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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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Without a doubt, the Collegiate Church of the Assumption of Mary of the former Cistercian Abbey of Fürstenfeld near Fürstenfeldbruck is one of the most important Baroque churches in southern Germany.
On August 5, 1700, the foundation stone for the new monastery church was laid. The church's designer was Giovanni Antonio Viscardi. However, construction work was halted in 1701 and not resumed until 1716, this time under the direction of Johann Georg Ettenhofer. The choir was completed in 1732, and the nave was consecrated in 1741. However, the furnishings were not completed until 1766.
Pietro Franceso Appiani was entrusted with the stuccoing of the choir. He began in 1718 and completed the work in 1723. The nave was stuccoed by his brother Jacopo Appiani.
The frescoes in the choir and nave are works by Cosmas Damian Asam. He began in the choir and worked there until 1723. The frescoes in the nave were completed in 1731.
Egid Quirin Asam designed the high altar. It is unknown who built it according to his plans. Egid Quirin also designed two side altars.
In 1736, Johann Georg Fux built the large organ on the west gallery. It remains virtually unchanged and is considered one of the most important Baroque organs in Bavaria. The organ front comes from the workshop of Johann Georg Greiff and is one of the largest organ fronts in Bavaria.
The two donor figures to the left and right of the choir arch are works by the sculptor Roman Anton Boos. They depict Duke Ludwig the Strict on the left and his son, Emperor Ludwig the Bavarian, on the right.
Українська хата мазанка під стріхою - традиційне житло українців на Поділлі.
На Поділлі хати у селі завжди виглядали гарно. Завжди побілені, іноді розписані в квітах та в пташках. В конструкції будівель цих районів у другій половині 19 століття переважав каркас з заповненням його деревом та глино-соломою з наступною обмазкою та побілкою. Особливістю подільської народної архітектури є широке застосування в декорі поліхромних розписів, підводок, кольорового пофарбування стін як житла, так і господарських будівель. Тридільна споруда (хата-сіни-хата). Поруч з хатою знаходилась клуня в якій молотили хліб.
Хата 1907 року села Яснозір`я-2 Черкаського району Черкаської області.
Садиба заможного селянина – це приклад «відкритого двору», де чиста частина розташована на першому плані при вході: хата, комора, криниця та погріб. Центральне місце на садибі відводилося хаті, за планом вона тридільна: хата, сіни, хата-світлиця, рублена із соснових пиляних брусів, з короткими випусками вінців. У великих просторих хатах на дві половини виділено одне чисте приміщення – світлиця, прибрана по-святковому: мальовані ікони, народна картинка в купованих червоних «кролівецьких» рушниках перед образами – святкові обрядові прикраси. Біля полу на лаві стоїть маленька скринька, в якій зберігалося намисто, стрічки, дукачі, гроші, документи.
У лівій хаті – щоденний побут селянської родини, де готувалася їжа, бавили дітей, ткали, пряли. У сінях великий спільний димохід для печей. На долівці стоїть ножна ступа, діжка-шаплик для купання, струг для вичинення шкіри.
Заможність господаря простежується і на подвір’ї. Господарські приміщення великі, відрізняються різноманітністю та гарним будівельним матеріалами, з яких вони зроблені.
This farmstead of a prosperous farmer exemplifies a concept of an “open yard”. Its clean part is located at the fore, near the entrance: a house, a storeroom, a wall and a vault. The farmstead’s central place is occupied by the three-room house, consisting of a house, a mudroom, a solar and made of pine-tree saw beams with short open tips. One clean room – a solar – was separated in big double-halved houses. This is a lovely decorated room with painted icons and a national picture, framed by purchased “krolivetsky” embroidered towels and sacral festive items in front of them. A small box on a bench next to the pil (rest space) was made for keeping bead necklaces, strips, precious items, money, and documents.
An ordinary life of a farmer’s family is represented by the left-side house. Here they cooked, nursed babies, wove, spun yarn. A large chimney, common for the both stoves was placed in the mudroom. A mortar, a trough for bathing and a drawing-knife lay here on the floor.
Prosperity of the owner of the house is also evidenced by the yard. All service buildings here are quite big and notable for their difference and good building materials.
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.
The Jesuit Church of St. Michael belongs to the College of St. Michael in Fribourg, Switzerland.
Giovanni de Rossi built the church between 1604 and 1613 in a post-Gothic style.
The court architect Franz Wilhelm Rabaliatti, the painter Franz Anton Ermeltraut and the plasterer Giuseppe Antonio Albuccio redesigned the interior between 1756 and 1771 in the Rococo style.
The organ from 1764 comes from the Constance organ builder Bihler.
° ENLIGHTENED °
© by Jean Claude Castor I 030mm - Photography
www.facebook.com/030mm-photography/
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Slovak early Baroque Franciscan monastic church dating back to the late 14th century. Currently the only dual-towered Franciscan church in Slovakia.
The site of the Church of St. Joseph has been sacred for centuries. Originally, a Gothic church dedicated to the Holy Trinity occupied this location. In 1380, the Carmelite brothers constructed a new church, maintaining the dedication to the Holy Trinity. However, during the Reformation, the Carmelites departed, and the church fell under municipal control, serving various secular purposes.
In 1661, Emperor Leopold I granted the church and its accompanying monastery to the Franciscan brothers, marking a new chapter in its history. Despite resistance from the Protestant city council, the Franciscans took possession in 1671, thanks to the intervention of royal forces. This marked the beginning of a significant transformation, supported by local nobility, including Baron František Klobušický.
The Church of St. Joseph underwent extensive reconstruction from 1708 to 1718, led by the Košice builder Ján Tornyossi. The renovations were heavily inspired by the Jesuit Church of the Gesù in Rome, introducing Baroque elements that replaced the original Gothic features. The façade, adorned with stucco ornaments and sculptures by Šimon Griming, presents an impressive display of Baroque artistry.
Inside, the church boasts a stunning altar dedicated to the Holy Family, crafted by František Strecius. This masterpiece features over 40 sculptures, including depictions of the 12-year-old Jesus, the Virgin Mary, and Saint Joseph. Although the original altar was lost to a fire in 1870, it was replaced by an illusionistic oil painting by the Franciscan artist Konrád Švestka, capturing the essence of the lost masterpiece.
www.mycityhunt.com/cities/presov-sk-10488/poi/church-of-s...
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Der bereits laufende Umbau der St. Hedwigs Kathedrale in Berlin-Mitte scheidet die Geister. Neben einer notwendigen Sanierung des Kirchenbaus wird auch der vom Architekten Hans Schwippert gebaute, berühmte Innenraum vollkommen neu strukturiert. Ein Vorhaben, das nicht nur die Fachwelt spaltet.
Seit November 2023 ist der neue Altar geweiht - man hatte zu diesem Zweck Gläubige aufgerufen, einen Stein ihrer Wahl abzugeben... alle erbeuteten Steine - vom Kiesel bis zum Bernstein - wurden dann als neuer, halbkugelförmiger Altar gegossen.
Im Herbst soll der Umbau dann fertig sein und man darf gespannt auf den Tag der Wiedereröffnung warten.
Bilder sind im Netz bereits zu sehen - guckst du hier... www.hedwigs-kathedrale.de/fileadmin/_subsites/_St._Hedwig...
Fünfstetten is a municipality in the Bavarian district of Donau-Ries.
The municipality's Catholic parish church, outwardly simple, reveals itself as a true Rococo gem within. Built in 1626, the interior was redesigned in the Rococo style between 1765 and 1766. Rich rocailles stucco, probably by Andreas Henkel, and the magnificent frescoes by Johann Baptist Enderle characterize the magnificent appearance. The other Rococo furnishings, such as the pulpit, choir stalls, and pews, have also been preserved in their original form.
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This beautiful parish church, which is dedicated to St. Mauritius, is located in the municipality of Appenzell, the capital of the canton of Appenzell Innerrhoden.
The current church building was built between 1823 and 1826. The choir and the church tower are taken over from the late Gothic predecessor church. Enoch Breitmeier and his journeymen act as the builder.
Joseph Anton and Joseph Simon Moosbrugger stucco the church in the Rococo style.
Franz Vettinger paints the ceiling paintings and the 14 medallions.
The high altar dates from 1622. From 1890 to 1892 the Greppi company builds the side altars together with the sculptor Eduard Müller.
The eight windows in the nave show the 14 stations of the cross.
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Urheberrecht bei Andreas Dlugosch
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©Andreas Dlugosch
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In 1500, Cardinal Diego Hurtado de Mendoza ordered the original chapel to be enlarged for burial, since the great devotion that the Virgin of Antigua had among the Sevillians well deserved the largest chapel of those considered minor chapels. The fresco of the Virgin of Antigua, which presides over the marble altarpiece by José Fernández de Iglesias with sculptures by Pedro Duque Cornejo (half S.XVIII). There is a legend that explains the name of this Virgin but the reality she is not so old, she dates from the time when the mosque was used as a Christian temple (14th century). The goldsmith’s crown was added in 1929 for her canonical coronation. The paintings, which iconographically represent the history of the Virgin of Antigua, as well as the saints and some landscapes, are works by Domingo Martínez (first half of the 18th century). Also noteworthy are the tombs of Cardinal Diego Hurtado de Mendoza, in Renaissance style, made by Doménico Fancelli (early 16th century) and that of Archbishop Luis Salcedo y Azcona, made by Pedro Duque Cornejo (mid 18th century) and inspired by the Renaissance one. Stained glass windows: San Fernando, designed by José Gestoso (19th century).
Chrch of St. John (at front) and church of St. Stephan (at background) in the old part of village Podaca :)
Church of St. John - the pre-romanesque Church of St. John, from 12-th century, is the oldest sacral building in this ares, built as the mausoleum of the noble Kacic family, as evidences by the tombstones which were once inside the church and are now visible in the front of it.
Church of St. Stephan Protomartyr - this church is a neo-romanesque building from 18-th century, built on the foundations of the old church of St. Stephen from the 15-th century, and it was a gift by Ivan Tomic, an emigrant who gained fame and fortune in building the Suez Canal.
Podaca is a coastal village and tourist locality in southern Dalmatia, Croatia. It's divided in three neighborhoods that are seamlessly connected to next willages: Kapeć, Viskovića vala and Ravanje. Old Podaca was founded on the rocky slopes as defensible location, and there are traces of human habitation since Stone Age. During the Roman rule this area was administrated from Narona. After an earthquake in 1962, almost the entire population migrated to the coastal area and the old settlement of Podaca under the Biokovo mountains is almost completely abandoned. Currently, the main source of income for the inhabitants is tourism, but they also engage in fishing, agriculture and cultivation of olive groves.
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Kościół św. Jana (z przodu) oraz Kościół św. Szczepana (w tle) w starej części miejscowości Podaca :)
Kościół św. Jana - przedromański kościół św. Jana z XII wieku jest najstarszą budowlą sakralną na tym terenie, powstał jako mauzoleum szlacheckiego rodu Kaciców, o czym świadczą nagrobki, wcześniej znajdujące się w kościele, zaś obecnie umieszczone przed nim.
Kościół św. Szczepana Pierwszego Męczennika - kościół ten jest neoromańską budowlą z XVIII wieku, zbudowany na fundamentach starego kościoła św. Szczepana z XV wieku, który był darem Ivana Tomica, emigranta, który zyskał sławę i fortunę budując Kanał Sueski.
Podaca – wieś w Chorwacji, położona w południowej części Riwiery Makarskiej, u podnóża Biokova. Składa się z trzech części: Kapec, Viskovica Vala i Ravanje. Podaca powstała na skalistych zboczach Biokova, w strategicznym miejscu, gdzie znajdują się ślady osadnictwa pochodzące z epoki kamiennej. Podczas panowania rzymskiego miejscowość była administrowana z Narony. Po trzęsieniu ziemi w 1962 roku, niemal cała ludność przeniosła się do strefy przybrzeżnej, zaś stara osada Podaca pod klifami Biokova jest prawie zupełnie opuszczona. Obecnie głównym źródłem dochodu mieszkańców jest turystyka, ale zajmują się też rybołówstwem, rolnictwem i uprawianiem gajów oliwnych.
L'uomo lascia tracce innumerevoli nel paesaggio. Spesso è la qualità stessa della vegetazione a testimoniare il suo ruolo. Altre volte, invece, è la presenza di strutture e di manufatti speciali. Come in questo caso, in cui sugli orizzonti della palude affacciata al mare si staglia l'inconfondibile profilo di un piccolo edificio religioso. Proprio a lui si deve pertanto la dimensione sacrale di questo paesaggio, altrimenti del tutto naturale ..... ..
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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.
The most famous features of the chapel, among the finest of their type in the world, are the fifteen great stained-glass windows in the nave and apse of the upper chapel, which date from the mid-13th century, as well as the later rose window (put in place in the 15th century). The stone wall surface is reduced to little more than a delicate framework. The thousands of small pieces of glass turn the walls into great screens of coloured light, largely deep blues and reds, which gradually change in intensity from hour to hour.
Most of the windows were put into place between 1242 and 1248. The names of the glass artists are unknown, but the art historian Louis Grodecki identified what appear to be three different ateliers with different styles. The windows in the apse and most of the windows on the north wall of the nave are made by one workshop. These works are known for supple forms and costumes, with simplified features. The second workshop, named by Grodecki as Master of the Ezekiel window, made the Ezekiel and Daniel windows, as well as the window of the Kings. That work is characterized by elongated forms, and more elaborate and angular draperies. The third artist or workshop is called the Master of Judith and Esther, for the distinct style of those windows, as well as the window of Job. They are distinguished by more subtle details in the faces, and a resemblance to the figures in illuminated manuscripts.
Despite some damage the windows display a clear iconographical programme. The three windows of the eastern apse illustrate the New Testament, featuring scenes of The Passion (centre) with the Infancy of Christ (left) and the Life of John the Evangelist (right). By contrast, the windows of the nave are dominated by Old Testament exemplars of ideal kingship/queenship in an obvious nod to their royal patrons. The cycle starts at the western bay of the north wall with scenes from the Book of Genesis (heavily restored). The next ten windows of the nave follow clockwise with scenes from Exodus, Joseph, Numbers/Leviticus, Joshua/Deuteronomy, Judges, (moving to the south wall) Jeremiah/Tobias, Judith/Job, Esther, David and the Book of Kings. The final window, occupying the westernmost bay of the south wall brings this narrative of sacral kingship right up to date with a series of scenes showing the rediscovery of Christ's relics, the miracles they performed, and their relocation to Paris in the hands of King Louis himself.
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I wish you all my loyal Flickr friends a Merry Christmas and a healthy passage into a hopefully peaceful 2024. Not to forget lots of light for beautiful photos.....
The most precious part of the altar is located in its top. It is a late Gothic polychrome wood carving depicting St. Anna of Metercia. The term "Samotretia" (in the Latin tradition Metercia) expresses that St. Anna is depicted in the group "alone third" – together with her daughter Virgin Mary and grandson Jesus. This sculpture survived devastating fires and historical reconstructions of the church and at the beginning of the 20th century it was sensitively incorporated into the upper part of the altar architecture.
In the main altar field (in the center of the altar) there is a Baroque painting of Our Lady of the Snows. This painting has great historical value for believers and is almost completely covered with artistic silver rivet (with a decorative metal cloak that leaves only the faces and hands of the characters exposed)
The altar as a whole shows a unique synthesis – while its central part bears the Baroque Marian devotion of the 17th century, its top is made up of more than a hundred years older, monumental medieval Gothic art from around 1500.
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