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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).
Une autre vue de cette Basilique du Sacré Cœur à Paris, il pleuvait... à Montmartre.
La construction de cette église, 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. La volonté de construire cette basilique s'inscrit dans le contexte de recharge sacrale et sa construction s'est déroulée dans le cadre de l'instauration d'un « 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. Avec près de onze millions de pèlerins et visiteurs par an, c'est le deuxième monument religieux parisien le plus visité après la cathédrale Notre-Dame de Paris.
Merci beaucoup pour vos commentaires et favoris.
© by Jean Claude Castor l 030mm - Photography
Berlin, Berliner Dom, 2016
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”.
1776 - 1778 the new parish church is built in Bernhardzell in the canton of Sankt Gallen by Johann Ferdinand Beer. Franz Ludwig Herrmann creates his main work with the ceiling fresco. The rococo stucco work comes from Peter Anton Moosbrugger.
On November 9, 1767, the steeple of the church in Egling collapsed. Abbot Bernhard II von Ettal held a service in the church the day before. At that time Egling was owned by Ettal Abbey.
Master builder Franz Anton Kirchgrabner is commissioned to prepare an expert opinion. He recommends building the church from scratch. There are always money problems, but construction is making good progress. The topping-out ceremony can be celebrated on November 7, 1769.
Thassilo Zöpf from Wessobrunn received the order for the stucco work, while Christian Wink was painting the frescoes. Wink created one of his main works with the large dome fresco showing scenes from the life of St. Vitus.
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.
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The baroque monastery church of St. Lazarus is part of the Benedictine monastery of Seedorf in the canton of Uri on Lake Lucerne.
The Lazariterhaus was founded there in 1215 and was initially a double monastery. In the 14th century it becomes a women's convention. It is run as a hospital for the care of travelers. In 1489 the Order of Lazarites was abolished by the Pope, in 1526 the monastery was abandoned and fell to the land of Uri.
In 1559 Benedictine nuns moved into the abandoned buildings.
Abbess Maria Ursula Püntener decides to rebuild the monastery and the monastery church.
The latter is realized between 1695 and 1699. The builder is the architect Johann Jacob Scola. It will be the first church building north of the Alps to connect a pillared hall with a central choir vaulted with a dome. It is not known exactly who stuccoed the church and who painted the frescoes. The church is consecrated in October 1700.
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.
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.
The church of the former Cistercian monastery in Aldersbach, Lower Bavaria, is a masterpiece of Baroque sacred architecture. High-ranking artists such as the Asam brothers and Johann Georg Bergmüller contributed to the magnificent interior decoration.
In 1617, Abbot Michael Kirchberger commissioned the construction of a new chancel. At that time, the church was Romanesque.
However, Theobald Grad, who became abbot of the monastery in 1705, had a new nave built. He commissioned Domenico Mazio, a master builder from Misox, to undertake the project. In 1715/1716, Mazio constructed a five-bay hall church with wall piers between the Romanesque tower and the chancel. By 1719, the new structure was vaulted. Egid Quirin, a stuccoist, and Cosmas Damian Asam, a fresco painter, were working in Aldersbach in 1720. That year, the central vault of the nave was completed. In 1721, the chancel and the transverse barrel vaults were completed. The Asams were simultaneously working in Weltenburg Abbey Church. The exact date when Egid Quirin Asam built the organ loft is unknown, as there are no reliable records; it must have been around 1721/22.
In 1723, the new high altar was installed. Its builder was Joseph Matthias Götz, who won the commission after a design competition. The altarpiece from the old altar had to be incorporated. Götz also supplied the two side altars. Johann Georg Bergmüller painted the altarpieces for these. The other altars were made in the abbey's own carpentry workshop. Cosmas Damian Asam painted the altarpieces for the two front wall pillar altars.
The other paintings were done by Andreas Math and Nikolaus Stuber.
In 1755, Abbot Theobald II had the west facade and tower redesigned. The tower was heightened and integrated into the newly designed west facade. The architect is unknown.
In 1761/62, the choir stalls were renovated by the monastery workshops. In 1763, the organ was installed on the west gallery by the Passau organ builder Philipp Schmid.
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.
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.
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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
One of the most important Baroque pilgrimage churches in Germany is the Basilica of the Vierzehnheiligen in Bad Staffelstein, Upper Franconia.
Construction of the church began in 1743, but wasn't completed until 1772.
The planning process until construction could finally begin was confusing and complicated.
The origins of the pilgrimage lie in the Middle Ages: in 1445, the shepherd of the monastery (Langheim Monastery) saw a crying child in a field, which disappeared as he approached. This child appeared to the shepherd three times, and on July 2, 1446, he and a woman witnessed two burning candles descending from heaven at this spot. Shortly thereafter, a miraculous healing occurred at exactly the same spot. The miraculous healing was then recognized by the nearby Langheim Monastery (this monastery no longer exists). A pilgrimage quickly gained momentum, and the first church was built. A pilgrimage brings in revenue, and, as so often happens, a dispute erupts over this revenue. The dispute was between Langheim Monastery and Staffelstein, which was the responsible parish. An arbitration court ruled that the church and the offerings should remain in Langheim, but that a third of the revenue must be paid to the Bishop of Bamberg. In return, the bishop must bear a share of the construction costs, provided he knows the plans and agrees. In other words, no construction can take place without the bishop's consent.
In 1693, the Bishop of Bamberg demanded the third of the pilgrimage revenue he was entitled to from Langheim Monastery. The abbot countered by reminding the bishop that the diocese had long since failed to fulfill its proportional construction obligations, and he presented the bishop with an expert opinion on the necessity of a new building. The dispute fizzled out; the diocese was not expected to pay.
The planning confusion began. The protagonists were the Abbot of Langheim, Stephan Mösinger, and Bishop Friedrich Carl von Schönborn. They now negotiate who will pay what. The bishop succeeds in getting Langheim Abbey to bear the costs alone, but in return the pilgrimage fees are reduced. However, the building plans still have to be signed off by the bishop.
Since his abbey now has to bear the costs, the abbot wants to keep them as low as possible. He commissions the Weimar court architect Gottfried Heinrich Krohne to redesign the church. Krohne, himself a Protestant, has no sympathy for a rural pilgrimage. This is reflected in his plans. The bishop rejects Krohne's plans. The plans for the pilgrimage church are abandoned. The abbot turns to the redesign and construction of the monastery church. He hires Balthasar Neumann for this task. His plans for the new monastery church overshadow all other Baroque church plans. The project is abandoned, and the abbot has to turn his attention back to Vierzehnheiligen. In the meantime, the bishop has commissioned his court architect, Jakob Michael Küchel, to design the pilgrimage church. However, the bishop rejects these plans, deeming them too expensive. At the same time, the abbot commissioned Balthasar Neumann to draw up plans. These plans were approved, but secretly the abbot wanted to forgo the brick vaults for cost reasons. The abbot's master builder Krohne was to begin construction based on Neumann's plans, but as a cost-effective version. On April 23, 1743, the foundation stone was laid, and by December the walls in the choir and transept area were three meters high. Becoming suspicious, the bishop sent Balthasar Neumann and Küchel to Vierzehnheiligen for an inspection. Neumann was shocked; Krohne deviated significantly from Neumann's plans, surely on the abbot's instructions. The bishop blamed Krohne solely, and the abbot dismissed the master builder. Bamberg now took control, and the road was clear for Neumann. And Neumann now showed why he was one of the leading Baroque architects; he was at his best. In 1744, he presented his plans for the new building, incorporating the walls that had already been built. He completely redesigned the building, with the vault being the greatest challenge. Neumann died in 1753 and did not live to see its completion. His master mason, Thomas Nissler, continued the work in Neumann's spirit. The church was consecrated in 1772.
What would Vierzehnheiligen be without its fantastic stucco decorations and frescoes (unfortunately, since a fire caused by lightning in 1835, water damage because the temporary roof was built too late, and whitewashing in the late 19th century, the frescoes have suffered greatly today).
Johann Michael Feichtmayr and his workshop, together with Johann Georg Üblhör, all masters of their craft, were responsible for the magnificent stucco and the freestanding altar of grace. Feichtmayr also designed the high altar.
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
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.
Gustelnica - Wooden chapel of St. Antony of Padua
www.tzzz.hr/en/visit-county/cultural-heritage/most-valuab...
Magnificent is the set of the Virgin of Granada in the Scalas Chapel (measures 2.50x1.80m) made of baked and polychrome clay, the background being cobalt blue and milky white figures, work attributed to the 19th century Florentine workshop of Andrea della Robbia .
In the altarpiece where the Virgin of Granada is located we see her complete image, which has the Child, seated on her right leg offering her a pomegranate, a symbol of redemption. The Virgin receives the crown carried by cherubs and to her right and left Saint Francis of Assisi, Saint Sebastian, Saint Dominic de Guzmán and Saint Casilda, found on the frieze of the altarpiece, little heads of winged angels and on the curved tympanum of the pediment the Christ, Man of Sorrows in the center, the Virgin and Saint John. Another gem of the many that this unbeatable Sevillian Cathedral contains
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Gustelnica - Wooden chapel of St. Antony of Padua
www.tzzz.hr/en/visit-county/cultural-heritage/most-valuab...
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.
This church was built between 1737 – 1741 and belongs to Rot an der Rot, a community in the Upper Swabian.
The frescos were painted by J.M. Biehle.
Johann Georg Reusch maufactured the high altar also between 1737 – 1741.
Today there is a graveyard around this sacral building, so the church is used as graveyard church.
on top of a hill next to danube river in austria the old stift göttweig is looking over the land.
shot from the other side of danube river at krems, austria.
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.
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.
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.
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Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
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