the building for sale.
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Canon 70D / Sigma 18-300mm F3.5-6.3 DC Macro OS HSM C
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A la Belle époque, des femmes, venant du monde entier, se promènent avec une ombrelle dans la station thermale de Chaudfontaine. Le parc de Hauster est le majestueux jardin familial du château.
Revisitant cet univers et l’histoire de Chaudfontaine comme lieu de villégiature, Lut Vandebos et Niko Van Stichel ont réalisé la sculpture en inox, Parasol 5 saisons.
Habitué aux interventions dans l’espace public et la nature, ce duo artistique a réalisé de nombreuses œuvres en Belgique, aux Pays-Bas, aux Etats-Unis, aux Pays-Bas et en Nouvelle-Zélande.
Le parasol ajouré est un fidèle complice de la lumière naturelle. Celle-ci fait apparaître et disparaître, poétiquement sur le sol, les dessins découpés dans l’acier. Les détails de ces dessins donnent un aperçu du monde animal et floral des différentes saisons. Ils font aussi référence à l’univers pictural d’Edouard Manet et des impressionnistes. Dans un cadre magnifique et un jardin historique comme le parc de Hauster, l’œuvre invite à un Déjeuner sur l’herbe
During the Belle Epoque, women from all over the world walk with an umbrella in the thermal spa of Chaudfontaine. Hauster Park is the castle's majestic family garden.
Revisiting this universe and the history of Chaudfontaine as a holiday resort, Lut Vandebos and Niko Van Stichel created the stainless steel sculpture, Parasol 5 Saisons.
Used to interventions in public spaces and nature, this artistic duo has produced numerous works in Belgium, the Netherlands, the United States, the Netherlands and New Zealand.
The openwork parasol is a faithful accomplice of natural light. This makes the drawings cut out of steel appear and disappear poetically on the ground. The details of these designs give an insight into the animal and floral world of the different seasons. They also refer to the pictorial world of Edouard Manet and the Impressionists. In a beautiful setting and a historic garden like Hauster Park, the work invites you to a Lunch on the Grass
Granzin, was "Grenzdorf" bedeutet, wird 1230 erstmals urkundlich erwähnt. Es liegt in der Nähe der mecklenburgischen Stadt Boizenburg. Eine Kirche wird 1335 bezeugt. Die heutige Kirche, ein schlichter klassizistischer Bau von 1842, hat den freistehenden Glockenturm aus Fachwerk mitsamt den beiden mittelalterlichen (1509 u. 1510) Bronzeglocken mit gotischer Minuskel-Inschrift von diesem Vorgängerbau übernommen. Im Innern eine Flachdecke mit Kreuz-Malerei sowie Jugendstil-Malereien an den Wänden und in der Apsis. Die Orgel wurde aber bereits 1831 von Friedrich Jacob Friese (Friese I) für die Vorgängerkirche gebaut, dann aber durch Johann Heinrich Runge umgebaut und 1841 in die neue Kirche umgesetzt. Der Altar ist von durchbrochenen Schranken umgeben. Auf dem Altar steht ein rechteckiges Ölgemälde, das Jesus im Garten Gethsemane zeigt. Der Taufstein ist eine zwölfeckige, neugotische Arbeit aus Kalkstein mit aufgelegter Schale aus Bronze. Im Kirchenschiff eine von Süd über West nach Nord umlaufende Empore. Der Kirchhof ist als Friedhof gestaltet. In der Südwestecke steht ein neugotisches Mausoleum mit Wappen der Familie von Stern im Giebeldreieck. Alte Grabplatten vor den Zugängen verweisen ebenfalls auf die Familie v. Stern.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Granzin, meaning “Border Village”, was first mentioned in a document in 1230. The village is situated near the Mecklenburg town of Boizenburg. A church is attested in 1335. Today's church, a simple neo-Classical building dating from 1842, has inherited the freestanding half-timbered bell tower and the two medieval (1509 and 1510) bronze bells with Gothic minuscule inscriptions from its predecessor. The interior has a flat ceiling with cross paintings and Art Nouveau paintings on the walls and in the apse. However, the organ was already built by Friedrich Jacob Friese (Friese I) for the previous church in 1831, but was then rebuilt by Johann Heinrich Runge and moved to the new church in 1841. The altar is surrounded by openwork barriers. On the altar is a rectangular oil painting depicting Jesus in the Garden of Gethsemane. The baptismal font is a dodecagonal, Gothic Revival work made of limestone with a bronze bowl on top. The nave has a gallery running from south to west to north. The churchyard is designed as a cemetery. In the south-west corner is a Gothic Revival mausoleum with the coat of arms of the von Stern family in the gable triangle. Old gravestones in front of the entrances also refer to the von Stern family.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
'So quiet and subtle is the beauty of December that escapes the notice of many people their whole lives through.. Colour gives way to form. every branch distinct, in a delicate tracery against the sky.. new vistas obscured all Summer by leafage, now open up.'
Flora Thompson
The parish church "Heilig Kreuz", which is simply called "Rheingauer Dom" by the population, is a three-aisled hall church. It was built around 1500 on the foundations of a Romanesque church. The choir, with its beautiful vaulted vault, dates from 1518. From 1836-41, the nave was extended and re-vaulted, and the neo-Gothic west facade with its two openwork red sandstone towers was erected. The neo-Gothic high altar was replaced in 1885 by a Baroque altar, whose remarkable crucifixion group was built in the southern aisle. In the same aisle there is a Dreikönigsaltar from the Spessart of 1480. In the church are numerous ornate grave monuments of the local aristocratic families of Schönborn, von Ostein and Stockheim. The crucifixion group on the outside of the choir was created in the workshops of Hans Backoffen (cross, around 1520) and Peter Heinrich Henckes (figures, mid-18th century).
Bij het conceptualiseren van de renovatie werd onder andere overwogen om de koloniale beelden in de grote rotonde uit hun nissen te halen. De bevoegde diensten voor Onroerend
Erfgoed wezen het museum erop dat de kunstwerken integraal deel uitmaakten van het beschermde gebouw, ook al stonden er bij de opening van het museum in 1910 slechts twee van deze beelden.
Het AfricaMuseum heeft dan beslist elementen toe te voegen in plaats van weg te nemen. In 2015 organiseerde het museum een wedstrijd en richtte zich daarbij op Afrikaanse kunstenaars of kunstenaars van Afrikaanse oorsprong om een kunstwerk te creëren dat een tegenwicht zou bieden aan de koloniale beelden. De jury selecteerde Aimé Mpane, een Congolese kunstenaar, met zijn werk Nouveau souffle ou le Congo bourgeonnant, een monumentaal beeld in opengewerkt hout dat kort voor de heropening van het museum in de grote rotonde werd geplaatst.
In de maanden na de heropening van het museum gaven veel bezoekers echter uiting aan hun onbegrip over het behoud van de koloniale beelden in de grote rotonde. De wil van het museum om een dekoloniale boodschap te brengen, werd door de bezoekers niet altijd opgevangen, ondanks de verklarende teksten.
Een werkgroep van de Verenigde Naties (Human Rights Council) bezocht het museum in februari 2019 in het kader van een evaluatie van de toestand van de rechten van mensen van Afrikaanse afkomst die in België wonen. Hij wees erop dat de reorganisatie van het museum niet ver genoeg ging. Het museum werd sterk aangespoord om alle koloniale propaganda achterwege te laten en het geweld en de ongelijkheden van het Belgische koloniale verleden klaar en duidelijk voor te stellen.
Naar aanleiding van deze opmerkingen en op uitnodiging van het AfricaMuseum stelde Aimé Mpane voor om een tweede beeld in de grote rotonde te plaatsen. Dit kunstwerk, ook in
opengewerkt hout, stelt de schedel van chef Lusinga voor. Het beeld verwijst naar de raid van de Belgische officier Émile Storms op het dorp van Lusinga in 1884. Tijdens deze expeditie werd het hoofd van de chef afgehakt en nadien naar België meegenomen. Tot 1964 bevond deze schedel zich in het KMMA en werd daarna overgedragen aan het Koninklijk Belgisch Instituut voor Natuurwetenschappen.
De twee houten beelden staan tegenover elkaar en verwijzen enerzijds naar de dood en het geweld van het verleden (Schedel van Lusinga), en anderzijds naar de waardigheid en de beloften voor de toekomst (Nouveau souffle ou le Congo bourgeonnant).
Bron: www.africamuseum.be/sites/default/files/media/press/doc/D...
Persdossier – AfricaMuseum; Een stap Dichter naar de dekolonisatie | 27 februari 2020
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When conceptualising the renovation, consideration was given, among other things, to removing the colonial statues in the large rotunda from their niches. The competent heritage services pointed out to the museum that the works of art were an integral part of the protected building.
The AfricaMuseum then decided to add elements instead of taking them away. In 2015, the museum organised a competition and focused on African artists or artists of African origin to create a work of art that would counterbalance the colonial images. The jury selected Aimé Mpane, a Congolese artist, with his work Nouveau souffle ou le Congo bourgeonnant, a monumental sculpture in openwork wood that was placed in the large rotunda shortly before the museum reopened.
However, in the months following the museum's reopening, many visitors expressed their incomprehension about the preservation of the colonial images in the large rotunda. The museum's desire to convey a decolonial message was not always received by visitors, despite the explanatory texts.
A United Nations working group (Human Rights Council) visited the museum in February 2019 as part of an evaluation of the state of rights of people of African descent living in Belgium. It pointed out that the reorganisation of the museum
did not go far enough. The museum was strongly urged to abandon all colonial propaganda and to present the violence and inequalities of Belgium's colonial past clearly and clearly.
Following these comments and at the invitation of the AfricaMuseum, Aimé Mpane proposed placing a second statue in the large rotunda. This work of art, also in
openwork wood, represents the skull of Chief Lusinga. The statue refers to the raid by the Belgian officer Émile Storms on the village of Lusinga in 1884. During this expedition,
the chief's head was chopped off and then taken to Belgium. Until 1964, this skull was in the KMMA and was then transferred to the Royal Belgian Institute of Natural Sciences. The two wooden statues face each other and refer on the one hand to the death and violence of the past (Skull of Lusinga), and on the other hand to the dignity and promises for the future (Nouveau souffle ou le Congo bourgeonnant).
Source: Text translated from Dutch
and
Barcelona's Cathedral of St Eulalia is a magnificent example of Catalan gothic and dates mostly from the 13th to 15th centuries with a 19th century neo-gothic west facade. The building has an unusual profile with no less than five towers, two tapering octagonal belfries flank the chancel in place of transepts, whilst three pierced steeples crown the main facade (the octagonal tower supporting the main one is original late 15th century gothic, it's openwork spire and the two small flanking steeples date from the 19th century). There is a small and elegant cloister on the south side of the nave.
The cathedral consists of aisled nave, chancel and apse (under which is the crypt containing St Eulalia's tomb)as a single main vessel without transepts surrouned by numerous chapels, seemingly tunneled out of the thick walls in the dark an cavernous interior.
There wasn't time to go inside the cathedral on this occasion and much of the exterior was lost under scaffolding. Luckily I had already been inside on my previous visit to Barcelona in 2004, when we also ascended to the roof via a lift in the north tower.
“Welcome every morning with a smile. Look on the new day as another special gift from your Creator, another golden opportunity to complete what you were unable to finish yesterday.
Be a self-starter.
Let your first hour set the theme of success and positive action that is certain to echo through your entire day. Today will never happen again.
Don't waste it with a false start or no start at all. You were not born to fail.”
~ Og Mandino
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This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java.
It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa.
The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha. The monument was restored with UNESCO's help in the 1970s.
Granzin, was "Grenzdorf" bedeutet, wird 1230 erstmals urkundlich erwähnt. Es liegt in der Nähe der mecklenburgischen Stadt Boizenburg. Eine Kirche wird 1335 bezeugt. Die heutige Kirche, ein schlichter klassizistischer Bau von 1842, hat den freistehenden Glockenturm aus Fachwerk mitsamt den beiden mittelalterlichen (1509 u. 1510) Bronzeglocken mit gotischer Minuskel-Inschrift von diesem Vorgängerbau übernommen. Im Innern eine Flachdecke mit Kreuz-Malerei sowie Jugendstil-Malereien an den Wänden und in der Apsis. Die Orgel wurde aber bereits 1831 von Friedrich Jacob Friese (Friese I) für die Vorgängerkirche gebaut, dann aber durch Johann Heinrich Runge umgebaut und 1841 in die neue Kirche umgesetzt. Der Altar ist von durchbrochenen Schranken umgeben. Auf dem Altar steht ein rechteckiges Ölgemälde, das Jesus im Garten Gethsemane zeigt. Der Taufstein ist eine zwölfeckige, neugotische Arbeit aus Kalkstein mit aufgelegter Schale aus Bronze. Im Kirchenschiff eine von Süd über West nach Nord umlaufende Empore. Der Kirchhof ist als Friedhof gestaltet. In der Südwestecke steht ein neugotisches Mausoleum mit Wappen der Familie von Stern im Giebeldreieck. Alte Grabplatten vor den Zugängen verweisen ebenfalls auf die Familie v. Stern.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Granzin, meaning “Border Village”, was first mentioned in a document in 1230. The village is situated near the Mecklenburg town of Boizenburg. A church is attested in 1335. Today's church, a simple neo-Classical building dating from 1842, has inherited the freestanding half-timbered bell tower and the two medieval (1509 and 1510) bronze bells with Gothic minuscule inscriptions from its predecessor. The interior has a flat ceiling with cross paintings and Art Nouveau paintings on the walls and in the apse. However, the organ was already built by Friedrich Jacob Friese (Friese I) for the previous church in 1831, but was then rebuilt by Johann Heinrich Runge and moved to the new church in 1841. The altar is surrounded by openwork barriers. On the altar is a rectangular oil painting depicting Jesus in the Garden of Gethsemane. The baptismal font is a dodecagonal, Gothic Revival work made of limestone with a bronze bowl on top. The nave has a gallery running from south to west to north. The churchyard is designed as a cemetery. In the south-west corner is a Gothic Revival mausoleum with the coat of arms of the von Stern family in the gable triangle. Old gravestones in front of the entrances also refer to the von Stern family.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
A la Belle époque, des femmes, venant du monde entier, se promènent avec une ombrelle dans la station thermale de Chaudfontaine. Le parc de Hauster est le majestueux jardin familial du château.
Revisitant cet univers et l’histoire de Chaudfontaine comme lieu de villégiature, Lut Vandebos et Niko Van Stichel ont réalisé la sculpture en inox, Parasol 5 saisons.
Habitué aux interventions dans l’espace public et la nature, ce duo artistique a réalisé de nombreuses œuvres en Belgique, aux Pays-Bas, aux Etats-Unis, aux Pays-Bas et en Nouvelle-Zélande.
Le parasol ajouré est un fidèle complice de la lumière naturelle. Celle-ci fait apparaître et disparaître, poétiquement sur le sol, les dessins découpés dans l’acier. Les détails de ces dessins donnent un aperçu du monde animal et floral des différentes saisons. Ils font aussi référence à l’univers pictural d’Edouard Manet et des impressionnistes. Dans un cadre magnifique et un jardin historique comme le parc de Hauster, l’œuvre invite à un Déjeuner sur l’herbe
During the Belle Epoque, women from all over the world walk with an umbrella in the thermal spa of Chaudfontaine. Hauster Park is the castle's majestic family garden.
Revisiting this universe and the history of Chaudfontaine as a holiday resort, Lut Vandebos and Niko Van Stichel created the stainless steel sculpture, Parasol 5 Saisons.
Used to interventions in public spaces and nature, this artistic duo has produced numerous works in Belgium, the Netherlands, the United States, the Netherlands and New Zealand.
The openwork parasol is a faithful accomplice of natural light. This makes the drawings cut out of steel appear and disappear poetically on the ground. The details of these designs give an insight into the animal and floral world of the different seasons. They also refer to the pictorial world of Edouard Manet and the Impressionists. In a beautiful setting and a historic garden like Hauster Park, the work invites you to a Lunch on the Grass
Macro Monday - Gold or Silver
This 'Locked Love Openwork Pandora Charm, was a gift from my husband on our Ruby (40th) wedding anniversary in 2016. It covers the remit of gold and/or silver !!!
The structure was covered with white and pink marble from the Candoglia quarry in Val D’Ossola. The Cathedral’s roof is covered in openwork pinnacles and spires crowned with sculptures that overlook the city.
Фасад здания, его шпили и внутренние помещения, украшены невообразимым числом статуй – 3400. В это число входят изображения исторических личностей, святых, мучеников, пророков и прочих библейских персонажей. Не обошлось и без верных символов средневековья – горгулий и химер. Они, как верные атрибуты готики, угнездились на стенах здания, отгоняя нечисть. Среди наружной отделки здания попадаются весьма любопытные экземпляры, например, изображение Муссолини или же древний прототип статуи Свободы, что ныне стоит в США.
Let yourself be open and life will be easier. A spoon of salt in a glass of water makes the water undrinkable. A spoon of salt in a lake is almost unnoticed. ~ Buddha
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This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java.
It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa.
The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha.
Source :
whc.unesco.org/en/list/592
Le tombeau de saint Remi, situé dans la basilique Saint-Remi de Reims, est un chef-d'œuvre de l'art gothique flamboyant qui abrite les reliques de saint Remi, évêque de Reims qui a baptisé le roi Clovis en 496 ou 498. L’actuel tombeau est le cinquième connu.
Le second en 852.
Le troisième en 1537.
Le quatrième après sa destruction en 1793, en 1803.
le cinquième en 1847.
Le tombeau mesure environ 4 mètres de haut et 3 mètres de large.
La face avant du tombeau de saint Remi est divisée en trois niveaux :
Le niveau inférieur comporte une plaque en marbre noir avec le texte suivant en latin rappelant les pérégrinations du des la tombe de Rémi.
Le niveau médian comporte une grille en fer forgé ajourée qui ferme l'accès à la châsse contenant les ossements de Saint Remi.
Le niveau supérieur est constitué d'un fronton avec une frise et une plaque en marbre blanc, surmontée des armoiries de Thomas Gousset, archevêque de Reims.
Sur les faces latérales du tombeau, sont disposées, entre les colonnes de marbre, douze statues représentant les pairs de France ecclésiastiques et laïcs. Elles sont attribuées à Pierre Jacques (1520-1596), sculpteur français du XVIe siècle. Ces statues sont issues de l’ancien tombeau construit en 1537 par Robert de Lenoncourt.
L'arrière est occupé par une arcade cintrée abritant un groupe sculpté représentant le baptême de Clovis par saint Remi.
The tomb of Saint Remi, located in the Basilica of Saint Remi in Reims, is a masterpiece of Flamboyant Gothic art that houses the relics of Saint Remi, Bishop of Reims who baptized King Clovis in 496 or 498. The current tomb is the fifth known.
The second in 852.
The third in 1537.
The fourth, after its destruction in 1793, in 1803.
The fifth in 1847.
The tomb measures approximately 4 meters high and 3 meters wide.
The front of the tomb of Saint Remi is divided into three levels:
The lower level features a black marble plaque with the following Latin text recalling the wanderings of the saint from Remi's tomb.
The middle level features an openwork wrought iron gate that closes access to the reliquary containing the bones of Saint Remi. The upper level consists of a pediment with a frieze and a white marble plaque, surmounted by the coat of arms of Thomas Gousset, Archbishop of Reims.
Arranged between the marble columns on the sides of the tomb are twelve statues representing the ecclesiastical and lay peers of France. They are attributed to Pierre Jacques (1520-1596), a 16th-century French sculptor. These statues come from the old tomb built in 1537 by Robert de Lenoncourt.
The rear is occupied by a curved arcade housing a sculpted group depicting the baptism of Clovis by Saint Remi.
The church dedicated to the Five Brothers of Martyrs together with the monastery of Missionaries of the Holy Family in Kazimierz Biskupi is a former monastery of Bernardine monks. The whole team belonged earlier to the Benedictine order and was built in 1513-1520. During the Swedish invasions, it was destroyed, then it was rebuilt and renovated.
The church represents late-Gothic architecture, after the destruction it was rebuilt at the end of the eighteenth century. It was renovated several times, and in 1970-1973 the interior received a modern interior. The interior is covered with Gothic vaults.
Currently, the monastery has a Higher Theological Seminary and ethnographic and natural collections brought, among others from Madagascar and Thailand. Around the monastery there are cloisters erected in the eighteenth century. The entrance to the monastery leads through a wooden tower-bell tower, finished with an openwork helmet. In the cloisters, portals in the late Gothic style have survived.
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Kościół pod wezwaniem Pięciu Braci Męczenników wraz z klasztorem Misjonarzy Świętej Rodziny w Kazimierzu Biskupim tworzy zespół pobernardyńki. Cały zespół należał wcześniej do zakonu benedyktynów, a został wybudowany w latach 1513-1520. W czasie najazdów szwedzkich został zniszczony, następnie go odbudowano i poddano renowacji.
Kościół reprezentuje architekturę późnogotycką, po zniszczeniach odbudowano go pod koniec osiemnastego stulecia. Był kilkakrotnie odnawiany, a w latach 1970-1973 wnętrze otrzymało nowoczesny wystrój. Wnętrze nakryte jest gotyckimi sklepieniami.
Obecnie w klasztorze znajduje się Wyższe Seminarium Duchowne oraz zbiory etnograficzne i przyrodnicze przywiezione m.in. z Madagaskaru i Tajlandii. Wokół klasztoru rozmieszczone są krużganki wzniesione w osiemnastym stuleciu. Wejście do klasztoru prowadzi przez drewnianą wieżę-dzwonnicę, zakończoną ażurowym hełmem. W krużgankach zachowały się portale w stylu późnego gotyku.
View on The Diana Temple in the Spring day. Park in Arkadia, Poland.
The Diana Temple was designed and raised by Szymon Bogumił Zug in 1783. The construction of classical proportions decorated with the openwork ornamentation is based on four lonic columns. Under the tympanum facing the pond you can see Latin inscription: "Dove pace trovai d'ogni mia guerra" (it was here that I found peace after each of the battles).
The interior of the temple constitute: the Vestibule, the Etruscan Cabinet, the oval Bedroom abd the Presence Chamber called Pantheon decorated with the stucco columns, ornamented mould and the plafond depicting Aurora pained by Jan Piotr Norblin.
The park was founded in 1778 by Princess Helena Radziwiłł, who lived in Nieborow. For designing and decorating its numerous pavilions she employed the most outstanding Polish architects and painters of the time. She also gathered one of the first antique art collections in Poland in the park. Owing to her, Arkadia enjoyed the status of one of the greatest cultural centers of the turn of the 18th and 19th centuries. In the park, nature and art are in harmony: the complex is composed of buildings imitating ancient ruins or the English Gothic style (Murgrabia House, Little Gothic House, Stone Arch, Diana's Temple with a Pantheon and Etruscan Room, the Sanctuary of the High Priest, the Cave of Sybil, the Tomb of Illusions, Circus and Amphitheatre). Arkadia is the only such classical-romantic historical complex in Europe, and the Museum received the European Award for the Protection of Historic Sites in 1994 for its restoration.
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Wiosenny widok na Świątynię Diany w parku w Arkadii :)
Świątynia Diany wzniesiona została w roku 1783. Usytuowana nad stawem budowla prezentuje styl klasycystyczny. Jej fasadę frontową zdobi portyk kolumnowy z umieszczonym w tympanonie napisem Dove pace trovai d'ogni mia guerra. Jest to cytat z sonetu Petrarki - "tutaj odnalazłem spokój po każdej mojej walce". Do stawu prowadzą kamienne schody, zakończone dwiema rzeźbami: lwem i sfinksem. Najciekawsze jest jednak wnętrze. Oglądać tu można dekorację sztukateryjną, oraz plafon autorstwa J. P. Noblina „Jutrzenka” z lat 1783-1785, usytuowany na drewnianej kopule. Za salą główną, po lewej stronie znajduje się sześcioboczny Gabinet Etruski, pełniący rolę muzeum. Oglądać tu można ciekawe polichromie. W roku 1995 zakończyły się prace renowacyjne Świątyni.
Arkadia - park romantyczny w stylu angielskim założony przez Helenę z Przeździeckich (1753-1821), żonę Michała Hieronima Radziwiłła właściciela pobliskiego Nieborowa. Koncepcja takich ogrodów wykluczała jakąkolwiek symetrię czy regularność. Poprzez umiejętne połączenie urozmaiconego ukształtowania terenu, zbiorników i cieków wodnych, swobodnego rozmieszczenia różnorodnych gatunków roślinności oraz wkomponowania najróżniejszych form architektonicznych (antycznych, neogotyckich, średniowiecznych, renesansowych, wiejskich) tworzono malownicze enklawy o bajkowym krajobrazie, zmieniającym się w zależności od pory roku, dnia, aktualnej pogody itp. Były to wymarzone miejsca kontemplacji, romantycznej zadumy, spacerów, lektury, wypoczynku, kontaktu z naturą i sztuką. Do zakładania ogrodu księżna przystąpiła w 1778 roku, a rozwijała go i komponowała do swojej śmierci. Obecnie park w Arkadii zajmuje obszar 14 ha położony między drogą Łowicz - Skierniewice a rzeką Skierniewką. Mimo licznych zmian jakie zaszły przez ponad dwa wieki jego istnienia jest jedynym w Polsce zabytkiem architektury ogrodowej w Polsce który zachował pierwotną koncepcję przestrzenną z końca XVIII wieku. Jest unikatowym zabytkiem klasy "0" chętnie odwiedzanym przez liczne rzesze turystów.
The nave of St John the Baptist’s Church in Cirencester was rebuilt between 1515 and 1530, acquiring the soaring, slender pillars and huge Perpendicular clerestory windows that are such key elements of the church's light-filled, elegant interior.
It seems hard to believe that, little more than 100 years later, this glorious building was a temporary prison for more than 1,000 citizens of Cirencester, who were locked up here overnight by the Royalists after a Civil War battle in 1642.
Of the many interior features worth seeking out, don't miss the exquisite fan vaulting, or the wineglass pulpit, a stone masterpiece of about 1440 with delicate openwork tracery and decorative paintwork in burgundy and gold.
La peau de dentelle enveloppant la partie du bâtiment qui donne sur la mer et sur le fort Saint-Jean, laisse filtrer la lumière qui dessine des ombres au sol et sur les parois vitrées, magnifiques jeux de lumière, de transparence et de couleurs. Dans ce volume intermédiaire se laisse admirer la structure du bâtiment composée d’une multitude de barres d’acier et de tirants solidement chevillés qui rythment le volume ombragé de la pente permet au visiteur de jouir de la vue sans être vu, derrière un moucharabieh minéral. Entre la structure qui soutient les parois de verre et l’enveloppe de béton noir ajourée, un passage permet de déambuler tout autour des salles du musée, de descendre ou de monter jusqu’au toit-terrasse panoramique. De là, une passerelle de 135 mètres de long, avec vue spectaculaire sur le grand large, rejoint le monument historique du fort Saint-Jean et son chemin de ronde.
The lace skin enveloping the part of the building overlooking the sea and Fort Saint-Jean, lets filter the light that draws shadows on the floor and on the glass walls, beautiful play of light, transparency and color. In this intermediate volume is admired the structure of the building consists of a multitude of steel bars and firmly pegged rods that punctuate the shaded volume of the slope allows the visitor to enjoy the view without being seen, behind a moucharabieh mineral . Between the structure that supports the glass walls and the openwork black concrete envelope, a passage allows you to wander all around the museum rooms, to go down or climb up to the panoramic roof terrace. From there, a footbridge 135 meters long, with spectacular views of the open sea, joins the historic monument of Fort Saint-Jean and its walkway.
A la Belle époque, des femmes, venant du monde entier, se promènent avec une ombrelle dans la station thermale de Chaudfontaine. Le parc de Hauster est le majestueux jardin familial du château.
Revisitant cet univers et l’histoire de Chaudfontaine comme lieu de villégiature, Lut Vandebos et Niko Van Stichel ont réalisé la sculpture en inox, Parasol 5 saisons.
Habitué aux interventions dans l’espace public et la nature, ce duo artistique a réalisé de nombreuses œuvres en Belgique, aux Pays-Bas, aux Etats-Unis, aux Pays-Bas et en Nouvelle-Zélande.
Le parasol ajouré est un fidèle complice de la lumière naturelle. Celle-ci fait apparaître et disparaître, poétiquement sur le sol, les dessins découpés dans l’acier. Les détails de ces dessins donnent un aperçu du monde animal et floral des différentes saisons. Ils font aussi référence à l’univers pictural d’Edouard Manet et des impressionnistes. Dans un cadre magnifique et un jardin historique comme le parc de Hauster, l’œuvre invite à un Déjeuner sur l’herbe
During the Belle Epoque, women from all over the world walk with an umbrella in the thermal spa of Chaudfontaine. Hauster Park is the castle's majestic family garden.
Revisiting this universe and the history of Chaudfontaine as a holiday resort, Lut Vandebos and Niko Van Stichel created the stainless steel sculpture, Parasol 5 Saisons.
Used to interventions in public spaces and nature, this artistic duo has produced numerous works in Belgium, the Netherlands, the United States, the Netherlands and New Zealand.
The openwork parasol is a faithful accomplice of natural light. This makes the drawings cut out of steel appear and disappear poetically on the ground. The details of these designs give an insight into the animal and floral world of the different seasons. They also refer to the pictorial world of Edouard Manet and the Impressionists. In a beautiful setting and a historic garden like Hauster Park, the work invites you to a Lunch on the Grass
The structure was covered with white and pink marble from the Candoglia quarry in Val D’Ossola. The Cathedral’s roof is covered in openwork pinnacles and spires crowned with sculptures that overlook the city.
Фасад здания, его шпили и внутренние помещения, украшены невообразимым числом статуй – 3400. В это число входят изображения исторических личностей, святых, мучеников, пророков и прочих библейских персонажей. Не обошлось и без верных символов средневековья – горгулий и химер. Они, как верные атрибуты готики, угнездились на стенах здания, отгоняя нечисть. Среди наружной отделки здания попадаются весьма любопытные экземпляры, например, изображение Муссолини или же древний прототип статуи Свободы, что ныне стоит в США.
An indisputable symbol of the renaissance of Le Havre, Saint Joseph’s Church is an extraordinary building.
Its impressive dimensions and trans-Atlantic allure disturb the religious landmarks which nevertheless make it one of the most remarkable achievements of the 20th century in France.
New-York in Le Havre
Every major city has its landmark that history has given it. In Le Havre, Saint Joseph’s Church quickly achieved this coveted status, despite its young age, since this year marks the fiftieth anniversary of the first religious celebration. It is true that the ambition that prevailed in its construction, in the fever of post-war reconstruction, gave it serious assets to deserve this role as a flagship monument.
From afar, whether on land or at sea , its skyscraper-like appearance, so familiar to fans of New York, obviously owes nothing to chance. A true votive work in memory of the victims of the annihilation of Le Havre, Saint Joseph celebrates from the top of its 107 m height, the rebirth of a city that has established itself as the maritime gateway to France, thus endowing the religious building with another, more secular vocation.
Concrete and light
As we draw closer to this bitter hope, as if irresistibly attracted by its vertical thrust, we gradually grasp the incredible architectural dimension that led to the new emblem of the rebuilt Le Havre being classified as a historical monument less than ten years after its completion. Brought here to its climax, the magnificent expression that Auguste Perret managed to give to concrete brings out all the nuances of a hitherto unsuspected palette for this reconstituted stone.
However, the realisation is not complete until you cross the threshold into St Joseph’s, when the complicity between the concrete poet and master glassmaker Marguerite Huré explodes before your eyes: made entirely of openwork on its eight sides, the lantern tower perfects the liturgical principles thanks to the 12,768 multicoloured hand-blown stained-glass windows which, in a cleverly reinvented religious mysticism, touch the soul of the stunned visitor.
Source: www.lehavre-etretat-tourisme.com/en/discover/the-essentia...
Granzin, was "Grenzdorf" bedeutet, wird 1230 erstmals urkundlich erwähnt. Es liegt in der Nähe der mecklenburgischen Stadt Boizenburg. Eine Kirche wird 1335 bezeugt. Die heutige Kirche, ein schlichter klassizistischer Bau von 1842, hat den freistehenden Glockenturm aus Fachwerk mitsamt den beiden mittelalterlichen (1509 u. 1510) Bronzeglocken mit gotischer Minuskel-Inschrift von diesem Vorgängerbau übernommen. Im Innern eine Flachdecke mit Kreuz-Malerei sowie Jugendstil-Malereien an den Wänden und in der Apsis. Die Orgel wurde aber bereits 1831 von Friedrich Jacob Friese (Friese I) für die Vorgängerkirche gebaut, dann aber durch Johann Heinrich Runge umgebaut und 1841 in die neue Kirche umgesetzt. Der Altar ist von durchbrochenen Schranken umgeben. Auf dem Altar steht ein rechteckiges Ölgemälde, das Jesus im Garten Gethsemane zeigt. Der Taufstein ist eine zwölfeckige, neugotische Arbeit aus Kalkstein mit aufgelegter Schale aus Bronze. Im Kirchenschiff eine von Süd über West nach Nord umlaufende Empore. Der Kirchhof ist als Friedhof gestaltet. In der Südwestecke steht ein neugotisches Mausoleum mit Wappen der Familie von Stern im Giebeldreieck. Alte Grabplatten vor den Zugängen verweisen ebenfalls auf die Familie v. Stern.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Granzin, meaning “Border Village”, was first mentioned in a document in 1230. The village is situated near the Mecklenburg town of Boizenburg. A church is attested in 1335. Today's church, a simple neo-Classical building dating from 1842, has inherited the freestanding half-timbered bell tower and the two medieval (1509 and 1510) bronze bells with Gothic minuscule inscriptions from its predecessor. The interior has a flat ceiling with cross paintings and Art Nouveau paintings on the walls and in the apse. However, the organ was already built by Friedrich Jacob Friese (Friese I) for the previous church in 1831, but was then rebuilt by Johann Heinrich Runge and moved to the new church in 1841. The altar is surrounded by openwork barriers. On the altar is a rectangular oil painting depicting Jesus in the Garden of Gethsemane. The baptismal font is a dodecagonal, Gothic Revival work made of limestone with a bronze bowl on top. The nave has a gallery running from south to west to north. The churchyard is designed as a cemetery. In the south-west corner is a Gothic Revival mausoleum with the coat of arms of the von Stern family in the gable triangle. Old gravestones in front of the entrances also refer to the von Stern family.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Kronverksky Strait. In the distance is Ioannovsky bridge, the Peter and Paul Fortress, and the Peter and Paul Cathedral. St. Petersburg. Russia. August 16, 2020.
Кронверкский пролив. Вдалеке — Иоанновский мост, Петропавловская крепость и Петропавловский собор. Санкт-Петербург. 16 августа 2020.
Canon EOS 70D,
Canon EF-S 24mm f/2.8 STM
Built in 1885, the Church of the Intercession in Oreanda has long been one of the most iconic religious sites in the whole of Greater Yalta. Starting with Emperor Alexander III, all subsequent Romanovs prayed in it. It is the Intercession Church that Chekhov mentions in his story "The Lady with the Dog". In the architectural and cultural sense, the temple is interesting because it is made in the Georgian-Byzantine style, which is not quite familiar to Russia, which is distinguished by the construction in the form of a cross, a cone-shaped dome on which an openwork four-pointed Byzantine cross stands.
Построенная в 1885 году, церковь Покрова в Ореанде долгое время была одним из самых знаковых религиозных объектов всей Большой Ялты. Начиная с императора Александра III, в ней молились все последующие Романовы. Именно Покровская церковь упоминается Чеховым в его рассказе «Дама с собачкой». В архитектурно-культурном смысле храм интересен тем, что выполнен в не совсем привычном для России грузино-византийском стиле, который отличает постройка в виде креста, конусовидный купол, на котором высится ажурный четырёхконечный византийский крест.
Der Hochaltar ist doppelgeschossig. Altarmensa, Reliquienschrein und Tabernakel nehmen das untere, die Säulenarchitektur mit Auszug das obere Geschoss ein. Unterhalb des von anbetenden Engeln flankierten Tabernakels ist in einem gläsernen Schrein eine Reliquie des hl. Johannes Nepomuk aufbewahrt. Vier gewundene Freisäulen erheben sich auf Postamenten, die in die Emporenbalustrade eingebunden sind. Die gewundenen Säulen zitieren Berninis Altar über dem Petrusgrab in St. Peter in Rom. Vergoldete Blumengehänge verbinden vordere und hintere Säulen. Auf den Kapitellen stehen Ziervasen. Seitlich stehen auf Konsolen und vor Nischen Heiligenfiguren, links Johannes der Täufer, rechts Johannes der Evangelist. Zentrum des Hochaltars ist heute die Figurengruppe des Heiligen Nepomuk und der Maria Immaculata sowie ein durchbrochenes Fensteroval mit gelbem Glas. Als Rahmung dienen erneut vier, diesmal aber glatte Säulen. Ursprünglich befand sich hier eine in Silber gefasste Stuckarbeit Eguid Quirin Asams sowie „ein gross rundes Fenster“. Beides wurde aufgrund von Nässeschäden 1820 durch ein Gemälde ersetzt. Dieses Altargemälde ging 1944/45 verloren. An dessen Stelle öffnet sich heute im oberen Altarbereich das bei der Renovierung der 1970er Jahre hinzugefügte Ovalfenster. Der Altarauszug über dem vielfach geschwungenen Gebälk zeigt eine vollplastische Darstellung des Gnadenstuhls, auf dem Gottvater mit der dreifachen päpstlichen Tiara auf dem Haupt den gekreuzigten Erlöser zwischen schwebenden Engeln präsentiert.
The high altar is two storeys high. The altar table, reliquary and tabernacle occupy the lower storey, while the column architecture with extension occupies the upper storey. Below the tabernacle, flanked by adoring angels, a glass shrine contains a relic of St. John Nepomucene. Four twisted free-standing columns rise on pedestals that are integrated into the gallery balustrade. The twisted columns are reminiscent of Bernini's altar above St. Peter's tomb in St. Peter's Basilica in Rome. Gilded flower garlands connect the front and rear columns. Decorative vases stand on the capitals. On the sides, figures of saints stand on consoles and in front of niches, with John the Baptist on the left and John the Evangelist on the right. Today, the centre of the high altar is dominated by a group of figures representing St. Nepomucene and Mary Immaculate, as well as an openwork oval window with yellow glass. Four columns, this time smooth, serve as a frame. Originally, there was a silver-framed stucco work by Eguid Quirin Asam and ‘a large round window’ here. Both were replaced by a painting in 1820 due to water damage. This altar painting was lost in 1944/45. In its place, the oval window added during the renovation in the 1970s now opens up in the upper altar area. The altar extension above the multi-curved entablature shows a fully sculpted representation of the throne of grace, on which God the Father, wearing the triple papal tiara on his head, presents the crucified Saviour between floating angels.
Die Asamkirche (offiziell St. Johann Nepomuk) in der Sendlinger Straße in Münchens Altstadt wurde von 1733 bis 1746 von den Brüdern Asam (Cosmas Damian Asam und Egid Quirin Asam) errichtet. Sie gilt als eines der bedeutendsten Bauwerke der beiden Hauptvertreter des süddeutschen Spätbarocks. Die Asamkirche steht bereits an der Schwelle zum Rokoko, doch tritt hier die typische Leitform im Ornament, die Rocaille, noch nicht auf. Die Kirche ist eine Filialkirche von St. Peter. Die Kirche sollte ursprünglich als Kapelle der inzwischen in München ansässigen Brüder Asam entstehen. Nachdem es Egid Quirin Asam zwischen 1729 und 1733 gelungen war, mehrere neben seinem Wohnhaus gelegene Grundstücke zu erwerben, errichtete er ab 1733 zusammen mit seinem Bruder Cosmas Damian dort die Kirche St. Johann Nepomuk. Die Grundsteinlegung erfolgte 1733 am Fest des heiligen Nepomuk durch Kurprinz Maximilian Joseph von Bayern. 1734 waren der untere Teil des Hochaltars und zwei Seitenaltäre schon in Benutzung. 1738 arbeitete Egid Quirin Asam am Chor. Die noch unvollendete Kirche wurde am 1. Mai 1746 geweiht Die Kirche wurde ohne Auftrag und als Privatkirche zur höheren Ehre Gottes und zum Seelenheil der Baumeister errichtet. Das ermöglichte den Brüdern auch, unabhängig von den Vorstellungen von Auftraggebern zu bauen. Die Kirche ist noch von den Vorstellungen des römischen Barocks geprägt. Sie ist gewestet und nicht wie üblich geostet, das heißt, der Hochaltar befindet sich im Westen. Die Asamkirche entstand auf engstem Raum, das Grundstück misst nur 22,2 mal 8,8 m.
de.wikipedia.org/wiki/Asamkirche_ (Munich)
The Asam Church (officially St. John Nepomucene) on Sendlinger Straße in Munich's old town was built between 1733 and 1746 by the Asam brothers (Cosmas Damian Asam and Egid Quirin Asam). It is considered one of the most important buildings by the two leading representatives of late Baroque architecture in southern Germany. The Asam Church is already on the threshold of the Rococo period, but the typical leading form in ornamentation, the rocaille, does not yet appear here. The church is a branch church of St. Peter's. The church was originally intended to be a private chapel for the Asam brothers, who had settled in Munich. After Egid Quirin Asam succeeded in acquiring several plots of land adjacent to his residence between 1729 and 1733, he and his brother Cosmas Damian began building the Church of St. John Nepomucene there in 1733. The foundation stone was laid in 1733 on the feast day of St. Nepomucene by Prince Maximilian Joseph of Bavaria. By 1734, the lower part of the high altar and two side altars were already in use. In 1738, Egid Quirin Asam worked on the choir. The still unfinished church was consecrated on 1 May 1746. The church was built without commission and as a private church for the greater glory of God and the salvation of the builders' souls. This also allowed the brothers to build independently of the ideas of clients. The church is still influenced by the ideas of Roman Baroque. It faces west and not east as usual, meaning that the high altar is located in the west. The Asam Church was built on a very small site, measuring only 22.2 by 8.8 metres. This makes the achievement of the two architects all the more astonishing, as they succeeded in harmoniously combining architecture, painting and sculpture in the two-storey interior to create a total work of art. The late Baroque façade is integrated into the row of houses on Sendlinger Strasse. It appears extremely steep and curves convexly forward. Large pilasters with fanciful capitals flank the portal and upper floor windows.
The beautiful Grade I-listed Church of St Andrew in Slaidburn in the Forest of Bowland dates from the early 15th century, with alterations made in the 17th century. The east wall was rebuilt in 1866.
The church is unusual for its quantity of good early woodwork. It has 17th century and 18th century pews, including box pews. An 18th century three-decker pulpit has raised and fielded panels, a stair of slim turned balusters, and sounding board with carved entablature. The rood screen, probably of the 1630s but possibly later, has tapering square uprights with capitals, decorated arched openwork heads, openwork frieze and dentilled cornice. The open timber roof is probably from the early 17th century. St Andrew's is considered to be one of England's Thousand Best Churches by Simon Jenkins.
Historically in the West Riding of Yorkshire, the village of Slaidburn is now within the Ribble Valley district of Lancashire. The parish covers just over 5,000 acres of the Forest of Bowland, an Area of Outstanding Natural Beauty.
Full architectural details of St Andrew's Church can be seen at britishlistedbuildings.co.uk/101163738-church-of-st-andre....
Sankt Katharinen ist ein herausragendes Meisterwerk norddeutscher Backsteinbaukunst. Anstelle einer 1395 abgerissenen Feldsteinkirche entstand bis 1401 die Katharinenkirche als die größte Kirche der Stadt.
Beachtlich ihre Ausmaße; die Höhe des Dachfirstes beträgt 38 m und die des Turmes 72,5 m. An den Außenwänden dominieren ein seltener Reichtum an durchbrochenen Maßwerkrosetten und figürlicher Schmuck. Besonders beeindruckend die sogenannte Schöppenkapelle an der Südseite mit ihren reichhaltigen Verzierungen.
St. Catherine's Church is an outstanding masterpiece of North German brick architecture. replacing a fieldstone church demolished in 1395, It is the largest church in the city and was built until 1401. Its dimensions are remarkable; the roof ridge is 38 m high and the tower 72.5 m high. The outer walls are dominated by a rare abundance of openwork tracery rosettes and figural decoration. The so-called Schöppenkapelle on the south side with its rich exterior decorations is particularly impressive.
Buffalo, UNITED STATES OF AMERICA 2024
The Saint Louis Roman Catholic Church is a historic parish located in downtown Buffalo, New York, renowned for its majestic architecture.
History and Founding: The parish was originally founded in 1829 by German immigrants. The current building, completed in 1889, is the congregation's second place of worship.
Architecture: The church is a superb example of the Gothic Revival style, designed by German architect Adolphus Druiding. Its most striking feature is its stunning openwork spire, which rises to about 245 feet (75 meters) and makes it prominent in the city's skyline.
Significance: It is listed on the US National Register of Historic Places. Its design and construction reflect the wealth and influence of Buffalo's German immigrant and Catholic community in the late 19th century.
St Mary's is over 500 years old, having been built on the site of a previous Norman Church. As the following description from Arthur Mee's Yorkshire North Riding indicates it is worth a visit:
Thirsk has nothing to compare with its splendid church of St Mary, which has probably no equal for its time in the North Riding. Set on the green bank of one of the willow-bordered streams, it is a magnificent tribute to those who built it in the first half of the 15th century. Nobly yet simply planned, it has a lofty clerestoried nave with aisles, a lower chancel built over a crypt, a west tower, and a two-storeyed porch. A lovely feature of the exterior is the openwork parapet of traceried battlements edging all the walls, as well as the tower and the porch, as with delicate embroidery. There are slender and leafy pinnacles, weird gargoyles, and a glorious array of windows which make the interior a veritable lantern of light.
The tower has unusual buttresses, stepped and sloping, and a niche with a battered sculpture, probably a Madonna. The porch has an oak roof with bosses, but we still see the springers which were meant to support a vault. The richly moulded inner doorway has its worn 15th century door, still magnificent with its studs, tracery, and wicket. It is an introduction to much beautiful old woodwork within. The finest of the 500-year-old roofs is that of the nave, a barrel of open timbering with rich beams and bosses, and spandrels with tracery. In the carving of the one or two bench-ends that remain we see the asses of Askwith and the lion of Mowbray. There are 15th century screens in the aisles, a medieval door in the chancel, an old chest, and an exceptionally fine altar table said to have come from Byland Abbey; it has a border enriched with heads of men and women, and is supported by seated lions. Some old wood is worked into the pinnacled cover of the font.
Beautiful arcades soar to the great clerestory, where, between the windows, are traces of 17th century paintings of saints. The chancel has a trefoiled niche at each side of the east window, and three handsome sedilia. An oil painting of Doubting Thomas is thought to be 16th century, and one of the bells is believed to have been ringing at Fountains Abbey 500 years ago. In the 15th century glass filling the east window of the south aisle with a rich medley of red, blue, and silver light are many little heads and many complete figures, among them Anna, Cleopas, St Leonard, St Giles kneeling, and angels with shields. On two of the shields are three asses and the lion to match those carved in wood. St Catherine and angels are recognisable in glass fragments in the other aisle. The window above Sir Robert Lister Bower's bronze portrait plaque has rich glass in his memory. He had a thrilling adventure in his army days, for as a young man he was in the regiment which went up the Nile to try to relieve Gordon at Khartoum; in his window are nurses, an African native, and a knight riding a horse in splendid trappings, hounds following.”
In November 2016, the church was covered with handmade poppies as part of the Remembrance Day celebrations in Thirsk. The Thirsk Yarnbombers created a more than 40,000 knitted or crocheted poppies to decorate the town, with the main display consisting of a "river" of poppies flowing from the top of St Mary's Church, down the side and then across the wall of the church's cemetery.
The Torre de Belém in the Belém district at the mouth of the Tagus is one of the most famous landmarks in Lisbon. Along with the nearby Mosteiro dos Jerónimos, the tower is one of the few outstanding Manueline-style structures to have survived the 1755 Lisbon earthquake. The top, 35 meter high, exposed floor of the tower is now a viewing platform.
In 1515 the tower was commissioned by the Portuguese King Manuel I. It was completed six years later, the year Manuel died (1521). Since then it has symbolized the heyday of the Portuguese maritime and commercial empire. Located as a lighthouse on a rock in the Tejo estuary, it greeted the arriving explorers and merchant ships. Originally there was a second tower on the opposite side. Enemy ships could be caught in the crossfire. However, this twin tower was destroyed by the great earthquake of 1755.
A symbol of protection for seafarers, a statue of Our Lady of Safe Homecoming looks out to sea. On the northwest side of the tower there is also a sculpture of a rhinoceros head, which is the first plastic depiction of this animal in Europe.
The Indian rhinoceros, which Afonso de Albuquerque brought back from his trip to India in 1515 and which later also provided Albrecht Dürer with the template for the woodcut of his "Rhinoceros".
It is an illustration of the Indian rhinoceros, which Afonso de Albuquerque brought back from his trip to India in 1515 and which later also provided Albrecht Dürer with the template for the woodcut of his "Rhinoceros". The bastion gets its own character from the rich decorations with cord reliefs, shield-shaped battlements, openwork balconies and Moorish lookouts.
The gloomy interior served as a prison and armory well into the 19th century. In the 19th century there were deposits on the northern bank of the Tejou. Today the Torre is therefore only a few meters from the land. The Torre de Belém has been a World Heritage Site since 1983
An indisputable symbol of the renaissance of Le Havre, Saint Joseph’s Church is an extraordinary building.
Its impressive dimensions and trans-Atlantic allure disturb the religious landmarks which nevertheless make it one of the most remarkable achievements of the 20th century in France.
New-York in Le Havre
Every major city has its landmark that history has given it. In Le Havre, Saint Joseph’s Church quickly achieved this coveted status, despite its young age, since this year marks the fiftieth anniversary of the first religious celebration. It is true that the ambition that prevailed in its construction, in the fever of post-war reconstruction, gave it serious assets to deserve this role as a flagship monument.
From afar, whether on land or at sea , its skyscraper-like appearance, so familiar to fans of New York, obviously owes nothing to chance. A true votive work in memory of the victims of the annihilation of Le Havre, Saint Joseph celebrates from the top of its 107 m height, the rebirth of a city that has established itself as the maritime gateway to France, thus endowing the religious building with another, more secular vocation.
Concrete and light
As we draw closer to this bitter hope, as if irresistibly attracted by its vertical thrust, we gradually grasp the incredible architectural dimension that led to the new emblem of the rebuilt Le Havre being classified as a historical monument less than ten years after its completion. Brought here to its climax, the magnificent expression that Auguste Perret managed to give to concrete brings out all the nuances of a hitherto unsuspected palette for this reconstituted stone.
However, the realisation is not complete until you cross the threshold into St Joseph’s, when the complicity between the concrete poet and master glassmaker Marguerite Huré explodes before your eyes: made entirely of openwork on its eight sides, the lantern tower perfects the liturgical principles thanks to the 12,768 multicoloured hand-blown stained-glass windows which, in a cleverly reinvented religious mysticism, touch the soul of the stunned visitor.
Source: www.lehavre-etretat-tourisme.com/en/discover/the-essentia...
Description in English and Dutch:
English
Napoleon Bonaparte paid a visit to Zaandam in 1811 and thought it was a beautiful picturesque city. At that time, the clever conqueror was busy setting up a civil status system in the Netherlands, just like in France, in which property rights would be established. As a result, he could also levy tax in the Netherlands. That is why he had a map made for this. The map of Zaandam was ready before the rest of the Netherlands. Many years later, in our modern age, the municipality of Zaandam and the architectural firm Studio Kramer thought it would be a fun idea to cut out that map exactly to scale and use it as the facade of a new lock house. The facade consists of openwork (ajour) from the Napoleonic era. It is made of the specific CorTen steel that prevents a rusting surface from rusting through. That is why the house has a brown-orange color that was often used at that time. Due to the specific architectural style, the building also refers to the river Zaan and the peat meadow landscape.
Nederlands
Napoleon Bonaparte bracht in 1811 een bezoek aan Zaandam en vond het een prachtige schilderachtige stad. In die tijd was de slimme veroveraar bezig om in Nederland net als in Frankrijk een burgelijke standssyteem op te laten zetten waarin eigendomsrechten zouden komen te staan. Hierdoor zou hij dan ook in Nederland belasting kunnen heffen. Dat is de reden dat hij hiervoor een landskaart heeft laten maken. De kaart van Zaamdam was echter al eerder klaar dan de rest van Nederland. Vele jaren later in onze moderne tijd leek het de gemeente Zaandam en architectenbureau Studio Kramer een geinig idee om die landskaart exact uit te snijden op schaalgrote en het als gevel van een nieuw sluishuisje te gebruiken. Het gebouw refereert door de specifieke bouwstijl naar de rivier de Zaan en het veenweide landschap. De gevel bestaat uit ajour van de Napoleon tijd met de typische open gaten structuur. Het is gemaakt van de specifieke CorTen staal waarbij een roestend oppervlak niet verder doorroest. Daarom heeft het huisje een bruin oranje kleur dat in die tijd vaak werd gebruikt.
A small part of the relics of Saint John the Baptist is found in this church.
The history of the church dates back to 1682, when a lord named Mihul built a church dedicated to the "Beheading of Saint John the Baptist".
The church is better known as "Bradu-Boteanu", because a tall fir tree grew near the church and because the church was near a slum called "Boteanu".
During the 1977 earthquake, nearby, the "Dunarea" block collapsed, located next to the beautiful church-monument of "Ienia" or "Enea".
During the work of clearing the debris, the equipment apparently "accidentally" also demolished the Ienia church located to the left of the "Dunarea" block, opposite the Ion Mincu Institute of Architecture and opposite the Intercontinental Hotel and the National Theater.
Since then, the Boteanu Church, taking over its patron saint and soul, has been called "Boteanu – Ienii"
in 1682, when the master Mihul built a wooden church on the northern border, then of Bucharest, with the patron saint "The Beheading of Saint John the Baptist".
It was called Bradu-Boteanu, from a taller fir tree near the church, but also from the nearby "Boteanu" slum.
Two of the founder's descendants, Maxem and Gheorghe, erected, during the time of Scarlat Vodă Ghica, on June 5, 1760, on the foundations of the old wooden foundation, a brick church.
After approximately 150 years, between 1908-1911,
"in place of the small church, which was in the shape of a cross, without a porch, with two towers much too high for the modest proportions of the church, into which you had to descend to enter it, the current church was built, adding the patron saint "Sfinţii Voievozi"
as we learn from the inscription at the church door.
The church that exists today was founded by Zinca Izvoranul, together with the parishioners, between 1908-1911.
At the entrance to the church, one can see, under the casket, the portrait of Mihail Rioșeanu, related to the founder of the holy place.
From the old church from 1760, only part of the inscription is preserved, in Slavonic or Cyrillic letters, which can be found at the entrance to the church, on the outer wall on the right.
The plan of the current church is in the shape of Byzantine cross, with an addition of a porch at the entrance.
The painting is made in tempera by the priest painter Vasile Damian, in neo-Byzantine style.
The iconostasis is made of oak wood, with columns and openwork belts, with icons from top to bottom made of silvered metal by the sculptor C. M. Babic, in 1911, his signature being on the back of the imperial doors.
Malheureusement, nous n'avons pas visité l'intérieur du choeur car il y avait des files pour voir ce lieu payant et également pour cause de manque de temps, en effet, nous étions en transit dans la ville.
Dans les niches des 35 piliers qui divisent la clôture de chœur haute de 6,54 m, sont placées de courtes statues en pierre polychromée des Prophètes de l'Ancien Testament à l'extérieur, et à l'intérieur 15 statues figurant l'Église (12 apôtres, la Vierge Marie, saint Jean-Baptiste et saint Paul, et 72 statues d'anges groupées autour de sainte Cécile, puis enfin Charlemagne et Constantin dominant les portes). Le jubé clôt cet ensemble avec des arches gothiques ajourées. Le pourtour de cette clôture est orné sur deux rangées de 120 stalles surmontées de dais délicatement sculptés, et ses 72 statues d'anges aux figures symboliques.
Unfortunately, we did not visit the interior of the choir because there were queues to see this paid place and also because of lack of time, indeed, we were in transit in the city.
In the niches of the 35 pillars which divide the 6.54 m high choir enclosure, are placed short polychrome stone statues of the Prophets of the Old Testament on the outside, and inside 15 statues representing the Church (12 apostles, the Virgin Mary, Saint John the Baptist and Saint Paul, and 72 statues of angels grouped around Saint Cecilia, then finally Charlemagne and Constantin dominating the doors). The rood screen completes this set with openwork Gothic arches. The circumference of this enclosure is decorated with two rows of 120 stalls surmounted by delicately carved canopies, and its 72 statues of angels with symbolic figures.
A la Belle époque, des femmes, venant du monde entier, se promènent avec une ombrelle dans la station thermale de Chaudfontaine. Le parc de Hauster est le majestueux jardin familial du château.
Revisitant cet univers et l’histoire de Chaudfontaine comme lieu de villégiature, Lut Vandebos et Niko Van Stichel ont réalisé la sculpture en inox, Parasol 5 saisons.
Habitué aux interventions dans l’espace public et la nature, ce duo artistique a réalisé de nombreuses œuvres en Belgique, aux Pays-Bas, aux Etats-Unis, aux Pays-Bas et en Nouvelle-Zélande.
Le parasol ajouré est un fidèle complice de la lumière naturelle. Celle-ci fait apparaître et disparaître, poétiquement sur le sol, les dessins découpés dans l’acier. Les détails de ces dessins donnent un aperçu du monde animal et floral des différentes saisons. Ils font aussi référence à l’univers pictural d’Edouard Manet et des impressionnistes. Dans un cadre magnifique et un jardin historique comme le parc de Hauster, l’œuvre invite à un Déjeuner sur l’herbe
During the Belle Epoque, women from all over the world walk with an umbrella in the thermal spa of Chaudfontaine. Hauster Park is the castle's majestic family garden.
Revisiting this universe and the history of Chaudfontaine as a holiday resort, Lut Vandebos and Niko Van Stichel created the stainless steel sculpture, Parasol 5 Saisons.
Used to interventions in public spaces and nature, this artistic duo has produced numerous works in Belgium, the Netherlands, the United States, the Netherlands and New Zealand.
The openwork parasol is a faithful accomplice of natural light. This makes the drawings cut out of steel appear and disappear poetically on the ground. The details of these designs give an insight into the animal and floral world of the different seasons. They also refer to the pictorial world of Edouard Manet and the Impressionists. In a beautiful setting and a historic garden like Hauster Park, the work invites you to a Lunch on the Grass
This is one of my daughter's Pandora charms.
I'm stuck at home with a very bad cold virus, so I cannot take any outside photos for a while.
I could have made it sharper and brighter, but I wanted it soft.
A Grade I listed building; the following description for the tower is taken from the Historic England list entry:
"Tower 28 metres high, in 4-stages set back offset corner buttresses, capped by openwork balustrading eatching the parapets could be C19. Two-light late C14 windows on all sides at bell-ringing and bell-chamber levels, the latter having fine pierced stonework grilles. Stair turret to North-west corner, with windvane termination. Plain West doorway flanked by triangular shafts, West window having Perpendicular tracery. The iron latin cross set into the South-east corner of the parapet may be of C15. The tower has a chiming clock, (no clock face), a Sanctus bell and a peal of 10 bells, the East window similar tracery to the West window, and the parapet is crowned with a stone cross."