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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.
Kalkar is a municipality in the district of Kleve, in North Rhine-Westphalia, Germany. It is located near the Rhine, approx. 10 km south-east of Cleves. The most famous building of Kalkar is its church St. Nicolai, which has one of the most significant sacral inventory from the late Middle Ages in Europe or the Brick Gothic town hall build in 1446.
Kalkar was founded by Dirk VI of Cleves in 1230 and received city rights in 1242. It was one of the seven "capitals" of Cleves (called Kleve), until the line of the Duchy of Cleves died out in 1609, whereupon the city went over to the Margraviate of Brandenburg. Marie of Burgundy, Duchess of Cleves retired to Monreberg castle in Kalkar, where she founded a Dominican convent in 1455. Under her influence the city bloomed and artists were attracted to the favorable climate for cultural investment. She died at Monreberg castle in 1463.
Foto 11: Commemorazione della rivoluzione Messicana
Foto del 2009
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LA RIVOLUZIONE MESSICANA
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Le pitture si susseguono incalzanti.
I colori catturano gli occhi, li graffiano.
Figure s'intrecciano a mimare la sofferenza.
Pennellate sanguigne tratteggiano il dramma di una storia spesso cruenta.
Un sussulto.
Perché tanto dolore tanta sopraffazione.
Perché la storia è sangue?
Me lo domando, ma è misera retorica la mia.
L'uomo è così.
Incapace di vivere senza guerre.
Il murale che ho scelto non è il migliore,
non possiamo relegare il tutto ad una gara.
Forse è quello più importante per il Messico moderno.
Il sofferto inizio di un lungo e difficile cammino verso la democrazia.
Seppur nella sacralità del momento, ne rimarca ancora barlumi d'insofferenza.
La data è ben in evidenza ma sono le figure ai lati a catturare interesse.
Volti senza sorriso che trasmettono solo la difficoltà dell'impresa da compiersi.
Occhi fissi, spenti, sono ancora i fucili a comandare.
Che tristezza.
La data del 4 giugno 1910 è solo una prima tappa per arrivare ad un paese libero e solidale.
Eroi popolari come Emiliano Zapata e Francisco “Pancho” Villa,
ad enfatizzarne il diritto e la giustizia per un popolo oppresso dal potere dissennato.
La storia nel suo evolversi la potrete trovare sui libri o sulla rete.
Sono troppo stanco per proseguire.
E' il 26 dicembre 2020 mentre scrivo, piango.
La notte è arrivata sono spossato e preoccupato.
Quest'anno è stato un'ecatombe mondiale.
Dobbiamo fare la nostra rivoluzione.
Dobbiamo cambiare, ma non fucili, ABBRACCI.
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© Il testo e la foto sono di esclusiva proprietà dell'autore, Stefano Paradossi, che ne detiene i diritti e ne vieta qualsiasi utilizzo da parte di terzi. La foto fa parte dell'Archivio Fotografico della famiglia Paradossi.
© The text and the picture are of exclusive property of the author, Stefano Paradossi, who owns the rights and prohibits any use by third parties. The image is part of the Photo Archive of the Paradossi family.
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.
The parish church of St. Peter and Paul was the monastery church of the Premonstratensian monastery in Freising until secularization. It is considered one of the most beautiful rococo churches in Bavaria. Before it became that, there were several previous buildings.
The first monastery church was consecrated in 1143. It was reduced to rubble and ashes by the Swedes in 1634, along with the monastery.
Antonio Viscari, Bavarian court architect, was commissioned to plan a new church, which was built between 1700 and 1722 by the Freising court mason Johann Jakob Mafiol. But this new building was destroyed by flames in 1751. Abbot Askanius Hainbogen had the church rebuilt, which was consecrated in 1756.
High-ranking artists can be hired for the interior design. So Johann Baptist Zimmermann as the painter for the frescoes that tell the story of St. Norbert. Franz Xaver Feichtmayr decorates the church with airy, light stucco decoration and no less than Ignaz Günther creates the high altar, the choir stalls and the altar figures.
The interior design was completed in 1784.
A simple, small and slightly wonky croix de chemin near the town of Saint-Denis-De La Bouteillerie in Bas-Saint-Laurent.
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. 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) and were “erected to fulfill a vow, to sacralize the land, or to ward off calamities” (Kaell, 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.
I wanted to photograph the croix de chemin is as wonderful pieces of folk art – made and maintained, sometimes for many decades, by locals, that are uniquely Québecois. 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
Bas-Saint-Laurent, 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 them, as well.
Il Nadaam una festa speciale in Mongolia. Quello più grande avviene nella capitale, ma durante l’estate se ne svolgono anche nelle poche “cittá” di periferia. Abbiamo avuto la fortuna di capitare il giorno giusto in quello di Karakorum.
E’ una festa per e del popolo, della gente comune, dove si cimentano gli arcieri, i contorsionisti, i musicisti, i lottatori e si assiste alle corse dei cavalli con i bimbi come fantini. Arriva gente dai dintorni con i costumi tipici e i volti carichi di storia e vita. Naturalmente il tutto è avvolto nella sacralità del buddismo.
Questo è un immenso tappeto di seta, cucito a mano che rappresenta un buddha.
Ci si gira intorno in senso orario e si prega. Era srotolato su un pendio solo per qualche ora. Qualcosa di solenne, preziosissimo e spettacolare di un Paese dove la sacralitá é vita.
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.
This lovely croix overlooks the mighty St. Lawrence River.
Bas-Saint-Laurent, Québec, Canada.
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.
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.
Roggenburg is a municipality in the Neu - Ulm district and has approx. 2,700 inhabitants. The most important building in this community is the Premonstratensian monastery with its Church of the Assumption of Mary.Simpert Kramer began building the church in 1752, but died in 1753, so that his son Martin Kramer completed the building in 1758.The church is integrated into the monastery building and is not itself an independent building, as is usual with the Premonstratensians. You therefore enter the church through a side entrance.It is not known exactly who the stucco comes from, either from Gottlieb or Ignaz Finsterwalder, but also Franz Xaver Feitmeyr, these names are involved.Unfortunately, the original frescoes by Franz Martin Kuen are no longer preserved. In 1845 the nave vault collapsed.Only in 1900 does the Bavarian state have new frescoes added, painted by Prof. Waldemar Kolmsperger from Munich.The Altar building family Bergmüller made the altars, the figures on the high altar were attributed to Franz Sturm.The choir stalls are taken over from the previous church, created in 1628 by Jakob Hornung and Christoph Rodt.
The organ and the organ brochure is remarkable. It is popularly known as the “big rye burger”. Built in 1761 by the Bergmüller family, the prospectus has housed several organs in the course of its history. Originally an organ built by Georg Friedrich Schmal from Ulm is built into the prospectus. This is no longer available. Johann Nepomuk Holzhey rebuilt and changed the organ. But this change is no longer there either.The church is 70 m long, 35 m wide and 28 m high.
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.
St. Valentine's Altar is one of the most precious examples of preserved Baroque sacral architecture in the interior of the collegiate church in Lidzbark Warmiński. Unlike the neo-Gothic main altar, it brings an authentic 17th-century atmosphere to the space.
The altar is sensitively set at the third pillar from the presbytery. It is located on the border between the main (central) and southern nave of the church.
The central element of the entire altar unit is a Baroque painting from the 17th century, which depicts St. Valentine healing a sick boy. The traditional depiction focuses on Valentine in his original Christian role as the patron saint of the seriously ill and people suffering from epilepsy (historically called "St. Valentine's disease" or "Valentine's disease"), not as a symbol of lovers.
Historical sources link the authorship of this painted work with an artist named Meyer (painter Maciej Ján working in the region)
A lovely old calvaire that is showing some wear and tear.
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 just for croix, as well.
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.
Created for the Magnificent Manipulated Masterpieces
122nd MMM "HALLOWEEN"Challenge
Tower background by sacral stock- deviantArt
www.deviantart.com/sacral-stock/art/Foggy-Forest-31-43181...
Scull girl by Estelle-photographie- deviantArt
Bats by Moonglowlily-deviantArt
Shadow hands by Pixabay
La località di Santo Stefano, nei pressi di Oschiri, costituisce un ambiente naturale e archeologico di estremo interesse. Oltre alle numerose evidenze di epoca preistorica, il sito è caratterizzato dalla presenza di strane pietre dalle forme più varie, molte delle quali lavorate con enigmatici segni ed incisioni. In questo luogo affascinante l'azione della natura e quella dell'uomo si confondono dando all'insieme un forte senso di sacralità.
(v. anche Oschiri - Altare di Santo Stefano in album Altre memorie... di pietra).
FS 11.11.16
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.
Il Significato dei Colori
BIANCO:
simbolizza l'indifferenziato, la perfezione trascendente, innocenza, la luce, il sole, l'aria, castità, santità, sacralità, la redenzione, autorità spirituale. Una veste bianca indica purezza, castità o il trionfo dello spirito sulla carne. l'anima purificata, gioia, verginità, vita santa. Il bianco associato al nero simbolizza la dualità, i due opposti, il bene e il male. Il bianco associato al rosso simbolizza il diavolo, il purgatorio. Il bianco è presente in molte cerimonie e fasi della vita come il battesimo, la cresima, le cerimonie religiose, il matrimonio, la morte, i santi, ecc.
Il bianco è un colore con alta luminosità ma senza tinta. Più precisamente contiene tutti i colori dello spettro elettromagnetico ed è chiamato anche colore acromatico. Il nero è l'assenza di colori.
L'impressione della luce bianca è creata dall'unione di certe intensità dei colori primari dello spettro: rosso, verde e blu. Bisogna notare che l'illuminazione prodotta con questa tecnica è diversa da quella prodotta dall'incandescenza
Luce bianca
Prima che venisse accettata la teoria di Newton, la maggior parte degli scienziati riteneva che il bianco fosse il colore fondamentale della luce, e che gli altri colori si formassero solamente con l'aggiunta di qualcosa alla luce. Newton invece dimostrò che il bianco era formato dalla combinazione di altri colori.
Nella scienza della luce c'è un continuum di colori della luce che possono esser chiamati "bianco". Una parte di questi colori, sono quelli emessi tramite l'incandescenza da un corpo a temperatura molto elevata. Per esempio, il colore di un corpo alla temperatura di 2848 kelvin è eguale alla luce della lampadina domestica. La luce bianca emessa dalle lampade di teatro ha una temperatura di circa 3200 K. La luce del giorno ha una temperatura di colore di 5400 K, ma può variare da un rosso freddo fino ad un blu a 25000 K. Non tutte le radiazioni di un corpo possono essere considerate luce bianca: la temperatura della radiazione dell'universo, ad esempio, è solo di pochi kelvin ed è quasi invisibile.
La luce bianca,se viene proiettata su un prisma a cristallo, crea un arcobaleno con la gamma completa dei colori, perché si suddivide in tutti i colori da cui è composta.
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