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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.
Together with the castle, the monastery complex with St. Mang Church is one of Füssen's landmarks.
The monastery complex was built in the 9th century as a proprietary monastery of the Bishops of Augsburg. However, its origins trace back to the hermit Magnus, who built a cell and an oratory.
There were several predecessor churches and alterations to the existing religious buildings.
During the Thirty Years' War, the monastery complex and church were plundered and severely damaged, leading to consideration of rebuilding.
In 1701, Johann Jakob Herkomer designed and built the new church. It was consecrated in 1717, the same year Herkomer died. His nephew, Johann Georg Fischer, completed the interior furnishings by 1726.
Johann Jakob Herkomer designed the stucco decorations; the stucco work on the organ gallery was executed later, in 1752/53, by Joseph Fischer.
Although Herkomer also designed the frescoes and partially executed them himself, the majority were painted by Franz Georg Hermann.
Andreas Jäger built the organ on the west gallery in 1753. The Rococo organ case is considered one of the most beautiful in Bavaria.
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.
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.
St. Nikolaus is the catholic parish church of Frauenfeld, a town of the Swiss canton Thurgau.
The style is neo – baroque with elements in Art Nouveau.
Architect of this sacral building was Albert Rimli. The laying of the foundaition stone was 1904, the consecration occurred 1906.
During the renovation between 1967 – 1969, the primary altars were replaced by murals, painted by Karl Manninger.
Rimavské Brezovo, like many other municipalities in the region, is associated with mining history. The originally early Gothic church, towering over the silhouette of low village houses, used to be dedicated to the Birth of the Virgin Mary before the Reformation. The name of the village was given according to the first written historical reference from the year 1334 as Brezou and, for some time, it was also the county seat of Malohont. The single-nave church was probably built in the first half of the 14th century with a square-ended chancel and a rib vault. Due to the population increase connected with the establishment of iron works facility in the village at the end of the 18th century, the church capacity was insufficient. Therefore, the largest reconstruction of the temple was undertaken in 1893. The original sacristy on the northern side was demolished, the entrance was walled and the nave was extended southwards. The older chancel thus lost its role and started to be used as a sitting space. Thanks to this reconstruction, medieval murals were found under layers of lime paint and their restoration was then devoted to I. Möller and I. Huszek. Unfortunately the work was not always done in the most sparing way. Quality interior paintings in the original Gothic section are probably the work of artists from the workshop of the Master of Ochtiná chancel. The most striking element is Christ in Glory, the figure of the blessing Christ in the shining circle with the Sun and the Moon, depicted in the eastern part of the vault. The winged lion and the golden-winged eagle on the sides symbolize the evangelists Mark and John. Opposite to them are an angel and a winged bull as Matthew and Luke. The Marian theme is elaborated in two bands around the perimeter of the entire chancel. The lower band of the northern wall belongs to the depiction of the Death of the Virgin Mary, above this composition we find a quite unique, for this region, Italian-Byzantine motif of the Assumption with the figure of Christ in the mandorla. A small child stands on his knees as the soul of the Virgin Mary, the whole scene is held by four stylized angels. Beneath the Marian cycle, the entire perimeter of the walls is painted with a template ornament, into which the strip of four-leaf-shaped medallions with heads of prophets is inserted. This part of the paintings appears to be the least affected by the re-paintings and is preserved in a very good condition and in the original colours. On the walls of the nave, due to various building modifications, the frescoes were preserved only in fragments. The most intact frescoes are on the southern part of the triumphal arch: the Christ in a mandorla, a blessing angel, or St. Bartholomew, who was skinned alive, he carries the skin on a stick. Remnants of the Christological Cycle, such as the Christ carrying the cross or the Crucifixion, were preserved on the northern wall of the nave. The southern wall was largely destroyed during the redevelopment. However, research has revealed a depiction of St. Anne as a madonna with a child in her arms, with women carrying gifts in baskets walking into her direction. They also carry young pigeons to prepare a traditional strengthening soup for the fresh mother. This scene is very likely utterly unique on the territory of Slovakia. Comprehensive restoration and research were carried out in successive stages from 2005 till 2019, and the original approximately 700-year-old paving in the chancel was a valuable discovery as well. The restoration of the chancel was awarded by the main prize of the Cultural monument of the year 2012, the artworks were renewed by M. Janšto and R. Boroš. The church logo symbolically depicts a fresco of a young maiden attacked by devils in the hell from the church nave
If life could be so kind...
..would it be?
would you offer politeness a second chance,
or steal away with the only 'me'
that of your beloved heart's stoic stance
we're only alive once upon a time in life
where memories grace our thearchic imaginations;
who rules that roost, if I may ask?
and does the answer come before ruling reputations
a question of faith in the diocese of the hidden heathen mask
where we came, becomes our sacral souvenir
a sanctuary were it not for overcrowded pleas
seeking, ever searching for that place
incomplete without, our world rules on borrowed guarantees
with no time in credit for the purchase of love to embrace
who is absolutely right here?
when all of us left fight for a glimmer of hope,
that past perpetrator's have already dug away at nature's purity
governmental genocide of war-torn greed leaves us all sliding the slippery slope
our guilty leaders sit penannular in their shame and collective obscurity
damn them! damn them all to hell! this is no gilding of the lily
if you see you feel, when you feel you react,
and despise the polluting of minds as much as the polluting of life on earth itself
upon us all, the weight and burden is heavily stacked
dare we allow peirastic science the gift to find oneself?
I would have thought we were human enough by now?
or do we deem nature insufficient for our superior purposes nowadays?
the mere Swan is but a Swan compared to us technobeasts
and yet, envy we do, the Swan with it's gentility and grace that never ceases to amaze
to find that higher state of presence of mind far beyond our scavenging political feasts
another expansion for us beings, and one down for the feathered wings in retreat
backhanders here, there and everywhere, so ignore the nature in peril
advanced sales, profits up, another downer for the ringed gliders of pure merit
we're up there with the fat cats, clawing every inch upon our instinctive feral
now where has all the life gone? is an empty world all we've left to inherit?
by anglia24
16h45: 02/04/2008
©2008anglia24
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.
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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.
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This is the first croix that I photographed on my trip to Quebec in September and it will be the last croix in the series (although I have one more image to show). I knew, from the research I did ahead of the trip, that most of the croix would be found more crowded scenes than I like for my normal minimalist work, but to depict them properly - as an everyday part of the rural landscape - I wanted to include some of this busyness. Yes, they are not as minimal as some of the other images from Quebec, but I came to enjoy the challenge of photographing them in their rural surroundings and am happy with the resulting small series within a series.
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.
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.
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.
Fuori la luce abbagliante, nitida come solo in Tibet é possibile trovare.
Entro nel monastero.
Un monaco mi prende per il braccio e mi porta con lui, con fare misterioso.
Lo seguo curiosa ed emozionata.
In un ambiente carico di sacralitá e senza tempo, solo la luce di queste fiammelle.
Rimango rapita e gli occhi pian piano distinguono figure sacre dai volti minacciosi e dai colori che intuisco essere vibranti.
Odore di burro di yak e incenso...
Ombre sui muri, la mia... la sua...
Solo prima di andare via scatto la foto in condizioni poibitive, senza cavalletto.
Ma provo... voglio avere un ricordo visivo di quel momento. Non importa come verrá.
Ed eccolo qui... davanti ai miei occhi, quel momento.
Vivido come allora.
... continuo la raccolta dei muri. Questo ha qualche spiraglio...anzi, ne ha sette
Curiosità e aneddoti del numero simbolico per eccellenza
7un numero da sempre magico, misterioso, intriso di sacralità e con una ricchissima simbologia che lo connota fin dall'antichità.
Molte delle proprietà attribuite al 7 risalgono addirittura all'astrologia babilonese che riconosceva 7 pianeti e divideva il mese lunare in cicli di 7 giorni, da qui l'origine della nostra settimana. A ciò è riconducibile molta della sacralità dei 7, che rappresentava in quel tempo il cosmo e la sua perfezione. Tutte le civiltà antiche hanno sviluppato un simbolismo numerico e in esse è infatti ricorrente l'interpretazione dei 7 come numero sacro, unico e immobile. Il solo dei primi dieci numeri che non ne genera nessuno ed è generato solo dall'unità, il risultato della somma dei 3 (lo spirito, il maschile) e del 4 (la materia, il femminile).
Che il 7 possa essere considerato l'emblema della pienezza spirituale e cosmica, il numero sacro per eccellenza, è confermato dalla forte carica simbolica conferitagli in molte religioni.
L'Antico Testamento utilizza 7 nomi per indicare la terra e altrettanti per il cielo; secondo il libro dell'Apocalisse, la fine dei mondo sarà annunciata dalla rottura dei 7 Sigilli, seguita dal suono di 7 trombe per bocca dei 7 Angeli, quindi dai 7 Portenti e infine dal versamento delle 7 Coppe dell'ira di Dio. Nel Nuovo Testamento, 7 sono i sacramenti, i doni dello Spirito Santo, i peccati capitali (gola, lussuria, avarizia, superbia, accidia, invidia e ira) e le virtù, 4 cardinali (forza, sapienza, giustizia e temperanza) e 3 teologali (fede, speranza e carità).
Nell'Ebraismo, il candelabro a 7 luci, detto Menorah, è il simbolo della fede eternamente accesa; nel Corano, il mondo è sorretto da 7 colonne poggiate sulle spalle di un gigante, a sua volta sostenuto da un'aquila, che posa su una balena che nuota nel Mare Eterno. Nel libro sacro dell'Induismo, 7 erano gli illuminati del Veda dell'India.
7 è inoltre sinonimo di governo dei cicli e dei ritmi della vita umana. Dopo il concepimento, infatti, l'embrione rimane tale per 7 settimane per poi trasformarsi in feto e il parto avviene dopo 7 lune nuove. Tralasciando questi significati collegati al 7, si possono comunque trovare mille altri simboli e modi di dire che ci riportano a questo numero. Ne abbiamo segnalati alcuni, sicuramente non tutti: lasciamo ai lettori lo sfizio di individuarne altri ancora.
Le "7 - Sette" Curiosità
i colori dell'arcobaleno e Le note musicali e I chakra
centri energetici dell'organismo umano e Le stelle della costellazione dell'Orsa Maggiore o I principali fenomeni di meteorologia e Gli aromi base che compongono i profumi o Le meraviglie dei mondo antico
I cieli dei sistema Tolemaico o Le figlie dei titano Atlante
Le fanciulle e i fanciulli che venivano offerti al Minotauro
I sapienti dell'antica Grecia e La danza dei 7 veli di Salomè o Le opere di misericordia e I dolori di Maria
Le piaghe d'Egitto o Le invoca;doni nel Pater Noster
Ogni 7 anni si celebrava l'anno sabbatico e Le divinità mitologiche identificate dalla Cabala ebraica e I pezzi che compongono il Tangram, antico rompicapo cinese o Gli anni di disgrazia se si rompe uno specchio e La crisi dei 70 anno e Laceto dei 7 ladroni (antico farmaco)
Gli stivali delle 7 leghe e I nani di Biancaneve
Chiudere con 7 sigilli o Avere 7 spiriti come i gatti
70 volte 7 e Essere al settimo cielo e Sudare 7 camicie
Andare per i 7 mari e Il 7 Bello o Il minestrone abruzzese delle 7 virtù
7 VOLTE A ROMA
Il numero 7 è senza alcun dubbio il numero più ricorrente nella storia di Roma. La città è stata costruita su 7 Colli: Capitolino, Esquilino, Palatino, Quirinale, Viminale, Celio e Aventino. Fondata da Romolo il 21 multiplo di 7) aprile, è stata governata da 7 re: Romolo, Numa Pompilio, Tullo Ostilio, Anco Marzio, Tarquinio Prisco, Servio Tuillo e Tarquínio il Superbo. La leggenda vuole che la città divenne "eterne per le 7 cose fata# condotte a Roma perché di buon auspicio: l'ago di Cibele, una pietra nera adorata in Asia minore; la quadriga dei Voienti donata dalla città di Vejo; le ceneri d'Oreste, figlio di Agamennone, considerate un portafortuna; lo scettro di Priamo, re di Troia; il velo dIiione; la statua di Atena Pallade detta il Palladio; i dodici scudi detti Ancilii. Roma è, inoltre, la città delle 7 Chiese, con riferimento alla tradizione di pellegrinaggio introdotta nel XVI secolo da S. Filippo Neri e detta il "giro delle 7 Chiese», percorso di fede negli itinerari dei Giubileo. Le Chiese, tappa dei giro, sono le 4 Basiliche maggiori di S. Pietro in Vaticano, S. Giovanni in Laterano, S. Maria Maggiore, S. Paolo fuori le mura e le Basiliche minori di S. Sebastiano sull'Appia, S. Croce in Gerusalemme e S. Lorenzo fuori le mura.
IL 7 NEI SOGNI
Fin dall'antichità ed in ogni cultura questo numero ha in se' concentrato il potere della perfezione fino a diventare una chiave universale per la comprensione e la rappresentazione del mondo. Il sette, numero sacro e magico, esprime allora ogni traguardo e realizzazione sul piano morale, spirituale e materiale
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...
© by Jean Claude Castor l 030mm - Photography
500px.com/photo/102014429/vienna-karlskirche-panorama-by-...
Vienna, Charles Church, Panorama, 2012
well...after 2,5 years of waiting I was finally able to handle the RAW material I took from the Charles Church in Vienna and get the results I wanted in the first place. The files have not been the most accurate ones, but I at least used all the tools available to process them :) Hope you like it !
This is a double layer panorama made out of 10 single shots using a Nikon D5100 without NPA ;) Tricky one...
Enjoy the view !
My entry to Summer Joust 2021 in category Monastery (surprising, isnt't it?)
I took inspiration from various examples of gothic architecture in Europe. The model includes interiors: a cathedral, scriptorium, pantry and two cells.
The Monastery at Lébény was established between 1199 and 1203, by a nobleman, for private worship. The complex was dedicated to the Apostle Saint James the Great. Though the existing charter for approving the donations and construction was signed by Andreas II (1208), one of the walls of the church had “1206” engraved in them, which may indicate that the church was already built at that time. It is also mentioned in the RegestrumVaradiense (an important language memorial), which was made in the late cathedral chapter of the present Oradea (Nagyvárad) in the 13th century. The monastery of Lébény was attacked and burnt down several times; the first by Mongols, then the second by King Ottokar I of Bohemia; and thereafter by the Turks, which was probably in 1529 and definitely in 1683. The monastery was taken back from the Turks by the arch-abbot of Pannonhalma in 1540. He named a new abbot, though the title only existed on paper for a little bit longer than two decades. In 1563 the monastery was burnt down again for the third time and was left devoured. Presently, the only part of the complex that is still standing is the iconic three-nave Romanesque church in the middle of Lébény village. This church is one of the most important Romanesque style buildings of Hungary, which was most probably restored in the 17th century by the Jesuits, and it was the first ever Hungarian monument that was restored in the second half of the 19th century. In addition, the Romanesque church is also operating as a parish of the village.
The 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.
Church of St. John of Dukla and Monastery of Bernadine monks - the church with two towers was built between 1761 and 1764 in the late baroque style. The temple was extended from 1890 to 1902 when a chapel of St. John of Dukla was built and the main nave was enlarged. Also monastery building was added. The interior dates back to the turn of the 19th century. The paintings of Tadeusz Popiel present scenes from life of St. John of Dukla. There is a silver coffin with relics of St. John. Pope John Paul II came to Dukla on 9th of August, a day before the canonization event and he spent a night in the monastery
Church of St. John of Dukla and Monastery of Bernadine monks - the church with two towers was built between 1761 and 1764 in the late baroque style. The temple was extended from 1890 to 1902 when a chapel of St. John of Dukla was built and the main nave was enlarged. Also monastery building was added. The interior dates back to the turn of the 19th century. The paintings of Tadeusz Popiel present scenes from life of St. John of Dukla. There is a silver coffin with relics of St. John. Pope John Paul II came to Dukla on 9th of August, a day before the canonization event and he spent a night in the monastery
Church of the Assumption of the Virgin Mary (Mohelnice nad Jizerou, Bohemia)
The Roman Catholic Church of the Assumption of the Virgin Mary in Mohelnice nad Jizerou (Mladá Boleslav district) is a stone sacral building from the second half of the 12th century. The church falls under the parish-deanery of Mnichovo Hradiště. In addition to the church itself, a part of the protected area is also the adjacent functional cemetery with a morgue and a wall.
The single-nave church has a rectangular floor plan. It was built by sandstone from Hrubá Skála, the masonry of precisely machined blocks is row-shaped, while each row has a different height. On the west side of the church there is a prismatic tower, on the east there is an apse, inside there is a glass conch. On the north side is a pseudo-Romanesque sacristy and a cross vault, completed during reconstruction in 1876.
The church was restored in 1876 in the spirit of historical purism of the 19th century by the architect Josef Mocker, known for his reconstructions and completions of a number of important medieval monuments, including St. Vitus Cathedral in Prague and Karlštejn Castle. After this purist reconstruction, the original Romanesque church was significantly changed. The windows were modified and enlarged, the ceiling in the nave was replaced, the main entrance to the church was relocated and the floor in the church was raised. Of the original windows, only one small four-leaf rose in the shape of a four-leafed rose, located on the southwest side of the church, has been preserved. During the reconstruction, a new staircase was also built from ground level, making the entrance hall accessible through the entrance from the ground floor of the bell tower on the west side of the church.
(According to the Czech wiki)
Saint Michael’s Cathedral of Alba Iulia was built between 1247 and 1291, which makes it contemporary to the famous Notre Dame of Paris. Furthermore, it appears that a great French architect, Villard de Honnecourt, contributed to its design. In addition to being the oldest and the longest cathedral in Romania (at 89.16 m measured along its axis), it is also considered the most important monument of Romanesque architecture in Transylvania.
The site is registered in the National Archaeological Repertory of Romania.
C'est un exemple unique de l'architecture sacrale juive. Les Synagogues en bois, en raison du prix bon marché et de la disponibilité des matières premières, étaient très répandues au XVIIe siècle. C'étaient des artisans locaux, pas nécessairement juifs qui les ont construit. Cette synagogue en bois a été construite probablement en 1640. Au cours de son existence, elle a subi de nombreux changements. La synagogue était célèbre pour ses peintures multicolores (peintures murales) couvrant les plafonds et les murs, entrecoupées de versets bibliques, des proverbes et des abréviations. L’un de ces artistes était Israël ben Mordechai Lissnitzki. Les peintures ont été restaurées par Izhak Ben Yehuda en 1729.
It is a unique example of Jewish sacral architecture. Wooden synagogues, because of the cheap price and availability of raw materials, were widespread in the seventeenth century. They were artisans, not necessarily Jews who built them. This wooden synagogue was probably built in 1640. During its existence it has undergone many changes. The synagogue was famous for his colorful paintings (murals) covering the ceilings and walls, interspersed with Bible verses, proverbs and abbreviations. One of these artists was Israel ben Mordechai Lissnitzki. The paintings were restored by Izhak Ben Yehuda in 1729.
To unikatowy przykład żydowskiej architektury sakralnej.
Drewniane synagogi, ze względu na dostępność i taniość surowca, były w XVII wieku powszechne. Budowali je lokalni rzemieślnicy, niekoniecznie Żydzi. Drewniana synagoga została zbudowana prawdopodobnie w 1640 roku. W czasie swego istnienia przechodziła wiele zmian. Synagoga słynęła z wielobarwnych malowideł (polichromii) pokrywających sufity i ściany, przeplatanych wersami biblijnymi, przysłowiami i skrótami.
Jednym z artystów był Israel ben Mordechai Lissnitzki. Malowidła zostały odrestaurowane przez Izhaka ben Jehudę w roku 1729.