Pilgrimages - Spiritual
View allAll Photos Tagged prayerful
If you must look back, do so forgivingly.
If you must look forward, do so prayerfully.
However, the wisest thing you can do is
to be in the present......gratefully.
Maya Angelou
Understand what it means and what it can do for your country :-)
Carrie Chapman Catt
Protest Injustice! Resist!! Vote ! Vote!! Vote!!!
daffodil, narcissus, j c raulston arboretum, ncsu, raleigh, north carolina
The Hindus have a way of greeting each other.
They hold their hands together in prayerful piety, bow their head and say Namaste.
Loosely translated, Namaste means the divine in me bows to the divine in you.
Namaste, all.
Be yourself, truthfully,
Accept yourself, gratefully,
Value yourself, joyfully,
Forgive yourself, completely,
Treat yourself, generously,
Balance yourself, harmoniously,
Bless yourself, abundantly,
Trust yourself, wholeheartedly,
Empower yourself, prayerfully,
Give yourself, enthusiastically,
Express yourself, radiantly.
Tracey Steffey
Topaz Studio
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Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Dear Flickr friends,
This is not about the photo....I don't care about the photo.
This is to let you know that I am in Az with my son. After a time of tests and biopsies, we were told 2 days ago that he has cancer.
We are now in process of getting him into Dana Farber after researching different treament centers.
I have good friends in Boston so we have a place to stay.
I will be off Flickr for an indefinite period of time. I will check messages.
If you would, please keep him in your thoughts.
And be well.
Deisus (Greek δεησις - petition, prayer; deisis) - an icon or a group of icons that has an image of Christ in the center (most often in the iconography of Pantokrator), and to the right and left of it, respectively, the Mother of God and John the Baptist, presented in the traditional gesture of prayerful intercession.
Деісусний чин. іконостасу включає, крім незмінної середини - Ісус Христос, Богоматір, Іоанн Предтеча, архангели Михайло і Гавриїл, апостоли Петро і Павло, - також ікони апостолів Андрія та Іоанна, вселенських святителів.
The Church of the Nativity of Christ is an Orthodox stone temple built in Kyiv on Postova Square in 1809-1814 according to the project of architect A. I. Melenskyi. The church was destroyed by the decision of the Soviet authorities in 1935 and restored in its original form in 2003.
Церква Різдва Христового - православний кам'яний храм, споруджений в Києві на Поштовій площі в 1809-1814 рр. за проектом архітектора А. І. Меленського. Церква була зруйнована за рішенням радянської влади в 1935 році і відновлена в первозданному вигляді в 2003 році.
" We live as we move, one step at a time, and there is something about walking that reminds me of how I must live if I am to savor this life that I have been given...It is in walking that I live most prayerfully." {Julia Cameron}
I've religiously walked every morning for many years, it's the anchor in my day, a quiet meditation for my soul. Just paying attention to the world around me, how the droplets form on the fence, how the fog settles in the valley, how the roses slowly unfurl in the sunlight...moments of silent prayer to the universe for the gift of so much beauty, a savoring of the the present moment.
One thing is clear and tangible to me in a way that it seldom has been: the world is full of God. From every pore, God rushes out to us, as it were. But we’re often blind. We remain stuck in the good times and the bad times and don’t experience them right up to the point where the spring flows from God.…
In everything, God wants to celebrate encounter and asks for the prayerful response of surrender. The trick and the duty is only this: to develop a lasting awareness and a lasting attitude out of these insights and graces—or rather, to allow them to develop. Then life becomes free, in that freedom which we have often looked for.
-To Luise Oestreicher, November 17, 1944; cited in Ultimate Price: Testimonies of Christians Who Resisted the Third Reich, selected by Annemarie S. Kidder (Maryknoll, NY: Orbis, 2012), 65–66.
"Arranging a bowl of flowers in the morning
can give a sense of quiet in a crowded day
- like writing a poem or saying a prayer."
~ Anne Morrow Lindbergh ~
Well, I prefer shallow containers for simple arrangements,
otherwise known as . . .
(Ikebana (生け花, 活け花, "arranging flowers" or "making flowers alive"), the Japanese art of flower arrangement. It is also known as Kadō (華道, "way of flowers"). The tradition dates back to the 7th century when floral offerings were made at altars.)
~ Wikipedia ~
Must capture these daily, as they pass by so quickly.
We are blessed with about 10 varieties of iris right now!
Each has it's own beauty and personality . . . and it's lovely when they have different blooming intervals during this time of year!
With words, fabric, crayons, images, a soft companion and a prayerful intention, we can get transported to a state of relaxation and peace; inspired to possibly bring a smile into someone's life!
Buddhists walk around stupas to show devotion, gain merit, and cleanse negative karma. This ritual, called kora, is a moving form of meditation that nurtures mindfulness and spiritual connection. Pictured here is the Memorial Chorten in Thimphu — one of Bhutan’s most recognizable religious landmarks. Built by Queen Ashi Phuentsho Choden Wangchuck in memory of her son, the Druk Gyalpo, it follows the Tibetan style but, unlike most stupas, holds no human relics. It took me about 20 minutes to capture this shot, waiting for just the right moment to show the steady flow of people moving clockwise in prayerful rhythm.
image in the Bhutan album
www.flickr.com/photos/mborgare/albums/72177720329887942 and in the album "rituals"
I buddisti camminano intorno agli stupa per mostrare devozione, accumulare meriti e purificare il karma negativo. Questo rituale, chiamato kora, è una forma di meditazione in movimento che coltiva consapevolezza e connessione spirituale. Nella foto si vede il Memorial Chorten di Thimphu — uno dei monumenti religiosi più riconoscibili del Bhutan. Fu costruito dalla regina Ashi Phuentsho Choden Wangchuck in memoria di suo figlio, il Druk Gyalpo. Realizzato nello stile tibetano, a differenza della maggior parte degli stupa non contiene reliquie umane. Mi ci sono voluti circa venti minuti per catturare questo scatto, aspettando il momento giusto per mostrare il fluire costante delle persone che girano in senso orario in preghiera.
Deisus (Greek δεησις - petition, prayer; deisis) - an icon or a group of icons that has an image of Christ in the center (most often in the iconography of Pantokrator), and to the right and left of it, respectively, the Mother of God and John the Baptist, presented in the traditional gesture of prayerful intercession.
Ukrainian Orthodox Church Resurrection of Christ (Voskresenskaya church), national monument 17 century.
Temple is a monument to victims of Afghan war 1979-1989. Kyiv.
Церковь Воскресения Христова. Бывший приходской храм Печерского местечка. Памятник архитектуры конца XVII в.
Деисус (греч. δεησις — прошение, моление; деисис) — икона или группа икон, имеющая в центре изображение Христа (чаще всего в иконографии Пантократора), а справа и слева от него соответственно — Богоматери и Иоанна Крестителя, представленных в традиционном жесте молитвенного заступничества. Может включать в себя аналогичные изображения апостолов, святых отцов, мучеников и прочих. Основной догматический смысл деисусной композиции — посредническая молитва, заступничество за род людской перед лицом грозного Небесного Царя и Судии.
Деисусный чин иконостаса включает в себя, помимо неизменной середины (Иисус Христос, Богоматерь, Иоанн Предтеча, архангелы Михаил и Гавриил, апостолы Пётр и Павел), иконы апостолов Андрея и Иоанна (как и во владимирском иконостасе 1408 года), вселенских святителей.
Самостоятельная иконографическая композиция, построенная по типу деисуса, называется «Предста Царица одесную Тебе» или более коротко «Предста Царица». В ней Христос восседает на троне в образе Царя царей, справа (одесную) от Него (слева по отношению к зрителю) стоящая в рост Богородица в царских одеждах, с другой стороны — Иоанн Предтеча.
One thing is clear and tangible to me in a way that it seldom has been: the world is full of God. From every pore, God rushes out to us, as it were. But we’re often blind. We remain stuck in the good times and the bad times and don’t experience them right up to the point where the spring flows from God. . . . In everything, God wants to celebrate encounter and asks for the prayerful response of surrender. The trick and the duty is only this: to develop a lasting awareness and a lasting attitude out of these insights and graces—or rather, to allow them to develop. Then life becomes free, in that freedom which we have often looked for.
-Alfred Delp to Luise Oestreicher, November 17, 1944; cited in Ultimate Price: Testimonies of Christians Who Resisted the Third Reich, selected by Annemarie S. Kidder (Maryknoll, NY: Orbis, 2012), 65–66.
Evan demonstrating the prayerful sounds of this classical Indian drone instrument on a gorgeous Portland afternoon.
Obviously we use the word ‘love’ so easily today that it can lose its power to cause an earthquake in our lives. We know the simple and central words of St John: God is love. To ponder that statement prayerfully causes a constant revolution not only in my images of God but in my whole vision of life. Love is what God is and does, without limits, without conditions. Love is what God is doing all the time, whether we know it or not - like a sculptor releasing a beauty hidden in stone. That love is the ocean in which our lives move. It is the source of our own movement towards a light beyond us. And, to change metaphor, when we begin to hear that overwhelming music of love, inviting us to join, all becomes harmony...
... Our recognition-response is always an echo, a grateful yes, bathed in wonder.
-FAITH MAPS, Michael Paul Gallagher SJ
Oak Lake/Plum Lake Marsh grasslands. Manitoba. Finding this elusive sparrow was much more difficult than we thought. Getting it up exposed and singing on a perch was a close second. We got it to flush from hidden in the grass a few times, with it landing on the wire fence. I would nearly step on it before it would flush. There was some shrubby growth about 75 feet down the road near the fence and I suggested to David that we should try to land the bird there. That was no problem but it was in the grass again and hidden right beneath the shrubby growth. Prayerfully considering my options I had an idea as the Sedge wren sang nearby. I played snippets of Grassh0pper sparrow from a speaker that was hung nearby on a low branch. The Le Conte's became suddenly a bit bolder and began to slowly climb the perch, singing all along. We happily clicked away and soon left our new friend. We saw/heard other Le Conte's sparrows in that area but this is the only one we attempted to photograph.
On the wall of the apse behind the altar arch is the Deesis (Greek δέησις - petition, prayer), or Deisis - in the center is the image of Christ, and to the right and left of Him, respectively, are the Mother of God and John the Baptist, presented in the traditional gesture of prayerful intercession. To the right of the Mother of God is the Apostle Andrew the First-Called, and to the left of John the Baptist is Panteleimon of Nicomedeia or Panteleimon the Healer - a healer and great martyr of the first centuries of Christianity.
На стіні апсиди за вівтарною аркою сюжет Деісус (грец. δέησις — прохання, моління), або Деісіс — у центрі зображення Христа, а праворуч і ліворуч від Нього відповідно — Богоматері та Іоанна Хрестителя, представлених у традиційному жесті молитовного заступництва. Праворуч від Богородиці апостол Андрій Первозванний, а ліворуч від Іоанна Хрестителя Пантелеймон Нікомедійський або Пантелеймон Цілитель – цілитель і великомученик перших віків християнства.
During the days of the defense of Kyiv from the Nazis (1941), firing points were placed on the roof and under the domes of the temple. They were fired back at them, the potholes from which remained visible on the facades until the early 1990s. After World War II, the Mechanics' Institute divided the interior into several floors and many rooms. By 1990, the building was missing the corner tops and the “onion” of the middle dome. In 1990, the post-war ceilings and bulkheads inside the cathedral were dismantled. In 1991, the reconstruction of the domes began. In 1998, major renovations of the temple were completed.
From the original paintings of the interior, only images of the 4 evangelists under the middle chapter survived (restored in the 1990s).
The updated interior is decorated with a red and gilded iconostasis 14 m high, made in a manner imitating the Baroque style.
У дні оборони Києва від нацистів (1941) на покрівлі та під куполами храму було розміщено вогневі точки. По ним вели вогонь у відповідь, вибоїни від якого залишалися видні на фасадах до початку 1990-х рр. ХХ ст. Після Другоі Світової війни Інститут механіки розділив інтер'єр на кілька поверхів та безліч приміщень. До 1990 року на будівлі були відсутні кутові верхи та «цибулина» середнього купола. У 1990 повоєнні перекриття та переборки всередині собору було розібрано. У 1991 почалося відтворення куполів. У 1998 капітальний ремонт храму було завершено.
Від початкових розписів інтер'єру вціліли лише зображення 4-х євангелістів під середнім розділом (відреставровані в 1990-х роках).
Оновлений інтер'єр прикрашає червоний із позолотою іконостас заввишки 14 метрів виконаний у манері наслідування стилю бароко.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
A young woman named Clare stands up in front of the choir, cradling her newborn baby against her chest. The piano lays down a line, and she begins to sing, “Lord, you are more precious than silver.” Her eyes closed, she sways with the baby, singing like both their lives depend on it. The moment is disarmingly intimate, but without a trace of embarrassment. It’s not about her. Surrounded by a sea of black faces, Clare is the only white woman in the choir. It doesn’t matter. We are all one Body, one Presence, one Mother, one Child, a circle opening into the wide-open Heart of God. I can’t recall a more prayerful moment in any liturgy my whole life.
-Hope Sings, So Beautiful Graced Encounters across the Color Line, Christopher Pramuk
so much to think about now-a-days . . .
so much for which to be thankful . . .
blessings on this day of contemplation and reflection
with respect and honor for all those who have served and sacrificed for our country . . . in war or peace, dead or alive . . .
These hands cherished a husband, nurtured children, grandchildren and great grandchildren, comforted the sick as a nurse, performed volunteer work at a hospital, cared for the poor by performing numerous acts of charity, all the while embracing the rosary.
The New Chersonesos Museum and Temple Complex consists of buildings and structures with a total area of 140,000 square meters, located on a 22.4-hectare well-maintained territory. The complex includes museums of Christianity, Crimea and Novorossiya, Antiquity and Byzantium, the world's only temple-park, an archaeological park, the Catherine Park with the Geron River, Russia's first amphitheater, the Gryphon Arena, and a recreated Byzantine quarter (a mint, an ancient estate, craft workshops, and a winemaker's estate).
The museum-temple complex houses the world's first temple without traditional walls or ceiling. According to the architect's vision, the temple features trees and flowers instead of walls, a starry sky instead of a traditional dome, and daily chants throughout the grounds.
The temple-park in "New Chersonesos" was consecrated in honor of the Holy Trinity. The first service was held in 2024, on the eve of a significant event for all Orthodox Christians - the Day of the Baptism of Prince Vladimir.
The Temple-Park in Novy Khersones has become not only a place for prayerful solitude, but also a popular attraction for guests of the complex. This approach to creating a sacred space demonstrates the possibility of harmony between man and nature in the highest sense of the word. The Temple-Park serves as both an open-air temple and a beautiful park with unique architectural compositions.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Іконографічне зображення Божої Матері, як фрагмент мозаїчної композиції Деісус, на східному фасаді церкви. Церква Святої Трійці (1871). Троїцький монастир Святого Йони. Київ.
Deiseus (Greek: δεησις - request, prayer; deisis) - an icon or group of icons, having in the center the image of Christ (most often in the iconography of the Pantocrator), and to the right and left of him, respectively, the Mother of God and John the Baptist, represented in the traditional gesture of prayerful intercession. The main dogmatic content of the deiseus composition is intercessory prayer, intercession for the human race before the formidable Heavenly King and Judge.
Деісус (грец. δεησις - прохання, моління; деісис) - ікона або група ікон, що має в центрі зображення Христа (найчастіше в іконографії Пантократора), а праворуч і ліворуч від нього відповідно - Богоматері та Іоанна Хрестителя, представлених у традиційному жесті молитовного заступництва. Основний догматичний зміст деісусної композиції — посередницька молитва, заступництво за людський рід перед лицем грізного Небесного Царя і Судді.
“Silently, one by one, in the infinite meadows of heaven, Blossomed the lovely stars, the forget-me-nots of the angels.” — Henry Wadsworth Longfellow
Last night was my first attempt at taking an image of the Milkyway Galaxy. My husband insisted i get out and take some shots last night with a few friends. I'm so glad he did, as the night was perfect!
My husband goes in for surgery tomorrow morning. I'm feeling a bit apprehensive tonight, but very hopeful and prayerful that he'll have a speedy recovery.
I'll be by your photostreams as much as possible and I thank you for your support during a very difficult time.
Thank you!
3-Oñati-Sancti Spiritus University Cloister-First University in the Basque Country-Gipuzcoa-Basque Country-1542
2- Oñati-University Founded in 1543 First University in the Basque Country-Gipuzcoa-Basque Country-Basque Country
Pls.zoom
La Universidad de Oñati es la huella más representativa del Renacimiento en Euskal Herria, tanto por su arquitectura como por ser una de las instituciones más significativas del espíritu renacentista.
El mejor exponente del arte civil renacentista del País Vasco
Conoce la primera universidad del País Vasco con nuestras visitas guiadas con la compañía de un intérprete y “para todos”.
Su fundador
Rodrigo Mercado de Zuazola, nació en Oñati a finales del siglo XV. Destacó en los campos de la religión y la política, ejerciendo como obispo en Ávila y en Mallorca. Fue también presidente de la Cancillería de Granada.
El mismo Zuazola fue quien fundó en 1548 la Universidad que, durante tres siglos, impartió los estudios de Derecho, Medicina, Filosofía, Teología y Letras, principalmente.
Hoy en día, es la sede del Archivo de Protocolos de Gipuzkoa, del Instituto Vasco de la Administración Pública y del Instituto Internacional de Sociología Jurídica.
Fachada Plateresca
Es obra de muchos canteros y escultores. En ella, podemos apreciar nítidamente el espíritu humanista de su fundador; así como una mezcla entre lo sacro y lo profano.
Entre los elementos platerescos que adornan la fachada, no podemos dejar de citar el arco de medio punto, en el que aparece el fundador en posición orante. También el gran escudo perteneciente al rey Carlos I (V de Alemania), quien fuera patrón de la Universidad.
Artesonado Mudéjar
Construido en Ávila por Gibaja. El material es madera de roble, fabricado en esta misma provincia. No es frecuente ver este tipo de artesonado en el País Vasco, pero Zuazola quiso hacer algo diferente.
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Claustro típico renacentista
Dos pisos unidos por dos escaleras con seis arcos en el lado estrecho y siete en el ancho, dándole al claustro una forma cuadrangular. Lo más representativo son los 32 medallones, en los que aparecen parejas mitológicas y reales, que han destacado por su virtud.
Escultura de Oteiza
LA TIERRA Y LA LUNA (Antonio y Francisco) – Según el escultor, representa “La obligación de abrir nuestro corazón al exterior”.
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REF: Oficina de Turismo de Oñati
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The University of Oñati is the most representative example of the Renaissance in the Basque Country, both for its architecture and for being one of the most significant institutions of the Renaissance spirit.
The best example of Renaissance civil art in the Basque Country
Discover the first university in the Basque Country with our guided tours, accompanied by an interpreter and open to everyone.
Its founder
Rodrigo Mercado de Zuazola was born in Oñati at the end of the 15th century. He stood out in the fields of religion and politics, serving as bishop in Ávila and Mallorca. He was also president of the Chancellery of Granada.
Zuazola himself founded the university in 1548, which, for three centuries, primarily offered studies in law, medicine, philosophy, theology, and literature.
Today, it houses the Archive of Protocols of Gipuzkoa, the Basque Institute of Public Administration, and the International Institute of Legal Sociology.
Plateresque Facade
It is the work of many stonemasons and sculptors. In it, we can clearly appreciate the humanist spirit of its founder, as well as a blend of the sacred and the profane.
Among the Plateresque elements that adorn the façade, we cannot fail to mention the semicircular arch, which depicts the founder in a prayerful position. Also noteworthy is the large coat of arms belonging to King Charles I (V of Germany), who was patron of the University.
Mudejar Coffered Ceiling
Built in Ávila by Gibaja. The material is oak wood, manufactured in the same province. This type of coffered ceiling is not often seen in the Basque Country, but Zuazola wanted to do something different.
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Typical Renaissance Cloister
Two floors connected by two staircases with six arches on the narrow side and seven on the wide side, giving the cloister a quadrangular shape. The most representative features are the 32 medallions, which depict mythological and royal couples, distinguished for their virtue.
Oteiza Sculpture
THE EARTH AND THE MOON (Antonio and Francisco) – According to the sculptor, it represents "The obligation to open our hearts to the outside world."
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REF: Oñati Tourist Office
2- Oñati-University Founded in 1543 First University in the Basque Country-Gipuzcoa-Basque Country-Basque Country
Pls.zoom
La Universidad de Oñati es la huella más representativa del Renacimiento en Euskal Herria, tanto por su arquitectura como por ser una de las instituciones más significativas del espíritu renacentista.
El mejor exponente del arte civil renacentista del País Vasco
Conoce la primera universidad del País Vasco con nuestras visitas guiadas con la compañía de un intérprete y “para todos”.
Su fundador
Rodrigo Mercado de Zuazola, nació en Oñati a finales del siglo XV. Destacó en los campos de la religión y la política, ejerciendo como obispo en Ávila y en Mallorca. Fue también presidente de la Cancillería de Granada.
El mismo Zuazola fue quien fundó en 1548 la Universidad que, durante tres siglos, impartió los estudios de Derecho, Medicina, Filosofía, Teología y Letras, principalmente.
Hoy en día, es la sede del Archivo de Protocolos de Gipuzkoa, del Instituto Vasco de la Administración Pública y del Instituto Internacional de Sociología Jurídica.
Fachada Plateresca
Es obra de muchos canteros y escultores. En ella, podemos apreciar nítidamente el espíritu humanista de su fundador; así como una mezcla entre lo sacro y lo profano.
Entre los elementos platerescos que adornan la fachada, no podemos dejar de citar el arco de medio punto, en el que aparece el fundador en posición orante. También el gran escudo perteneciente al rey Carlos I (V de Alemania), quien fuera patrón de la Universidad.
Artesonado Mudéjar
Construido en Ávila por Gibaja. El material es madera de roble, fabricado en esta misma provincia. No es frecuente ver este tipo de artesonado en el País Vasco, pero Zuazola quiso hacer algo diferente.
Claustro típico renacentista
Dos pisos unidos por dos escaleras con seis arcos en el lado estrecho y siete en el ancho, dándole al claustro una forma cuadrangular. Lo más representativo son los 32 medallones, en los que aparecen parejas mitológicas y reales, que han destacado por su virtud.
Escultura de Oteiza
LA TIERRA Y LA LUNA (Antonio y Francisco) – Según el escultor, representa “La obligación de abrir nuestro corazón al exterior”.
REF: Oficina de Turismo de Oñati
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The University of Oñati is the most representative example of the Renaissance in the Basque Country, both for its architecture and for being one of the most significant institutions of the Renaissance spirit.
The best example of Renaissance civil art in the Basque Country
Discover the first university in the Basque Country with our guided tours, accompanied by an interpreter and open to everyone.
Its founder
Rodrigo Mercado de Zuazola was born in Oñati at the end of the 15th century. He stood out in the fields of religion and politics, serving as bishop in Ávila and Mallorca. He was also president of the Chancellery of Granada.
Zuazola himself founded the university in 1548, which, for three centuries, primarily offered studies in law, medicine, philosophy, theology, and literature.
Today, it houses the Archive of Protocols of Gipuzkoa, the Basque Institute of Public Administration, and the International Institute of Legal Sociology.
Plateresque Facade
It is the work of many stonemasons and sculptors. In it, we can clearly appreciate the humanist spirit of its founder, as well as a blend of the sacred and the profane.
Among the Plateresque elements that adorn the façade, we cannot fail to mention the semicircular arch, which depicts the founder in a prayerful position. Also noteworthy is the large coat of arms belonging to King Charles I (V of Germany), who was patron of the University.
Mudejar Coffered Ceiling
Built in Ávila by Gibaja. The material is oak wood, manufactured in the same province. This type of coffered ceiling is not often seen in the Basque Country, but Zuazola wanted to do something different.
Typical Renaissance Cloister
Two floors connected by two staircases with six arches on the narrow side and seven on the wide side, giving the cloister a quadrangular shape. The most representative features are the 32 medallions, which depict mythological and royal couples, distinguished for their virtue.
Oteiza Sculpture
THE EARTH AND THE MOON (Antonio and Francisco) – According to the sculptor, it represents "The obligation to open our hearts to the outside world."
REF: Oñati Tourist Office
in the fragments of fear, in the shadows of sorrow
there is found a place
where light shines and hope abides
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[have faith]
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Used Kim Klassen, Jerry Jones, Nelly Nero, Pioneer Woman
No usar esta imagen en ningún medio sin mi autorización © Derechos reservados. 2018 © Carlos López Martínez
Please don't use this image © All rights reserved. 2018 © Carlos López Martínez
"The most prominent and recognizable feature of Thanks-Giving Square is the Chapel of Thanksgiving, a small, spiral tower that features an enclave for prayerful thanks. Inside the chapel, the spiral is topped with stained glass "Glory Window", one of largest horizontally mounted stained-glass pieces in the world. The window was designed by Gabriel Loire of Chartres, France to feature brighter colors as the spiral reached its apex, becoming brighter as it reaches the center. Philip Johnson and Burgee Architects designed the Chapel of Thanksgiving in 1976. The spiral shape of the window is inspired by the spiralled shape of the chambered nautilus."
Explored #36