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Friedberg is located in the Bavarian district of Aichach - Friedberg near Augsburg and has approx. 29,000 inhabitants.
The pilgrimage church of our Lord's rest, better known under the name of Herrgottsruhe, is very proud of the city. It is one of the most beautiful rococo churches in Bavaria.
The most important artists of the time were involved in the design of the interior.
Cosmas Damian Asam paints the murals, while his student Matthäus Günther paints the dome frescoes.
Franz Xaver and Johann Michael Feichtmayer, plasterers from Wessobrunn, decorate the church interior with the finest stucco.
The reason for the pilgrimage is that in the Middle Ages a pilgrim from Friedberg, on his journey to the Holy Land, was captured by the Turks on his return journey. He vowed that if he survived this, he would build a chapel on his own land as thanksgiving. He survived and, as promised, built a chapel.
A pilgrimage to this chapel developed. As is so often the case, the church is getting too small and so it is decided to build a bigger, nicer church. In 1720 the decision is made
On June 16 The foundation stone is laid in 1731. The exterior and the tower were completed in 1736, and the choir dome was completed in 1738. Asam starts painting. On September 30th, 1753 the consecration was carried out by the auxiliary bishop of Augsburg.
Heavy storms destroy the northern dome so much that Matthäus Günther has to fresco it again.
In order to prevent the threatened demolition by the state after the secularization of 1806, the Freiberg city council declared the church a cemetery church.
The church was renovated between 1867/1870. The painted altar in the choir room of Asam does not correspond to the taste of the pilgrimage director at the time. It is whitewashed and replaced by an altar in the neo-renaissance style.
During a restoration in 1964, headed by the Bavarian Office for the Preservation of Monuments, the original condition was restored.
Il paesaggio dolomitico ha suscitato, da sempre, ammirazione e soggezione nell'uomo. Due sensazioni apparentemente lontane, eppure intimamente correlate, come sempre accade al cospetto delle manifestazioni grandiose della Natura. L'atteggiamento dell'uomo, dunque, si è distinto per la distaccata contemplazione ispirata dalla dimensione sacrale del paesaggio dolomitico, ma talvolta anche dal desiderio di esplorarne i segreti sommitali, non senza temerarietà ..... ..
© by Jean Claude Castor l 030mm - Photography
Berlin, Berliner Dom, 2016
The Church of St. Archangel Michael is a wooden church with a bell tower from 1742 located in the municipality of Ladomirová. The church was dedicated to St. Archangel Michael and was built without a single nail.
During the Second World War, the right side of the iconostasis was badly damaged. Fortunately, it was restored in 1946. The church was damaged again in 1957, when a linden tree fell on it during a brutal storm. The church has been a national cultural monument since 1968 and was entered on the World Heritage List on 8 July 2008.
On the southern side, there is a wooden bell tower secured from the outside by vertical spruce boards. The church was built in the style popular across the Transcarpathia and the regions spanning almost to the river Poprad. The so-called Lemko style (Lemkos are an ethnic group inhabiting parts of Transcarpathia) is evidenced by the classical square floor plan with a central extended nave, covered by a wooden dome (like the presbytery). The vault is connected with the walls through an atypically shaped octagon without pendatives typical for temples built by Hutsuls (ethnic group) (see the only church in Nižný Komárnik: www.regionsaris.sk/kam-ist/svidnik-a-okolie/dreveny-chram...).
The octagon motif of Russian-Byzantine origin was used only in this part of the interior; the rest of the interior follows the tradition of Lemkos, as evidenced by three onion dome shingles roofs. The church tower dominates the space reserved exclusively for women. The towers and the two-storey tented roofs above the sanctuary are topped with onion domes with metal crosses. The remarkable feature of the sacral complex is its stepped gable roof covered with shingles. This roof served as an inspiration for the church in Mirola www.regionsaris.sk/kam-ist/svidnik-a-okolie/dreveny-chram... and Hunkovce www.regionsaris.sk/kam-ist/svidnik-a-okolie/dreveny-chram... . The log building and the space below the tower are covered with vertical spruce boards with slats. On the west side of the nave is a small choir with a wooden windowsill.
In the front part of the building’s fencing, a part of the wooden beam enclosure with a shingled roof and also an entrance gate with a low pyramidal roof covered with shingles have been preserved. The iconostasis and altar, which dates from the middle of the 18th century, are also worth noting.
The landmark of Beuerberg, a district of Eurasburg in the Upper Bavarian district of Bad Tölz - Wolfratshausen, is the monastery and the monastery church of St. Peter and Paul. The monastery was founded in 1121.
In 1628 the nave and the southern aisle of the Romanesque porch of the church collapsed. The reason was previous damage, probably from the master builder Bartholomäus Steinle overloading the nave with stucco. A new building was necessary. Provost Mayr sent a request for help to Elector Maximilian. But the court refused to help directly, but sent Heinrich Schön the Elder and master mason Isaak Pader the Elder as assessors. Under the latter, the new building was completed in 1630 (year above the choir arch). However, the church was not consecrated until 1635. There are eleven altars in the church. These early Baroque treasures have been preserved to this day.
The high altar comes from the previous building, but is being rebuilt in a different form. The altarpiece shows the Deposition from the Cross, painted in 1645 by Elias Greither the Elder.
The pulpit dates from 1782 and already shows early Classicist allusions. The organ facade is also an early Classicist work.
The gleaming white church interior is an example of early Baroque architecture with wall pillars as altar niches, and the stucco also shows early Baroque forms.
Alcune delle numerosissime sepolture preistoriche scavate nella roccia e sparse in tutta l’isola. In foto le domus di Santo Stefano, testimonianze del neolitico in un luogo già ricco di evidenze archeologiche, pieno di fascino e sacralità.
Qui si può ammirare l’enigmatico e spettacolare Altare di Santo Stefano (v. descrizione e foto in album "Altre memorie... di pietra"), oltre a strane forme di roccia con misteriose incisioni (v. foto in album "Visioni e suggestioni di Sardegna").
FS 9.7.23
Gustelnica - Wooden chapel of St. Antony of Padua
www.tzzz.hr/en/visit-county/cultural-heritage/most-valuab...
The Cathedral of the Resurrection of Christ is the main cathedral of the Ukrainian Greek Catholic Church, located in Kyiv.
The temple was built in a modern style that distinguishes it from the Ukrainian sacral architectural tradition and makes it one of the unique buildings of Ukraine.
It was opened on March 27, 2011 by the enthronement of Svyatoslav Shevchuk, who was elected Supreme Archbishop of the Ukrainian Greek Catholic Church. Consecrated on August 18, 2013.
While the locally used term "patriarchal" reflects Ukrainian Greek Catholic desire to have their major archbishop recognized as a "patriarch," the Catholic Church does not officially regard this sui iuris church as a "patriarchate," just as the largest branches of Orthodox Christianity in Ukraine do not regard their respective bishops of Kyiv as "patriarchs."
Патріа́рший собо́р Воскресі́ння Христо́вого УГКЦ — головний собор та осередок Української греко-католицької церкви.
Образне вирішення у сучасному стилі виділяє храм з української сакральної архітектурної традиції та ставить його у ряд унікальних споруд України.
Патріарший собор Воскресіння Христового на лівому березі Дніпра в Києві є продовженням великих зусиль багатьох поколінь українців та одним з проявів духовного відродження Української греко-католицької церкви.
Відкритий 27 березня 2011 року інтронізацією Святослава Шевчука, що був обраний Верховним архієпископом Української греко-католицької церкви. Освячений 18 серпня 2013 року.
Tomb of Christopher Columbus is held by four allegorical figures representing the four kingdoms of Spain during Columbus’ life, Castille, Aragon, Navara, and Leon. The tomb was installed 1899 by Arturo Melida.
He travelled a lot not only in in his life but also after death. He died in 1506; the year Seville cathedral was completed, and was first interred in Valladolid. His bones were then moved to Seville. In 1542 they travelled across the Atlantic to Santo Domingo where his son had been a governor. The French took over Santo Domingo in 1795 and Columbus found himself on the move again, to Havana. After the Spanish American War, in 1898, Cuba became independent and the bones returned to Seville during the Cuban revolution in 1902 to finally come to rest in the monumental Late Romantic style tomb on display today.
Foto scattata al Castello Conte verde di Condove (TO)
Photo taken at the Castle Green Count of Condove (TO)
The Bakócz chapel is the earliest Italian Renaissance-style building north of the Alps. It is also the first fully Renaissance-era, centrally planned ecclesiastical building outside of Italy. It is a groundbreaking and influential structure, which uniquely fuses the style of Tuscan (central Italian) early Renaissance with Hungarian architectural traditions.
The parish church of St. Bartholomew dominates the market square of the Upper Bavarian community of Kraiburg am Inn.
The church was consecrated in 1893, and the painting was completed in 1897 by the Redemptorist priest Max Schmalzl.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
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Info's zum Foto hier
de.wikipedia.org/wiki/St._Michael_(Mettenheim)
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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...
The collegiate church of the monastery in Polling in Upper Bavaria was rebuilt between 1416 and 1420 as a Gothic hall church after a fire destroyed the previous building.
The interior was redesigned in 1625 by Jörg Schmuzer from Wessobrunn with early Baroque stucco. It was one of the first Baroque redesigns of a Gothic church in Bavaria.
As part of the redesign, the choir was extended by three bays, and further additions followed. Chapels were added to the side aisles and a surrounding gallery was built.
Later, in the middle of the 18th century under Provost Franz Töpsl, the interior was partially redesigned again in the Rococo style.
The center of the church is the Holy Cross, which is located in the high altar.
According to legend, Duke Tassilo III of Bavaria chased a doe while hunting. This doe dug a cross out of the ground. For Tassilo, this was a sign to found a monastery at this location.
Church of St. John of Dukla and Monastery of Bernadine monks - the church with two towers was built between 1761 and 1764 in the late baroque style. The temple was extended from 1890 to 1902 when a chapel of St. John of Dukla was built and the main nave was enlarged. Also monastery building was added. The interior dates back to the turn of the 19th century. The paintings of Tadeusz Popiel present scenes from life of St. John of Dukla. There is a silver coffin with relics of St. John. Pope John Paul II came to Dukla on 9th of August, a day before the canonization event and he spent a night in the monastery
Storia, leggende e significati
La nota città spagnola di Granada deve a questo frutto il suo nome, da sempre simbolo della fertilità. La tradizione di questa pianta è davvero molto antica e ricca di leggende e di storie misteriose.
Il simbolo della fertilità prima accennato è da sempre molto collegato ad essa, al punto di trovarlo fra le mani di diversi affreschi e dipinti raffiguranti Gesù, proprio per significare la vita che Dio ci ha donato.
Chicchi melogranoSimbolo di resurrezione per l’arte copta, per Giunone (mitologia greca) era simbolo di sacralità e per Venere di amore, infatti, le spose dell’antica Roma ne intrecciavano rami da posare poi sul loro capo.
In Turchia la sposa lascia cadere a terra un melograno per vedere quanti chicchi usciranno: il numero corrisponderà al numero di figli che potrà avere.
In India si pensa che il succo sia un potente curatore contro la sterilità.
Nel linguaggio dei fiori, inserire in una composizione un frutto di melograno significa “amore forte che arde”.
ENG: Summer holiday impressions. ☻
You can see the general view of the dome and the dome fresco in the interior.
The Neumünster (also Neumünster St. Johannes Evangelist and St. Johannes the Baptist) is the collegiate church of the former collegiate monastery Neumünster in the old town of Würzburg. It is located at the place where Kilian, Totnan and Kolonat allegedly died a martyr's death.
The octagonal, double-skin dome is crowned by a lantern. The baroque west building of the romantic church was built between 1712 and 1716 by Joseph Greising. The dome fresco by Nikolaus Gottfried Stuber, completed in 1736, shows the veneration of the Holy Trinity by saints and angels on a total area of approximately 550 m². The large inscription panel on the west side names the canon Johann Bernhard Beyer as the donor as well as the date of completion of the painting in 1736. During the bombing of Würzburg on 19 February 1945 and the bombing raid on Würzburg on 16 March 1945, the dome and the dome fresco were seriously damaged. Therefore, we see today a restored and renovated dome, but it still looks very attractive to the viewer.
•••
GER: Sommer Urlaubs Impressionen. ☻
Zu sehen ist die Gesamtansicht der Kuppel und des Kuppelfreskos im Innenraum.
Das Neumünster (auch Neumünster St. Johannes Evangelist und St. Johannes der Täufer) ist die Stiftskirche des ehemaligen Kollegiatsstifts Neumünster in der Würzburger Altstadt. Es befindet sich an der Stelle, wo Kilian, Totnan und Kolonat angeblich den Märtyrertod starben.
Der oktogonale, doppelschalige Kuppelbau wird von einer Laterne bekrönt. Der barocke Westbau der romantischen Kirche wurde in den Jahren 1712 bis 1716 von Joseph Greising durchgeführt. Das 1736 fertiggestellte Kuppelfresko von Nikolaus Gottfried Stuber zeigt die Verehrung der Heiligen Dreifaltigkeit durch Heilige und Engel auf einer Gesamtfläche von ca. 550 m². Die große Schrifttafel auf der Westseite nennt den Stiftsherrn Johann Bernhard Beyer als Stifter sowie die Jahreszahl der Vollendung des Gemäldes 1736. Bei den Bombardierungen Würzburgs am 19. Februar 1945 und dem Bombenangriff auf Würzburg am 16. März 1945 wurden die Kuppel und das Kuppelfresko schwer beschädigt. Daher sehen wir heute eine Restaurierte und Renovierte Kuppel, diese aber heutzutage immer noch sehr anmutend auf den Betrachter wirkt.
Explore Date: Aug 30, 2020
Ranking: 121
The Jesuit Church (Jesuitenkirche) of Lucerne is the first large sacral Baroque church in Switzerland; constructed in 1666 by Father Christoph Vogler for the Jesuits.
The vault was redecorated in the mid-18th century. The onion topped towers were not completed until 1893.The original vestments of Brother Klaus, a famous Swiss patron, are stored in the inner chapel.
Please see much better view in large.
ENG: The remains of the Ringer Colonnade at the City Palace
You can see the colonnade, the city castle and in the background the church of St. Nicholas.
At Steubenplatz the Marstall was originally completely connected by the Ringerkolonnade with the west wing of the Stadtschloss, but on the side of the Marstall one half is missing today in favour of the tram line running there. This colonnade, built in 1745/46 according to a design by Georg Wenzeslaus von Knobelsdorff, consisted of 14 pairs of columns and formed the boundary between the pleasure garden and the town. The total of 12 sculptures depicted six groups of wrestlers, five fencers and one slinger. The Wrestling Colonnade was destroyed about half its length during the British bombing of Potsdam on 14 April 1945.
GER: Die Reste der Ringerkolonnade am Stadtschloss
Zu sehen ist die Kolonnade, das Stadtschloss sowie im Hintergrund die St. Nikolai-Kirche.
Am Steubenplatz war der Marstall durch die Ringerkolonnade mit dem Westflügel des Stadtschlosses ursprünglich vollständig verbunden, auf der Seite des Marstalls fehlt heute jedoch eine Hälfte zugunsten der dort verkehrenden Straßenbahnlinie. Diese 1745/46 nach einem Entwurf von Georg Wenzeslaus von Knobelsdorff errichtete Kolonnade bestand aus 14 Säulenpaaren und bildete die Abgrenzung des Lustgartens zur Stadt. Die insgesamt 12 Bildwerke stellten sechs Gruppen Ringer, fünf Fechter und einen Schleuderer dar. Die Ringerkolonnade ist am 14. April 1945 beim britischen Bombenangriff auf Potsdam auf ungefähr der Hälfte ihrer Länge zerstört worden.
Esztergom was the capital of Hungary from the 10th till the mid-13th century when King Béla IV of Hungary moved the royal seat to Buda. During the same period, the castle of Esztergom was built on the site of ancient Roman castrum. It served not only as the royal residence until the 1241 (the Mongol invasion), but also as the center of the Hungarian state, religion, and Esztergom county.
After changing his residence to Budapest, Béla IV gave the palace and castle to the archbishop. Following these events, the castle was built and decorated by the bishops. The center of the king’s town, which was surrounded by walls, was still under royal authority. A number of different monasteries did return or settle in the religious center.
Meanwhile, the citizenry had been fighting to maintain and reclaim the rights of towns against the expansion of the church within the royal town. In the chaotic years after the fall of the House of Árpád, Esztergom suffered another calamity: in 1304, the forces of Wenceslaus II, the Czech king occupied and raided the castle. In the years to come, the castle was owned by several individuals: Róbert Károly and then Louis the Great patronized the town.
The Ottoman conquest of Mohács in 1526 brought a decline to the previously flourishing Esztergom as well. In the Battle of Mohács, the archbishop of Esztergom died. In the period between 1526 and 1543, when two rival kings reigned in Hungary, Esztergom was besieged six times. At times it was the forces of Ferdinand I or John Zápolya, at other times the Ottomans attacked. Finally, in 1530, Ferdinand I occupied the castle. He put foreign mercenaries in the castle, and sent the chapter and the bishopric to Nagyszombat and Pozsony.
However, in 1543 Sultan Suleiman I attacked the castle and took it. Esztergom became the centre of an Ottoman sanjak controlling several counties, and also a significant castle on the northwest border of the Ottoman Empire. In the 17th century Esztergom was besieged and conquered several times during the Ottoman-Habsburg Wars. Most of the buildings in the castle and the town that had been built in the Middle Ages were destroyed during this period, and there were only uninhabitable, smothered ruins to welcome the liberators.
In 1761 the bishopric regained control over the castle, where they started the preliminary processes of the reconstruction of the new religious center: the middle of the Várhegy (Castle Hill), the remains of Saint Stephen and Saint Adalbert churches were carried away to provide room for the new cathedral.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
===================================================
Info's zum Foto hier
de.wikipedia.org/wiki/Rupert_von_Salzburg
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In August 1913, the foundation stone was laid for the new church in Schonach in the Black Forest, which was consecrated by the Archbishop of Freiburg in May 1922. However, the interior was not completed until the 1950s, the new organ was consecrated in 1954 and Josef Braun from Wangen completed the painting of the church in 1956/57. Eduard Kuner from Schonach stuccoed the church in the Baroque style.
The reason for the new building was that the old church had become too small, i.e. a larger church was needed.
In 1906, the first plans for the new building were drawn up, which were approved in 1912. Only the Gothic tower of the previous church remained. The basement of the tower was the former choir, now this is the entrance area.
Angelo Valentin, a wood sculptor from Offenburg, made the high altar. The high altar painting is much older, but it is unknown who painted it. The neo-baroque organ facade is also by Valentin. It contains an organ by the Freiburg organ builder Willi Dold.
Esztergom was the capital of Hungary from the 10th till the mid-13th century when King Béla IV of Hungary moved the royal seat to Buda. During the same period, the castle of Esztergom was built on the site of ancient Roman castrum. It served not only as the royal residence until the 1241 (the Mongol invasion), but also as the center of the Hungarian state, religion, and Esztergom county.
After changing his residence to Budapest, Béla IV gave the palace and castle to the archbishop. Following these events, the castle was built and decorated by the bishops. The center of the king’s town, which was surrounded by walls, was still under royal authority. A number of different monasteries did return or settle in the religious center.
Meanwhile, the citizenry had been fighting to maintain and reclaim the rights of towns against the expansion of the church within the royal town. In the chaotic years after the fall of the House of Árpád, Esztergom suffered another calamity: in 1304, the forces of Wenceslaus II, the Czech king occupied and raided the castle. In the years to come, the castle was owned by several individuals: Róbert Károly and then Louis the Great patronized the town.
The Ottoman conquest of Mohács in 1526 brought a decline to the previously flourishing Esztergom as well. In the Battle of Mohács, the archbishop of Esztergom died. In the period between 1526 and 1543, when two rival kings reigned in Hungary, Esztergom was besieged six times. At times it was the forces of Ferdinand I or John Zápolya, at other times the Ottomans attacked. Finally, in 1530, Ferdinand I occupied the castle. He put foreign mercenaries in the castle, and sent the chapter and the bishopric to Nagyszombat and Pozsony.
However, in 1543 Sultan Suleiman I attacked the castle and took it. Esztergom became the centre of an Ottoman sanjak controlling several counties, and also a significant castle on the northwest border of the Ottoman Empire. In the 17th century Esztergom was besieged and conquered several times during the Ottoman-Habsburg Wars. Most of the buildings in the castle and the town that had been built in the Middle Ages were destroyed during this period, and there were only uninhabitable, smothered ruins to welcome the liberators.
In 1761 the bishopric regained control over the castle, where they started the preliminary processes of the reconstruction of the new religious center: the middle of the Várhegy (Castle Hill), the remains of Saint Stephen and Saint Adalbert churches were carried away to provide room for the new cathedral.
St. Nikolaus is the parish church of the municipality of Oberndorf am Lech in the Donau - Ries district.
Markus Fugger had the previous church built, but it was destroyed in the Thirty Years War. 1772 - 1774 a new nave is built according to plans by Joseph Dossenberger, which is consecrated in 1781. Joseph Leitgrath paints the ceiling frescoes, the stucco most likely comes from the Wessobrunn school, the plasterer is unknown.
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.
Biru ‘e Concas è un eccezionale sito archeologico che contiene un raggruppamento di menhir fra i più importanti dell’intera area mediterranea. Sono circa 200 monoliti, alcuni isolati, altri in piccoli gruppi, altri ancora disposti in circoli o allineati fino a un numero di 20 menhir. Molti giacciono sul terreno, interi o spezzati, fuori dalla loro posizione originaria.
La visita di questo luogo mi ha veramente impressionato, per l’atmosfera di sacralità che le sue antichissime pietre riescono a trasmettere, ma anche perché si estende in mezzo ad alberi secolari, fra conifere, castagni e nocciole, in un ambiente naturale di emozionante bellezza.
(v. altre foto di Biru ‘e Concas nello stesso album “Pedras fittas, i menhir di Sardegna”).
FS 9.9.22
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.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
Das Nutzungsrecht meiner Fotos ist immer kostenpflichtig.
©Andreas Dlugosch
===================================================
rlarchitekten.de/portfolio/pfarrkirche-st-laurentius-altm...[2]/ML/1533
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