View allAll Photos Tagged sacral
1152 is mentioned for the first time in a document in the community of St. Johann in Toggenburg.
The last Benedictine abbey in Switzerland is founded there. In 1468 Toggenburg was bought by the St. Gallen monastery and became sovereign over St. Johann. Several disputes with the Abbey of St. Gallen, so in 1523 Toggenburg joined the Reformed Faith, but in 1538 they had to return to the Prince Abbey of St. Gallen. In 1555 the St. Johann Abbey was downgraded to a priory.
At the beginning of the 17th century a disease struck the monks. These leave the monastery buildings and move into the surrounding houses. To make matters worse, the abandoned monastery burned down in 1626.
The prince abbot of St. Gallen now decides to relocate the monastery near Nesslau, a little further down the valley. The new foundation is called Neu St. Johann.
In September 1626 the foundation stone for the new monastery was laid. The Misoxer master builder Pietro Andreota is won for this task. The church was not built from 1629 to 1641. The Misox master builder Pietro Andreota was hired to continue building the church in 1641. In 1643 the high altar is erected. Construction is on hold again, this time for 35 years. In 1678 the tuff vault was drawn in and stuccoed. Most of the church was equipped by 1680.
Johann Wirthensohn, altar maker from Vorarlberg, creates the organ prospect on the west gallery, which contains an instrument by Johann Michael Grass. The original organ is only partially preserved.
The double-towered parish church with the rare patronage “Presentation of the Lord” towers high above Aschau im Chiemgau.
A church is mentioned early on in the last quarter of the 12th century. Mentioned in a document in Aschau, it is probably a Romanesque Baptist church.
Around 1450, during the late Gothic period, a new two-aisled building with star rib vaults was built, the main nave and the lower south side aisle, which was already separated from the main nave by columns.
Around 1620/30, local craftsmen began to gradually redesign the church in Baroque style, for example in 1673 with a new Baroque high altar. The first stucco work also began in 1702.
Count Max IV of Preysing - Hohenaschau commissioned Johann B. Gunetzrhainer to plan the renovation. The renovation took place in 1752/53. The main nave is extended by a bay to the west and has a gallery.
But in the middle of the 19th century. Do you want to romanize the church? The baroque high altar is removed and replaced by a sober, Romanesque-looking high altar. But in 1929 this high altar was replaced by a new one. The altarpiece is from the Baroque period and shows the representation of the Lord in the temple. This is where the patronage of the church comes from.
Fortunately, money ran out during the Romanization phase, and so the richly stuccoed ceiling with its magnificent frescoes has been preserved. Balthasar Mang painted the frescoes in 1753/54.
The pulpit from 1687 was also spared from the wave of Romanization.
In 1904, Theodor von Cramer - Klett, owner of the Hohenaschau estate, had the north tower built. From this point on, the south tower has a companion and the church now presents itself to visitors to the city with two towers. He also had the presbytery enlarged and the extension on the east side expanded.
High above the bavarian town Landsberg am Lech there is the Heilig – Kreuz – Kirche of the Jesuit order.
This beautiful sacral building was built between 1752 and 1754 by Ignatius Merani.
The fresco was painted by Christoph Thomas Scheffler, they belong to the largest frescos in bavaria.
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.
A pleasant valley of the meandering Muráň river south of Jelšava has a significant landmark. You cannot overlook the strategically interesting hill above the village of Šivetice, on which a brick Romanesque church dedicated to St. Margaret of Antioch was built in the middle of the 13th century. Šivetice belonged to the Jelšava estate back then and from the 15th century on was administered by the Castle of Muráň. In the past, the village was known for its typical ceramics.
The church has the shape of a rotunda with an internal diameter of 11 m and is one of the largest structures with circular footprint in Central Europe. In addition to the primary sacral significance, it is assumed that the rotunda originally served as a watchtower, taking into consideration its location on a hill and its proximity of a castle (that no longer exists). During the 14th century, the interior of the church was divided into a nave and a chancel by a monumental pointed triumphal arch. Original Romanesque murals depicting scenes from the legend of St. Margaret were covered by gothic paintings with the same theme and complemented with scenes of the Passion Cycle. Like many other Gemer temples, the rotunda of Šivetice belonged in the 17th century to the Evangelical Lutheran church. In the 18th century, the church was partially rebuilt into Baroque style and the bell tower with the entrance gate was inserted into the stone wall. A cemetery is surrounding the church nowadays.
Photographer : Vasileia Anastasiadi
Model : Vasileia Anagnostou
Image Editor : Vasileia Anastasiadi
Stock
Dress : yale-stock.deviantart.com/gallery/
Castles :
a) lilystox.deviantart.com/gallery/
b) sacral-stock.deviantart.com/gallery/
Red Roses : zememz.deviantart.com/gallery/
Butterflies :
a) graphicavita.deviantart.com/gallery/
b) forsaken-resources.deviantart.com/gallery/
c) dizapher.deviantart.com/gallery/
Skull : twiggxstock.deviantart.com/gallery/
Textures :
a) dot-bin.deviantart.com/gallery/
b) hybel.deviantart.com/gallery/
Branches : simfonic.deviantart.com/gallery/
Moon : wyldraven.deviantart.com/gallery/
and my own resources.
All the rest was painted with photoshop CS5.5
On the croix, there is a sign that says, "Érigée depuis plus de 150 ans par les familles Lapointe du second rang. Cette croix est un rappel de la foi des habitants du deuxième rang qui se rassemblent durant le mois de mai pour prier et demander la clémence du Seigneur pour obtenir de bonnes récoltes" - the croix was erected over 150 years ago by the Lapointe families living on the 2nd Rang and was a place they used to gather in the month of May to ask for good harvests.
Croix de chemin are found in many locations - at rural road intersections, in towns and in front of farm buildings. This one, located amidst farm equipment, electrical wires and outbuildings, is decorated with instruments of the Passion: the ladder and spear.
Bas-Saint-Laurent, Quebec, Canada
This image is one in a series of croix de chemin (roadside crosses) taken during my December 2022 photographic trip to Québec. There are between 2,500 and 3,000 croix de chemin scattered all over rural Québec, the historic centre of North American Catholicism. Despite the decrease in influence of the Catholic Church during the Quiet Revolution of the 1960s and the prediction that, as a result, croix de chemin would disappear from the rural landscape, recent surveys have shown that around 80% of the croix that were surveyed in the 70s and 80s are still standing. Croix de chemin are large (15 to 20 feet tall) crosses that where originally “erected to fulfill a vow, to sacralize the land, or to ward off calamities” (Kaell, p. 135). They hark back to the cross that Jacques Cartier erected on the Canadian mainland, in Gaspé, on July 24, 1534 on his first exploration trip of the Gulf of St. Lawrence, but also represent their owners’ Catholic devotion and are examples of beautiful rural folk art. Croix de chemin are most often made of wood (though some more modern ones are made of metal) and are decorated with iconography of the Passion. Each year their caretakers try to repaint them and every 40 or 50 years they have to be replaced altogether. There are three main types of croix de chemin: (1) the simple croix de chemin which may have some decorative elements at the end or centre, (2) the croix de chemin featuring instruments of the Passion which are decorated with a lance, nails, hammer, whip, ladder, crown of thorns, and/or rooster and (3) the calvaire, which depicts the crucifixion scene.
The primary reason I wanted to photograph the croix de chemin was that they are wonderful pieces of folk art – made and maintained, sometimes for many decades, by local artisans, and are pretty much unique to Québec in Canada (although emigrants from Québec brought a few to Ontario and Manitoba in the 19th century). I spent many hours of scouting the locations of croix de chemin using the fantastic website Les Croix de Chemin au Québec and searching out and photographing them to create this series was a highlight of my recent trip. In the end, I photographed almost 40 croix de chemin to create this series.
Kaell, H. (2017) Marking memory: Heritage work and devotional labor at Québec’s croix de chemin. In K. Norget (Ed.), The Anthropology of Catholicism (pp. 122-138). University of California Press.
Joly, D. (2007). Wayside crosses. In Encyclopedia of French cultural heritage in North America. www.ameriquefrancaise.org/en/article-296/Wayside_Crosses.html
I wrote a blog post about my December 2022 photographic trip to the rural areas of Chaudière-Appalaches (Beauce) and Bas-Saint-Laurent, south and east of Québec City. If you'd like to see some behind the scene shots, video and read some stories about how I shot these images, take a look.
If you'd like to see the rest of the images from this trip, take a look at my Québec album and if you'd like to see the series within the series - the croix de chemin - there's an album for them, as well.
The Roman Catholic wooden church of St. Francis of Assisi, made of red spruce, was built at the end of the 15th century in the Gothic style. It is situated on a small elevation in the centre of the village of Hervartov in the Bardejov district. Since 2008 it has been included in the list of UNESCO monuments.
It is the oldest and one of the best preserved wooden churches in Slovakia. The church is enclosed by a stone wall with pilasters, which gives visitors the impression of a small fortress. The sacral building consists of a polygonal sanctuary, a nave, a sacristy and an undercroft, which has been modified to create a granary. The church also includes a bell tower.
While the exterior of the oldest wooden church on the Slovak side of the Carpathian Mountains has remained unchanged, the interior has undergone several modifications due to the Reformation, the Recatholization and the Baroque style. Surface compositions of geometric shapes as well as scenes from the lives of saints or moral scenes make up the rich decoration of the interior walls of the Hervart church.
This area is closed off by a magnificent wrough-iron screen by the Franciscan Friar José Cordero who finished it in 1780. The interior of the capel is lit by a stained-glass window above the reredos. It dates from 1775 and shows St Peter Pope. Another stained-glass window in the wall on the left dates from 1784 amd shows the symbols by which St Peter is recognized.
The reredos adorning this chapel was paid for by the Marquesses Of Malagon in 1625. Its structure was built by the craftsman Diego López Bueno. The paintings were carried out by Francisco de Zurbarán around 1630. The predella of the reredos has paintings of Christ and St Peter walking on the Water, Christ giving the Keys to St Peter and St Peter healing the Lame. The first section shows St Peter´s Vision, St Peter Pope and St Peter´s Repentance. in the second section there are St Peter is released by the Angel, The Immaculate Conception and Quo Vadis. The Heavenly Father in the upper part is an 18C copy of Zurbaran´s original and is therefore not by him.
In the left-hand wall of the Chapel there is the sepulchre of the Archbishop Diego de Deza, which dates from 1430. The right-hand wall has a series of four paintings which used to be ascribed to Francisco Reyna, one of Zurbaran´s disciples, but which may be connected with Juan Luis Zambrano according to the fragment of a signature on one of them. They come from La Merced Convent in Seville and represent The Virgin of La Merced appears to St Peter Nolasco in the Choir of the Novices, The Miracle of the Boat, San Fernando giving the image of the Virgin of La Merced to St Peter Nolasco and St Peter Nolasco`s Death.
Above these paintings there are another three showing St Peter repentant, a copy of an original by the Flemish painter Gerard Seghers, St Peter released by the Angel and The Maryrdom of Santa Agueda, of the 17C Italian school.
www.hispalis.net/turismo_y_cultura/monumentos/catedral/sa...
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.
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
This image is one in a series of croix de chemin (roadside crosses). There are between 2,500 and 3,000 croix de chemin scattered all over rural Québec, the historic centre of North American Catholicism. Croix de chemin are large (15 to 20 feet tall) and were “erected to fulfill a vow, to sacralize the land, or to ward off calamities” (Kaell, “Marking Memory”, p. 135). Croix de chemin are most often made of wood and are decorated with iconography of the Passion. There are three main types: (1) the simple croix de chemin which may have some decorative elements at the end or centre, (2) the croix de chemin featuring instruments of the Passion which are decorated with a lance, nails, hammer, whip, ladder, crown of thorns, and/or rooster and (3) the calvaire, which depicts the crucifixion scene.
Chaudière-Appalaches (Beauce), Québec, Canada.
I wrote a blog post about my December 2022 photographic trip to the rural areas of Chaudière-Appalaches (Beauce) and Bas-Saint-Laurent, south and east of Québec City. If you'd like to see some behind the scene shots, video and read some stories about how I shot these images, take a look.
If you'd like to see the rest of the images from this trip, take a look at my Québec album and if you'd like to see the series within the series - the croix de chemin - there's an album for croix, as well.
6 years after the massive church fire, the St. Niklaas church in Westkapelle will be rebuild. There will be a sacral and a multifunctional area.
in the church of Oberammergau, Bavaria. -
The health of the population also comes first for the municipality of Oberammergau - known for its famous Passion Festival. The corona pandemic has made it impossible to complete this year's game without endangering contributors and guests. In addition, the perspective for this year is unclear. A postponement of just a few months seemed unacceptable to everyone involved.
Massive chirch fire (2013). 6 years after the massive church fire, the St. Niklaas church in Westkapelle will be rebuild. There will be a sacral and a multifunctional area.
The parish church of St. Martin stands high above Marktoberdorf.
Johann Georg Fischer (known from Wolfegg, Kißlegg) is commissioned by Pastor Joseph Ignaz Klaus to build a new church. In 1732, Fischer began construction as an architect, his parlier Paul Bienz led the new building, which was consecrated in 1738. The tower (onion dome 1722) and the floor plan of the choir are taken over from the previous building.
Abraham Bader from Wessobrunn decorates the church interior with stucco.
Franz Georg Hermann and Balthasar Riepp paint the ceiling frescoes, with Hermann taking over the main cycle. The nave shows the victory of Emperor Constantine over Maxentius at the Milvian Bridge in Rome and the discovery of the cross by the imperial mother Helena.
In 1747 Joseph Stapf from Pfronten delivered the high altar, the two side altars were created by Dominikus Bergmüller in 1735.
From the Ante-Chapter-House a curved passage leads to one of the most admirable areas of Spanish Renaissance architecture: the Chapter-House of the Cathedral. It was begun in 1558 under the direction of the architec Hernán Ruiz II and was finished by Asensio de Maeda in 1592.
The layout of this area is elliptical so that all the members of the cathedral chapter were perfectly visible at their meetings where the problems of the spiritual and material government of the church were brought up and discussed. The oval vaulting in one simple unit helps the voice to carry and has exceptional acoustics. The need for hearing and seeing required in the meetings of the numerous clergy was thus satisfactorily solved, but at the same time the wall decoration of the Chapter-House consists of a complex series of pictures and figures to emphasize the virtues expected of those who came to meet there so that their exchange of ideas and opinions would take place in an atmosphere of harmony and concerd. The walls therefore show a moral code for the canons to observe in their chapter meetings. The composition of pictures and figures designed by the canon Francisco Pacheco includes a seies of sculptures ans paintings with Latin inscriptions referring to the meanings of the images. All this decoration appears in the second section of the Hall, and the first to be seen between the pedestals of the columns are painted versions of the Virtues, among which Justice, Charity, Faith, Compassion and Hope can be identified. These virtues are female figures, some of which represent Saints at the same time, such as St Barbara, St Katherine, St Lucy and St Agnes. These paintings were carried out by Pablo de Céspedes in 1592.
The authors of the large vertical reliefs between the columns are Juan Bautista Vázquez el Viejo and Diego de Velasco who made them approximately between 1582 and 1582. They show The Assumption of the Virgin, Two Miracles of St John the Evangelists, The cleasing of the Temple, The Heavenly Father with the Vintagers, The seven Angels calling the Damned, The Ectasy of St John Evangelist and The Allegory of the Mystic Lamb. The rectangular reliefs were carried out by Marcos Cabrera around 1590 and show The last Sermon of Jesus Christ, Daniel in the Lions´Den, Christ´s Baptism, The Storm in the Sea of Tiberias, The Parable of the Sower, Christ,s Agony in the Garden, St Peter contemplating the unclean Animals and Christ washing the Feet of the Apostles.
In the vault there is a magnificent series of paintings by Murillo who was commissioned by the Chapter in 1667. In a splendid carved frame everything centres on La Inmaculada, which may be considered among the most beautiful the artist made of the subject. Painted on circular canvases around the vault there is a series of eight Seville Saints who can be identified by the name on the signs. They are San Hermenegildo, San Fernando, San Leandro, San Isidoro, San Laureano, Santa Justa, Santa Rufina and San Pio. The Chapter-House centres on a magnificent mahogany armchair which was carved by the sculptor Diego de Velasco in 1592. Before it there is the secretary´s bench, also of excellent design by the same artist.
hispalis.net/turismo_y_cultura/monumentos/catedral/capitu...
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.
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.
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
The Mallersdorf monastery is located on a hill, visible from afar. Founded in 1107 as a Benedictine monastery, the monastery complex was acquired by the Congregation of the Poor Franciscan Sisters of the Holy Family in 1869. The church remains in the possession of the state and has served as a parish church since 1921.
From 1740 onwards, the Romanesque church from the 12th century was remodeled in a baroque style. But the work was not completed until 1792. This long construction phase can be recognized by the fact that the choir is designed in a baroque style, while the nave is designed in an early classical style. Johann Adam Schöpf painted the choir fresco in 1747, and Matthias Schiffer did not fresco the nave until 1776. The choir is stuccoed by Matthias Obermayr.
One of the highlights of the monastery church is the high altar by Ignaz Günther., Created between 1768 and 1770. In the altar extract, Günther refers to the Revelation of John, the final battle between good and evil. Evil is represented by a seven-headed dragon. The dragon pursues the apocalyptic woman whose child is supposed to save humanity. Clothed in the sun, her head surrounded by a wreath of twelve stars and the moon at her feet, she can flee from the dragon with the help of God and eagle wings. Archangel Michael armed the dragon with a flaming sword and defeated a lightning-flung putto. The altar sheet was created as early as 1749, painted by Martin Speer. The theme is John on Patmos, who writes down his visions and hurls lightning bolts at the unbelievers. Another eight side altars add to the splendid decor of the church.
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.
X. század csodája Hegyi-Karabakhban (Nagorno Karabakh - Artsakh) / X. century wonder from Nagorno Karabakh - Artsakh
In Witzighausen, a district of Senden in the Neu-Ulm district, there is the magnificent pilgrimage church of the Birth of the Virgin.
In 1738 the foundation stone for the new church in Witzighausen is laid. The completion is two years later, in 1740. In that year Christoph Thomas Scheffler signed his frescoes. Gottlieb Finsterwalder needed 13.5 weeks for the stuccoing of the church interior, probably with the help of his brother Ignaz.
On September 12, 1748, the Augsburg auxiliary bishop consecrated the church, but the church is still without altars. The money for the purchase is scarce, the coffers empty. But in 1757/58 Franz Josef Bergmüller erects the altars, but without altar leaves due to financial difficulties. Franz Huber delivers them in 1780. The builder of the pulpit is not known. The pulpit and altars were also not painted (painted) until 1781 by Joseph Hartmann from Illertissen.
In 1859 the tower is raised, which is not seen as an ornament for the church or landscape.
All my images are All rights reserved.
Do not use my photos without my expressed and written consent.
Le mie foto sono a disposizione di aziende, editoria, industria pubblicitaria o del semplice privato, fotografie rigorosamente scelte per qualità, dedicate ai più svariati utilizzi: dalla stampa fino a semplici stampe personalizzate.
Le mie immagini sono protette da diritti d’autore: se siete interessati a qualcuna delle mie immagini, potete contattarmi all’indirizzo mail info@promoemozioni.biz. Un uso improprio delle mie immagini sarà perseguibile e perseguito ai sensi di legge.
www.flickr.com/groups/promoemozioni-food/pool/show/
Martedì 23 dicembre 2008
Al Ristorante Selvatico di Rivanazzano si rinnova il rito della “cena delle sette cene”, una tradizione presente nell’Oltrepò Pavese fin dal medioevo, tramandata solo oralmente e ricostruita da Piera Spalla Selvatico nel 1987.
Menù
Insâlàtâ âd bidràv, püvrón e inciùd - Insalata di barbabietole, peperoni e acciughe
Turtâ d’sücâ - Torta di zucca
Sigùl cul pen - Cipolle ripiene
Fas dâ Bâmbén cun l’âjà - Fasce del Bambino con l’agliata
Mârlüs cun l’üvâtâ - Merluzzo con l’uvetta
Furmâgiâtâ cun mustàrdâ - Formaggetta con mostarda
Per giâsö cöt cun i câstégn - Pere ghiacciolo cotte con le castagne
Per la cena dell’antivigilia di Natale si usava preparare un pasto “di magro” ma molto abbondante, composto di sette portate, anche per affrontare il digiuno del giorno seguente. Inoltre i contadini, che avevano ogni giorno problemi di sopravvivenza, sfruttavano l’evento per rimpinzarsi. Gli ingredienti erano poveri e legati al territorio e alla natura, come pane, noci, aglio e cipolle.
Questa cena celava un codice dov’erano mescolati gastronomia, religiosità e ritualità della tradizione: sette erano le portate che componevano il menù, come i peccati capitali, i giorni della creazione e le ore di luce in inverno. La cena riprendeva anche l’antico rito dei saturnali, che festeggiavano la fine della fase discendente del sole sull’orizzonte e l’inizio di quella ascendente, culminante con il solstizio d’estate.
Ogni piatto o ingrediente legato a questo momento conviviale acquistava un immenso potere che lo trasformava in strumento terapeutico valido per tutto l’anno; tutto era carico di magia e significato.
Ad esempio il pane diveniva oggetto di grande attenzione grazie alla leggenda, tramandata per secoli in conventi e monasteri, secondo la quale Gesù Bambino venne nascosto in un contenitore con della pasta di pane in un momento di pericolo durante la fuga in Egitto. In quei tempi gli ebrei preparavano il pane senza lievito, ma quella pasta lievitò fino ad avvolgere e nascondere il Bambino. Da qui la considerazione quasi sacra del processo di lievitazione. Si aveva, infatti, una cura speciale per conservare “âl cârsént”, l’unico modo per poter fare il pane la volta successiva.
In occasione della “cena delle sette cene” il capo famiglia deponeva sulla tavola un grosso miccone, contraddistinto da un bastoncino, e a fine pasto ne distribuiva dei pezzetti allo scopo di preservare dalle malattie. Il pane avanzato veniva tenuto da parte fino a Sant’Antonio (17 gennaio) per darne dei bocconi agli animali della stalla, così che anche la loro salute ne fosse protetta per tutto l’anno. La sacralità del pane era data anche dal segno di croce tracciato con la lama del coltello sull’impasto prima della lievitazione.
Altro piatto ricco di simbologia era la torta di zucca, che, con il suo colore, rappresentava il sole, che sembrava essersi materializzato nella zucca stessa per renderla ricca di energia e capace di nutrire non solo il corpo.
L’aglio e la cipolla, che avevano lo scopo di allontanare gli spiriti malefici, erano presenti nell’insalata di barbabietole e peperoni, nelle cipolle ripiene e nel sugo dell’”âjà” (agliata) che veniva usato per condire le tagliatelle, tagliate larghe per poterle chiamare “fasce del Bambino”.
Le noci, ingredienti di base del sugo, indicavano prosperità e fecondità, mentre l’uvetta, presente nel merluzzo, era simbolo di abbondanza e rendeva importante un piatto povero.
Questa cena di magro, di tipo monacale per non avere rimorsi, era dunque un intreccio di simbologie pagane ed era preparata all’antivigilia di Natale.
Per informazioni e prenotazioni:
RISTORANTE SELVATICO - via Silvio Pellico, 19 – Rivanazzano - telefono 0383 944720.
questa foto fa parte del progetto di valorizzazione dell’oltrepò promoemozioni.biz/Progetto_Oltrepo.htm
in attesa di essere postate qui sopra, altre foto dell'oltrepò le trovate qui: promoemozioni.biz/Oltrepo_da_scoprire.htm.
vedi anche www.promoemozioni.biz.
da visitare nella zona:
promoemozioni.biz/Oltrepo_da_scoprire.htm
se volete dare un’occhiata al nostro splendido territorio:
picasaweb.google.it/www.promoemozioni.biz/SplendidOltrep#...
watermarked with picmarkr.com
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...
In the bavarian town of Donauwörth, there is the church of the former monastery of the Benedictines.
Joseph Schmutzer, masterbuilder, begun 1717 to built it.
Between 1723 and 1735 the inner of this sacral building got a new style in baroque.
The Church of St. Georg on the Lake Constance island of Reichenau is famous for its wall paintings, which probably date from the second half of the 10th century. come.
The Church of St. George was built around the year 900 under Abbot Hatto III. In 896 he received a relic of St. George from Pope Formosus. The church building itself has undergone a few structural changes over the years, but has remained almost unchanged since the 11th century.
The wall paintings are among the most important and best preserved from around the year 1000. They depict miraculous works from the life of Jesus all around.
The wall paintings were rediscovered in 1880. They had been hidden under plaster for a long time.