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Stans is the capital of the central Swiss canton of Nidwalden. In the middle of the village, on the village square, is the Catholic parish church of St. Peter and Paul. The early baroque church was built between 1641 and 1647. In contrast to its four predecessor buildings, the church is not faced, but the axis runs north - south. Only the church tower dates from the Romanesque period. The architect of the church is Jakob Berger.
Black marble columns and altars, also made of black marble, create a wonderful contrast to the white interior. The second oldest recordable organ in Switzerland is located in the choir of the church.
"The Crown of Tölz" is the name of the widely visible Holy Cross Church in Bad Tölz.
The church is a so-called double church, consisting in the front part of the Holy Sepulcher Chapel and the Holy Staircase in the rear part. It was built between 1723 and 1726. First, the Holy Staircase was built over in 1723, until the Holy Sepulcher Chapel was completed and consecrated in 1726.
Magnificent frescoes adorn both ceilings and were created by Joseph Matthias Ott in 1785.
The Holy Sepulcher Chapel is shown in the photo.
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St.Peter und Paul-Kirche
Ilsenburg Abbey (German: Kloster Ilsenburg) was a monastery of the Benedictine Order located at Ilsenburg near Wernigerode, in Saxony-Anhalt in Germany. The former abbey is a stop on the Romanesque Road.
The monastery was built in the Saxon lands of Eastphalia at the site of a former Pfalz and hunting lodge, mentioned as Elysynaburg in a 995 deed issued by King Otto III.
On 15 April 1003 King Henry II donated the estate for this purpose to the Bishop of Halberstadt, and the abbey had been founded by 1009. In 1018 the Halberstadt bishop vested the monastery with further possessions around Ilsenburg and Osterwieck. The first monks possibly descended from Fulda Abbey in Franconia.
Fostered by Bishop Burchard II of Halberstadt from about 1070, the convent experienced a flourishing period whereupon numerous filial monasteries were established, such as Huysburg, and the abbeys of Harsefeld, Hillersleben, and Wimmelburg.
A larger Romanesque church was erected and dedicated to Sts Peter and Paul on 5 June 1087; including the oldest preserved three-aisled choir of all Benedictine sacral buildings in Germany.
The adjacent cloister buildings were erected after a blaze in 1120 and finished in 1176. The monastic community included up to 25 monks, it joined the Benedictine Bursfelde Congregation in 1464/65.
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Its construction started at the beginning of the 15th century probably at the site of the Cistercian monastery. It was conceived as a majestic Gothic basilica with three naves. The main nave and the church as a whole were finished in the years 1513-1518.
The generally simple architecture of the church contains many valuable details and artistic works. In the set of 11 Late Gothic wing altars built in the period between 1460 and 1520, the side altar of Nativity of the Lord, attributed to the circle of artists around the Krakow workshop of W. Stwosz is considered the most valuable.
The statue The Chair of Mercy on the altar of St Barbara made probably in the workshop of Master Pavol of Levoča is considered the top wood-carving work in Slovakia.
Pope John Paul II promoted the Church of St Egidius to basilica minor in 2001.
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Abbot Georg III Gaißler started 1688 with the building, architect was Michael Thumb. But it was abbot Romanus Vogler who layed the foundation stone. At October the 24th 1725 the auxiliary bishop Franz Anton of Syrgenstein consecrated this sacral building.
On the organ loft there is a Silbermann organ of 1752.
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St. Peter and Paul is the parish church of the municipality of Buxheim in the Unterallgäu district. This church was built between 1727 and 1729 by the builder Dominikus Zimmermann, who also stuccoed the church. The frescoes are by Franz Georg Hermann.
The fortified early Gothic church from the first half of the 14th century was built on the site of an older building. In the 15th century it was fortified with a wall and a wooden bell tower was built on the grounds in 1657. The single-nave space with a square-ended presbytery and a built-in sacristy has a painted cassette ceiling from 1758, the presbytery is characteristic by its rib vault. The mural paintings date back to the 60s of the 14th century and the creator of at least a part of them is the Master of Ochtiná presbytery. These interior frescoes were discovered in the early 20th century by I. Huszka who was restoring them in 1905. All the paintings, interior and exterior ones, were completely restored between 1983 and 1985 by J. Josefík, L. Székely and I. Žuch.
Within the almost intact medieval church, the murals have a uniquely strong impression and informative value, thanks to their scale and complexity of preservation. Thematically they focus on individual scenes from the Marian and the Passion cycle, but they do not have a uniform concept unlike the upper belt on the nave’s northern wall with a complete depiction of the St. Ladislaus legend.
The Church of St. Lawrence in Březina is originally a gothic sacral building standing in a cemetery on the outskirts of the village of Březina in the Mladá Boleslav region. The church is an important Gothic monument of the central Pojizera region. It is protected as a cultural monument of the Czech Republic.
The church dates from the turn of the 13th and 14th centuries, it was rebuilt in the Renaissance style in the 16th century and partly modernized.
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The Mother of God Chapel in the Haunstetten district of Augsburg is considered a Rococo pearl in and around Augsburg.
The current chapel was built between 1740 and 1741, by order of Abbot Cölestin Mayr von Ortisei and Afra, as the old chapel has become dilapidated. The builder is probably Johann Paulus. No lesser masters can be recruited for the interior decoration than Christoph Thomas Scheffler for the frescoes and Ignaz Finsterwalder as plasterer.
The tomb of Cardinal Marcelo Espínola (early 20th century) stands out, in the altarpiece a half-length image of the Virgin of Sorrows attributed to Pedro de Mena (17th century), a Crucified attributed to Juan Francisco Vázquez “the Old” (S. XVI) and the painting The betrothal of the Virgin and Saint Joseph made by Valdés Leal (mid 17th century). Through this chapel you can access the Sacristy of the Chalices.
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Retrochoir of the Roman Catholic cathedral of Seville, Seville, Spain. This wonderful Baroque style retrochoir is work of Miguel de Zumárraga and was finalized in 1635. It was constructed with precious materials like marmor or jasper and it's decorated with bas-relieves and bronce busts.
The Cathedral of Seville is built on the old aljama mosque of the city, this shows the power that one culture exercises over another when it is conquered. This fact makes its plan different, facing Mecca and not Jerusalem, that is, facing south instead of east. It should be clarified that Mecca is oriented at 10o from Seville and not at 86o as the old mosque is oriented, this is due to the fact that in Al-Andalus the mosques had to be oriented towards the south quadrant and not towards the east, as the Christian churches did. When the Cathedral Chapter commissioned the design of the Gothic Cathedral, it stated verbatim that it wanted a Cathedral that everyone who saw it would take for crazy. For this, 5 naves were created that covered the 116 by 76 meter rectangle occupied by the Almohad mosque, this results, unlike what was usual in the great European Gothic Cathedrals, a hall plan with a Latin cross marked in height and in width by the central naves and the transept. This hall plan also results in the absence of an ambulatory at the head, which ends in a straight line like the wall of the old mosque. Later the Royal Chapel would be added, which is a Renaissance apse, but it does not really correspond to the Gothic company. In the naves of the Gospel and the Epistle, which are the lateral naves, there are many chapels. The 60 pillars support 68 ogive vaults, highlighting those of the transept and central nave with their star shapes. Instead of placing a clerestory, a continuous balcony was chosen along the main nave in order to be able to wander around the temple without being seen. Located in the central nave, in order from the feet, are the Retrochoir, the Choir, with two organs, the Transept, the Main Altar, the Back of Altar and the Royal Chapel.
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The Catholic parish church of Langerringen in the Augsburg district is easy to spot due to its elevated position in the center of the village.
The origins of the sacred building are late Romanesque, and the nave was expanded in the 14th century and renewed around 1440. In 1712 the nave was redesigned in the baroque style, followed by the choir in 1768.
The first mention of a church in Durach can be found in the Kempten calendar in 1390.
In 1527 the church was enlarged.
In 1748 the church was expanded again and in 1754 it was given its current appearance through a baroque design.
In 1871, large pieces of the ceiling fell, which required a complete renovation.
In 1880 a new high altar is purchased.
The pilgrimage church of the Assumption of Mary in Oberostendorf can be seen from afar. The interior of the church is characterized by its rich and magnificent rococo furnishings. The actual church building dates from the 15th century. However, it has been redesigned over time. Last in 1747, when the church received its rococo dress. Johann Georg Wolker paints the fresco cycle, which has the Seven Sorrows of Mary as its theme. Franz Xaver Feichtmayr the Elder equipped the interior with rich, colored stucco. The magnificent pulpit, a work by Ignaz Hillebrandt, is richly decorated with figures.
The high altar and the side altars from 1719/20, a work by Matthäus Schäffler, were slightly reworked in 1747 and adapted to the newly designed room.
The monastery church of Schäftlarn in Upper Bavaria is one of the most successful late Baroque sacred buildings in Bavaria.
In 1733 it was built according to the plans of the builder François de Cuvilliés the Elder. Ä. started with the construction of the new church. But in 1740 the work was stopped, on the one hand the costs were too high for the convent, on the other hand also because of the Austrian War of Succession.
It was not until 1750 that work was resumed under the master builders Johann Georg Gunetzrhainer and his brother-in-law Johann Michael Fischer. In 1753 the construction is finished and the interior design can begin. From 1754 - 7156 Johann Baptist Zimmermann painted the frescoes and carried out the stucco work.
Altars, putti and the pulpit were made by Johann Baptist Straub between 1756 and 1764.
Ruins of a medieval fortified church are located above the village of Lúčka, situated at the border of the Slovenské rudohorie mountain range and the national park of Slovenský kras. The village had been known since 1409 as part of the Turňa Castle Estate donated to Pál Besen by King Sigismund.
According to the testimony provided by the local church, however, the village dates back to at least the half of the 13th century. The church itself was built as an early-Gothic church of the Gemer style. In the first half of the 15th century, it was surrounded by a defensive stone wall with a watchtower situated in the front. The small fortress was captured by Jan Jiskra’s troopsand is commonly called the Hussite church by the locals. Only the external walls of the church and the considerably lowered defensive wall with the tower that later on served as a belfry have been preserved up to the present. The quadratic tower used to have two floors in the past, with three windows on the first floor and three loopholes on the ground floor that served to watch the surroundings and to protect the fortress from three sides: the west, the south, and the east. The top of the slope upon which the church was built provided for the natural protection from the north.
The area where the church stands counts among the ecologically cleanest territories in Slovakia. It provides for exceptionally good conditions for recreationin a peaceful natural setting and for short walks in the basin of the Čremošná, to the lake of Lúčka, as well as to the surrounding beech and fir forests. Moreover, the unique natural reserve of Zádielska dolina is located in close distance, lined with plateaux where traces of fortified prehistoric settlements were confirmed by archaeological surveys.
Plešivec is an ancient seat of the Bubek family. The Ákoš family, the ancestors of the Bubeks, received it from King Belo IV. in 1243, after the battle on the Slaná River, where the ancestor of the Bubeks, Detrik, allegedly saved the king’s life. After stabilizing his position in 1320, Dominik Bubek built a water castle in Plešivec. In its vicinity, he built a monumental church, which also served as a burial place for the representatives of the family. It was constructed on the site of an older church built by his ancestors. The church, originally nearly twice as long as it is now, was a two-nave Gothic building with a polygonal ending of the chancel, originally vaulted on the central pillars.
From 1349, we have a record of the request of Juraj Bubek to the Pope for the possibility of collecting the indulgences to finance its construction. In the middle of the 14th century, the interior of the church was completed with fresco paintings of very high quality, carried out by Italian masters. In the first quarter of the 15th century, the church was completed with the north-facing funeral chapel of the Bubeks, built according to the pattern of the Spiš funeral chapels. We enter into the chapel through an impressive portal, the architecture of which is associated with the works of the Cathedral of St. Elizabeth in Košice. In its interior, we find three three-part late Gothic windows with an original tracery in the ogive arch shape and corbels of the former vaults.
In 1558, at the time of the Turkish threat, the church was severely damaged, the vault collapsed and the building remained as a ruin until its reconstruction in 1617. By that time, the church was taken over by the reformed believers who reduced its layout to its current length of 19 meters; they covered the nave with a flat ceiling and closed the entrance to the unused chapel. At that stage, the entrance to the church was established from the south and three window openings were made on the south wall. From that period comes a valuable matroneum with painted decorations from 1627. In 1807, a bell-tower was built, a beautiful example of the so-called Gemer classicism.
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The landmark of the old mining village with interesting spindle-shaped urbanism is the Lutheran Church located on a low hill at the upper end of the village called Koceľovce. The church is an almost intactly preserved Gothic building from the first half of the 14th century, originally dedicated to St. Bartholomew.
The single-nave space with a polygonal chancel, a sacristy on the north side and a high tower on a square plan in the west, which turns into an octogon on the upper floors, is covered by a high gabled roof with shingles. The roofing of the tower, with an atypical metal Art Nouveau helmet, dates from the beginning of the 20th century. The nave is vaulted with classicist Theresian vaults instead of the original beamed ceiling, which is stylishly followed by an equally vaulted brick porch. During the last third of the 14th century, the polygonal chancel was built and vaulted with a cross rib vault. The stylistic purity of the church is emphasized by high windows divided by profiled bars and tracery and a system of supporting pillars of the chancel. The current southern entrance to the church was opened during the restoration in the 2nd half of the 18th century, it is closed by a Gothic door with decorative fittings, which were transferred here from the original entrance portal in the tower. Another Gothic door with rich wrought iron decoration is in the portal to the sacristy. This interesting wrought iron door also became the logo of the church.