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The former Cistercian abbey church and current parish church of the Assumption of Mary is the most important attraction of the market town of Fürstenzell in the district of Passau.
The first monastery church is consecrated in 1334.
In 1739, the sculptor and architect Joseph Matthias Götz and Joseph Wolff, who came from Passau, were commissioned to build a new church. But soon they were dismissed and the construction work was entrusted to the leading master builder of his time, Johann Michael Fischer. His Parlier Martin Wöger takes over the building supervision. Fischer is only on the construction site three times. In 1748 the abbey church was consecrated.
Johann Jakob Zeiller paints the frescoes. The nave fresco shows the pilgrimage of the Cistercians. Zeiller also paints the high altar picture, which has the Assumption of Mary as the theme. Johann Baptist Straub makes the high altar.
With his stucco, Johann Baptist Modler contributes to the magnificent overall appearance of the abbey church.
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The monastery of the Benedictine Order at Pannonhalma was founded in 996 in Western Hungary and had a major role in the diffusion of Christianity in medieval Central Europe. The monastery shows a stratification of different architectural styles and various buildings.
Among these buildings: a school (the first ever school founded in the country), the monastic complex – home to the monks whose life is still based on St. Benedict’s Rule ‘Ora et labora’ -, the tourist welcome points and hospitality facilities, the Chapel of Our Lady, the Millennium Chapel and the botanical and herbal gardens.
www.comece.eu/christian-artworks-benedictine-archabbey-of...
La construction de cette église (1873-1923), monument à la fois politique et culturel, suit l'après-guerre de 1870. Elle est déclarée d'utilité publique par une loi votée le 24 juillet 1873 par l'Assemblée nationale de 1871 ; le bâtiment est officiellement achevé en 1923. Elle s'inscrit dans le contexte de recharge sacrale et dans le cadre d'un nouvel « ordre moral » faisant suite aux événements de la Commune de Paris, dont Montmartre fut un des hauts lieux. Sa situation à 130 m d'altitude près de l'un des points culminants de Paris, et son dôme qui s'élève à 83 mètres, la rendent visible de très loin.
The municipality of Buchloe is located in the Bavarian district of Ostallgäu. The Catholic parish church Maria Himmelfahrt, as it can now be admired, has a Gothic core.
In 1517, after a fire that also damaged the church, the nave was rebuilt and two aisles were added. Between 1729 and 1730 the Tyrolean Franz Kleinhans redesigned the nave in baroque style. The stucco probably came from the workshop of Dominikus Zimmermann, while Johannes Heel from Göggingen paints the frescoes and medallions.
Our world needs more light, positively ... ( a composition of three images I shot within the Cathedral of Jerez de la Frontera on an afternoon of striking sunshine outside.
Happy Sliders Sunday!
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.
The Monastery at Lébény was established between 1199 and 1203, by a nobleman, for private worship. The complex was dedicated to the Apostle Saint James the Great. Though the existing charter for approving the donations and construction was signed by Andreas II (1208), one of the walls of the church had “1206” engraved in them, which may indicate that the church was already built at that time. It is also mentioned in the RegestrumVaradiense (an important language memorial), which was made in the late cathedral chapter of the present Oradea (Nagyvárad) in the 13th century. The monastery of Lébény was attacked and burnt down several times; the first by Mongols, then the second by King Ottokar I of Bohemia; and thereafter by the Turks, which was probably in 1529 and definitely in 1683. The monastery was taken back from the Turks by the arch-abbot of Pannonhalma in 1540. He named a new abbot, though the title only existed on paper for a little bit longer than two decades. In 1563 the monastery was burnt down again for the third time and was left devoured. Presently, the only part of the complex that is still standing is the iconic three-nave Romanesque church in the middle of Lébény village. This church is one of the most important Romanesque style buildings of Hungary, which was most probably restored in the 17th century by the Jesuits, and it was the first ever Hungarian monument that was restored in the second half of the 19th century. In addition, the Romanesque church is also operating as a parish of the village.
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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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Among the beautiful sacral sights we can undoubtedly include the Greek Catholic wooden Church of the Protection of the Holy Mother of God from 1770, which stands in the mountain village of Miroľa in the northeastern region of Slovakia.
It has a characteristic log structure and a three-part outer and inner division. The interior is decorated with iconostasis and altar. In the sanctuary, there is the icon of the archangel Michael and the icon of the Mother of God, Virgin Hodegetria with praise located. Liturgical objects are found in the anteroom that were revealed in the individual rebuildings of the temple. Especially the rare raincoat, probably from the 17th century, is worth noticing.
A special chapter is the rare books used in religious services in the Church-Slavic language. The temple has been repaired several times, most recently a complete reconstruction in 2005-2008 has been carried out. As well as with other wooden churches, even here stands a wooden entrance gate with a low shingled roof in front of the church.
This is the rococo church of Unterliezheim, a small village in Bavaria. Built between 1732 and 1738 by Johann Windschmid d.Ä and his son.
The frescos are painted by Christoph Thomas Scheffler.
One of the most charming medieval churches in the Gemer region is preserved in the village of Chyžné, near Jelšava. Its tall east-oriented brick gable and massive fortifications around the church dominates its surroundings. The church was built in the second half of the 13th century as a one-nave edifice with a quadratic chancel and an annexed sacristy. Later, a detached belltower, a traditional wooden construction from the 18th century, and a groundfloor building of a former school were added. The church chancel is vaulted by a cross ribbed vault, and the nave has a flat painted ceiling. The walls and vaults of the chancel, including the so-called Triumphal Arch, are covered with frescos dating back to the 70s-80s of the 14th century.
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.
C'est un exemple unique de l'architecture sacrale juive. Les Synagogues en bois, en raison du prix bon marché et de la disponibilité des matières premières, étaient très répandues au XVIIe siècle. C'étaient des artisans locaux, pas nécessairement juifs qui les ont construit. Cette synagogue en bois a été construite probablement en 1640. Au cours de son existence, elle a subi de nombreux changements. La synagogue était célèbre pour ses peintures multicolores (peintures murales) couvrant les plafonds et les murs, entrecoupées de versets bibliques, des proverbes et des abréviations. L’un de ces artistes était Israël ben Mordechai Lissnitzki. Les peintures ont été restaurées par Izhak Ben Yehuda en 1729.
It is a unique example of Jewish sacral architecture. Wooden synagogues, because of the cheap price and availability of raw materials, were widespread in the seventeenth century. They were artisans, not necessarily Jews who built them. This wooden synagogue was probably built in 1640. During its existence it has undergone many changes. The synagogue was famous for his colorful paintings (murals) covering the ceilings and walls, interspersed with Bible verses, proverbs and abbreviations. One of these artists was Israel ben Mordechai Lissnitzki. The paintings were restored by Izhak Ben Yehuda in 1729.
To unikatowy przykład żydowskiej architektury sakralnej.
Drewniane synagogi, ze względu na dostępność i taniość surowca, były w XVII wieku powszechne. Budowali je lokalni rzemieślnicy, niekoniecznie Żydzi. Drewniana synagoga została zbudowana prawdopodobnie w 1640 roku. W czasie swego istnienia przechodziła wiele zmian. Synagoga słynęła z wielobarwnych malowideł (polichromii) pokrywających sufity i ściany, przeplatanych wersami biblijnymi, przysłowiami i skrótami.
Jednym z artystów był Israel ben Mordechai Lissnitzki. Malowidła zostały odrestaurowane przez Izhaka ben Jehudę w roku 1729.
On the way to Lucinasco, where you get the best Ligurian olive oil you can see the Chiesa di Sant'Andrea on the right side.
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In April in the year 1792 in Buchenberg, a town in bavaria, there was the laying of the foundation stone.. Master builder is Joseph Beck. The style of this sacral building is early classicism.
In 1715, a new church is built in Epfenhausen, a small community in the Landsberg am Lech district, under the direction of Joseph Schmuzer, master builder from Wessobrunn. The stucco comes from the workshop of Joseph Schmuzer. Instead of frescoes, the fresco mirrors are provided with the monograms of Mary and Joseph. The high altar was made in 1738, the two side altars as early as 1725. The motif of the main altarpiece is the Assumption of Mary, a work by Johann Caspar Schäffler. The figures were carved by Johann Luidl.
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The municipality of Stöttwang is located in the Bavarian district of Ostallgäu near Kaufbeuren with around 1800 inhabitants.
The parish church of St. Gordian and Epimachus is located on a slight hill in the middle of the village.
The nave of the church in Stöttwang is rebuilt under Pastor Martin Johann Klein.
The construction work was carried out between 1744 and 1745 under the direction of Joseph Galler, master builder from Kempten.
In 1749 Franz Georg Hermann was commissioned to paint and fresco the interior of the church.
Franz Xaver Feuchmayr, plasterer from Wessobrunn is hired for the stucco work in 1745. The pulpit also comes from him.
Placidus Verhelst makes the high altar and all the figures. His father Aegidius is the creator of the crucifix.
The Augsburg Bishop Johann Jakob Mayr consecrated the new church on September 11, 1746.
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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 former monastery church of St. Marinus and Anianus in Rott am Inn is considered a rococo masterpiece in Bavaria. Well-known artists contribute to the magnificent appearance of the church. Starting with the ingenious master builder Johann Michael Fischer, through the fresco painter Matthäus Günther and the plasterer Jakob Rauch.
In 1759 the construction of the church began, which was consecrated by the Freising Auxiliary Bishop in 1763.
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de.wikipedia.org/wiki/Flossing
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