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From the official website of Panagurishte Municipality
THE PANAGYURISHTE TREASURE
(C. 4-3 B.S.)
It was found near the Mramor hillock in 1949 during agricultural work. It consists of nine richly adorned vessels - an amphora, seven rhytons and a phial. It weighs 6.164 kg. The largest vessel is the amphora, which has a centaur-shaped handle. Three of the seven rhytons are shaped as animals' heads, one is the front part of a goat, three have women's (Amazon) heads. The set most probably served for the drinking of wine in a religious, celebratory or domestic atmosphere. There is also an opinion that its purpose was the ritual purification of a liquid, which could be wine. It is supposed that another two rhytons with the front part of animals, an amphora and one or two phials are missing, with a view of the sacral importance of the number three in the Thracian religion.
There exist two basic hypotheses about the origin of the Panagyurishte Treasure. They are based on the carved letters on some of the vessels, which are considered to signify the measure units of the gold. According to a widespread thesis, the signs belong to the metric system used in the Asia Minor town Lampsak. Other scholars however have discovered that a similar system was used in the interior of Thrace, so there is a possibility of the treasure's local origin.
Die Glass Church in Milbrook bei Saint Lawrence. Der offizielle Name der Kirche lautet St. Mathews. Der Art Deco Architekt A.B. Grayson und der Pariser Glasdesigner Rene Lalique. haben diese Kreuze und andere Sakralgegenstände in den 30iger Jahren des 20. Jahrhunderts geschaffen.
The Glass Church in Milbrook at Saint Lawrence. The official name of the church is St. Mathews. The Art Deco Architect A.B. Grayson and the Parisian glass designer Rene Lalique. created these crosses and other sacral objects in the 30s of the 20th century.
L'église de verre à Milbrook à Saint-Laurent. Le nom officiel de l'église est St. Mathews. L'architecte Art déco A.B. Grayson et le créateur de verre parisien René Lalique. créé ces croix et d'autres objets sacrés dans les années 30 du 20ème siècle.
La iglesia de cristal en Milbrook en San Lorenzo. El nombre oficial de la iglesia es St. Mathews. El arquitecto Art Deco A.B. Grayson y el diseñador de vidrio parisino Rene Lalique. creó estas cruces y otros objetos sagrados en los años 30 del siglo XX.
"Orange is the sacral chakra color. Orange is composed of red and yellow in equal parts and it is a color of vitality and strength. Just as the sacral chakra is located in the pelvic area, orange is the area of our gut feelings and wisdom. Buddhists call this "hara", the centre of being through which we connect with the deepest voice of the self, the deepest stillness and wisdom. This is where we find bliss. Orange energy is very sensual. Living a life guided by orange color transforms even the most mundane daily experiences into pleasurable experiences. Orange stands for creativity, growth, learning, pleasure, a sense of vitality and aliveness. In these heavy times, what is better than an energetic bath in orange light?"
Please use Shared Environment you have to see the orange;
the EEP setting and audio stream are integral part of this installation.
Abandon yourself to the energy of orange without preconceptions, let it flow inside you. Discover the little games scattered around and let the joy take over
Fabulous art build by Livio Korobase.
maps.secondlife.com/secondlife/Feint%20and%20Bone/198/102/21
The rococo furnishings of the parish church of St. Nikolaus von Höslwang are considered to be one of the most artistically valuable in Chiemgau in Upper Bavaria.
Mid-15th century Built in the late Gothic style, the interior was redesigned in the 18th century with rich stucco decoration. The executing master is the plasterer Edmund Landes from Wessobrunn. Frescoes are dispensed with in favor of stucco.
The altars are superbly executed. They are the main works of Johann Georg Lindt from Burghausen, and the pulpit was also created by Lindt.
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
Se nella notte di San Giovanni, ad Armezzano, Saccovescio, Preci e sui colli dell’eugubino-gualdese, si accendono ancora i fuochi, forse non tutto è andato perduto. In quell’Umbria defilata sopravvivono le reliquie della tradizione, che il tempo ha scalfito, ma non cancellato. Dòmine aiutaci, non abbandonarci nella sciagurata condizione secolare degli agnostici e dei menefreghisti. Non che io sia un modello di beatitudine celeste, anzi. Ma quando si avvicina la notte di San Giovanni sono colto dalle mie saltuarie crisi di purezza. Ecco perché, tra il ventitré e il ventiquattro giugno, ho atteso il solstizio sulle rive (che si stanno miseramente impaludando) del lago Aiso, uno degli inesplicabili luoghi dell’opima pianura bevanate, virgolettata dai pioppi e solcata dai fiumi. Poi – secondo quanto impone la tradizione contadina e popolare - ho colto le spighe di grano, che conserverò gelosamente tutto l'anno come amuleto contro le sventure: trentatré per la precisione, quante gli anni di Cristo. Ma fu a Nocera, che appresi l'usanza di raccogliere fiori, facendoli macerare in una bacinella d’acqua esposta alla notte del solstizio: fiori di campo, di lavanda, di sambuco, di ginestre, di caprifoglio, di gladioli selvatici, di malva e di rose canine. Solo chi ci crede, sarà salvato. Questa società dovrà pur tornare a una socializzazione armoniosa dell’individuo nella polis, a una paideia che lo aiuti a interiorizzare di nuovo quei valori universali, che costituiscono l’ethos del popolo e che sono alla base di ogni ordinamento politico-giuridico. L’acqua di San Giovanni – e non solo questa – può essere utile al recupero di un processo educativo dimenticato, per arrivare al completamento della formazione politica nel senso più ampio del termine. I nostri figli, i figli del disordine sociale, sessuale, etilico, modaiolo; i figli della consunzione identitaria, della televisione banalizzata, della scuola secolarizzata, hanno il diritto di sentirsi spiegare il mistero del sole che tramonta per lasciar posto al fulgore del Sole che sorge. Quella del Precursore di Cristo è una delle poche feste cristiane, che non celebra la morte. L’acqua solstiziale è il suo elemento centrale, la materia remota, capace di curare, purificare e fecondare. Cancellando la tradizione orale cancelliamo la sacralità della vita, il rispetto della persona e dei suoi diritti. Non saranno mica tutti allocchi gli abitanti di Scheggino, che da secoli – considerando questa ricetta come un prezioso lascito degli antichi - mettono in infusione le foglie del noce, dell’iperico e della salvia. Né quelli di Savelli, che ci curano il bestiame ammorbato. A Trivio e a Monteleone, con il contributo di legna offerto da ciascuna famiglia, si accendeva un “focarone grande”, cui assistevano tutti gli abitanti. Fino agli anni Ottanta, dando l’esempio ai nipoti, anche i vecchi saltavano attraverso il fuoco, pronunciando l’espressione “fetàte, fitùli”, di cui già allora non ricordavano più il significato. Questa invocazione forse susciterà l’ilarità (anzi l’orgoglio del cinismo ironico) di qualche cabarettista della politica locale. Cogliere la dispersione della sapienza antica non deve far ritrovare improvvisamente il senso dell’umorismo a quanti questa sapienza dovrebbero istituzionalmente tutelarla, per mandato ricevuto e per stipendio percepito. Beata umbritudine, umbra beatitudine.
Giovanni Picuti
abcabc@cline.it
tratto dal Corriere dell'Umbria del 4.7.2010
In the district of Sigmaringen there is the town Meßkirch with its parish church St. Martin.
The church was built in the year 1526 and between 1769 – 1773 restyled in terms of rococo.
Architect was Meinrad von Ow, himself painted the frescos in Meßkirch. The stucco plasterer was Johann georg Schwarzmann. Johann Nepomuk Holzhey from Ottobeuren made the orgue, but 1901 this instrument was replaced.
Prince Froben Ferdinand zu Fürstenberg – Meßkirch added a chappel between 1733 - 1734. Egid Quirin Asam was the sculpor and his bother Cosmas Damian Asam painted the frescos.
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.
Interior of the Wang church in Karpacz :)
Vang Stave Church (Polish: Świątynia Wang) is a stave church which was bought by King Frederick William IV of Prussia and transferred from Norway and re-erected in 1842 in Karpacz in the Karkonosze mountains of Poland. The church is a four-post single-nave stave church originally built around 1200 in the parish of Vang in the Valdres region of Norway. In 1832, the local council decided to pull down the stave church because it was too small and had become structurally unsafe over the years. The Norwegian painter Johan Christian Dahl would like to save it as a cultural monument. The solution came from Crown Prince, later King Frederick William IV of Prussia, whom Dahl knew personally. He persuaded the prince to take over responsibility for the Vang Stave Church and cover the costs of re-erecting it in Potsdam. The original plan had been to re-erect the church on the Pfaueninsel near Potsdam. But in the meantime, this plan was discarded in favour of a site at the remote village of Brückenberg near Krummhübel (today Karpacz) in the Giant Mountains (now the Karkonosze mountains), in the province of Silesia. The idea probably came from countess Friederike von Reden of Buchwald, now Bukowiec, whose memorial stands beside the church. The foundation stone was laid on 2 August 1842 in the presence of King Friedrich Wilhelm himself. In spite of excellent drawings, most of the materials were discarded. Only the main construction, consisting of sills, posts and wall plates, were made use of, in addition to the carved doorframes. All of the external gallery was built with new materials, and every wall plank was precisely replaced. The original elements are placed in the center of the church - four wooden columns and carved portals, as well as carved Nordic lions. Wang Church followed the best examples of the Scandinavian sacral architecture and is now a unique work of the old Nordic art. Built in the way the Viking longships were, that is without a single nail, it features wooden bolts and dovetails. Nowadays, serving a Polish Lutheran community, Wang church has become a major tourist attraction and is probably the world's most visited stave church with about 200 000 visitors each year.
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Wnętrze kościółka Wang w Karpaczu :)
Kościół Górski Naszego Zbawiciela (powszechnie znany jako Świątynia Wang) – ewangelicki kościół parafialny w Karpaczu w Karkonoszach, przeniesiony w 1842 z miejscowości Vang, leżącej nad jeziorem Vangsmjosa w Norwegii. Zbudowany został z sosnowych bali w miejscowości Vang w południowej Norwegii, na przełomie XII i XIII wieku. Powstał jako jeden z około tysiąca (przetrwało kilkadziesiąt) norweskich kościołów klepkowych. Uważany jest za najstarszy drewniany kościół w Polsce. W XIX wieku świątynia stała się już za mała na potrzeby ludności miejscowości Vang, która chcąc wybudować sobie nowy kościół, musiała zaciągnąć pożyczkę na pokrycie kosztów budowy. Kościół był mocno zniszczony, ale nadawał się do sprzedaży w celu rozbiórki i odbudowania w innym miejscu. Wtedy norweski malarz Jan Krystian Dahl przebywający w Dreźnie skłonił pruskiego króla Fryderyka Wilhelma IV do jej zakupu za 427 marek dla berlińskiego muzeum. W 1841 rozebraną świątynię przewieziono najpierw do Szczecina, a potem do Berlina, jednak zaprzyjaźniona z królem hrabina Fryderyka von Reden z Bukowca przekonała go, żeby przewieźć ją na Śląsk. Świątynię najpierw Odrą przewieziono do Malczyc, potem drogą lądową do Karpacza Górnego, w którym znalazł się w roku 1842. Znaczna część oryginalnych elementów kościoła nie nadawała się do użytku. Brakujące części dorabiano w trakcie budowy na podstawie rysunków. Oryginalne są umieszczone pośrodku kościoła cztery drewniane kolumny oraz bogato rzeźbione portale, a także rzeźbione lwy nordyckie. Konstrukcja kościoła wykonana jest bez użycia gwoździ, wszystkie połączenia zrealizowano przy pomocy drewnianych złączy ciesielskich. 28 lipca 1844 świątynia Wang stała się kościołem miejscowej parafii ewangelickiej i jest nim nadal. Stanowi atrakcję turystyczną Karpacza.
Thann is a community in the Alsace in France. It´s proud is the gothic parish church Saint – Thiébaut.
It counts to the important masterpieces of gothic churches beside to the minsters of Strassbourg and Freiburg.
In the first half of the 14 th. century they start to built this sacral building.
One of the highlights is the west front rich of figures. The choir stalls are one of the most beautiful in Alsace. The windows of the choir are made in the years 1423 – 1430.
La grande Abbazia di San Galgano fu realizzata tra il 1218 ed 1268.
La forma dell' abbazia è la classica croce Italiana.
E' una struttura imponente in stile gotico ed è davvero un colpo d'occhio a chi la incontra per la prima volta, sia per l'isolamento e la sacralità che emana, sia per la particolarità di non avere copertura.
L'abbazia fino al xIv secolograzie al sostegno economico di Federico II aquista una ricchezza e un rispetto notevole, tale da essere contesa tra il Papato e la Republica di Siena.
Purtroppo dopo tanto splendore avvenne una grande decadenza, che la adibi addiritura a magazino, fu venduto addirittura il tetto di piombo per farne munizioni e trasformarla nel rudere che è oggi.
Nonostante questo, o magari anche grazie a questo, mantiene oggi un'aura di unico mistero che inevitabilmente colpisce chiunque se ne avvicini.
Art of Nature
On this huge beach of the Venetian Region, in the Delta Po Valley situated in the Interregional Park of the "Polesine" bordering with the Adriatic Sea & shared by the Region Veneto & the Region Emilia-Romagna, it is forbidden to throw out or take with the wood pieces restituted by the water along the sea shore as they aliment the eco-system hosting natural nests for birds & insects & screening the sand of the dunes, strenghtening them and refraining the sea to bite pieces of land.
Through the erosion effect of salty water & time passing, some pieces of wood become amazing natural sculptures.
The amazing people attending this areas, in sign of respect, appreciation & love for the wild nature, build some structures & sculptures with branches & trunks that will stay forever on the beach & the dunes as a sign of merging between human beings & nature.
Many people wondering along the seashore & walking on the dunes refrain to bring with them any watches nor smartphones to be able to abstract themselves from the frantic daily routine & loose themselves mystically in perfect harmony with the sacrality of this special wild & savage environment.
Ref.Winter Sea 011
©WhiteAngel #AtmosphericPhotography. All rights reserved.
The dominant structure in the community of Einsiedeln in the canton of Schwyz is the monastery complex with its important and impressive monastery church of Our Lady.
According to plans by Br. Caspar Moosbrugger, the construction of the new monastery church began in 1720 and was consecrated in 1735. The new church is added to the choir from 1684. Cosmas Damian Asam and his brother Egid Quirin Asam can be won over to decorate the interior of the church.
The existing choir room is now perceived as too unadorned and less splendid compared to the nave. This is how the redesign is decided, initiated by Father Bonifaz d'Anethan. Only the choir grille and the choir stalls are taken over. The painter Franz Anton Kraus presented a model for the renovation in 1745. He receives the order. The sculptor Johann Baptist Babel made 14 statues and angel groups. Kraus, who is supposed to paint the new choir, falls ill and thus fails. The Torricelli brothers from Lugano are signed up to replace Kraus.
The new high altar is the work of Milanese Carlo Domenico Pozzi and his sons. The altar is designed by Giovanni Antonio Torricelli. Instead of making the altar out of stucco marble, Pozzi has real marble come from Italy to cover the new altar. The black marble columns of the old altar are being reused.
Croix de chemin are simply part of the rural landscape.
Bas-Saint-Laurent, Quebec, 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.
Omdat het de bedoeling was om die vrijdag de tweede trein naar Pocinho te fotograferen in de onmiddellijke omgeving van Tua, waar zich ook het hotel bevond, werd besloten om daar ook de eerste trein op te wachten ondanks de zonnestand. Half april staat de zon voor de eerste trein naar Pocinho eigenlijk nergens echt goed op het oostelijke deel van de lijn, behalve dan in Vesuvio maar die plek was toen al afgevinkt. In Vargelas vanuit de wijngaard lukt het ook maar daar geraak je niet met de auto omdat die plek zich bevindt in een afgesloten domein.
Tegen de klok van 10 werd de sacrale stilte langsheen de Douro verstoord door het geluid van een trein op het viaduct. Dat gebeuren werd vastgelegd met in de voorgrond het dak van het plaatselijke kerkje. Let behalve op de beide kruisen ook op de bel die gelovigen moet oproepen om naar de mis te komen. Het ontbijt van het hotel wist me meer te overtuigen.
IR 861 Porto Campanhã (7.25) - Pocinho (10.45) kort voor station Tua.
Thiksey Monastery látképe Stakna kolostorából. Közöttük az Indus folyó. / Thiksey Monastery from Stakna Gompa, with Indus river
Ladakh - India (West-Tibet)
Plešivec is an ancient seat of the Bubek family. The Ákoš family, the ancestors of the Bubeks, received it from King Belo IV. in 1243, after the battle on the Slaná River, where the ancestor of the Bubeks, Detrik, allegedly saved the king’s life. After stabilizing his position in 1320, Dominik Bubek built a water castle in Plešivec. In its vicinity, he built a monumental church, which also served as a burial place for the representatives of the family. It was constructed on the site of an older church built by his ancestors. The church, originally nearly twice as long as it is now, was a two-nave Gothic building with a polygonal ending of the chancel, originally vaulted on the central pillars.
From 1349, we have a record of the request of Juraj Bubek to the Pope for the possibility of collecting the indulgences to finance its construction. In the middle of the 14th century, the interior of the church was completed with fresco paintings of very high quality, carried out by Italian masters. In the first quarter of the 15th century, the church was completed with the north-facing funeral chapel of the Bubeks, built according to the pattern of the Spiš funeral chapels. We enter into the chapel through an impressive portal, the architecture of which is associated with the works of the Cathedral of St. Elizabeth in Košice. In its interior, we find three three-part late Gothic windows with an original tracery in the ogive arch shape and corbels of the former vaults.
In 1558, at the time of the Turkish threat, the church was severely damaged, the vault collapsed and the building remained as a ruin until its reconstruction in 1617. By that time, the church was taken over by the reformed believers who reduced its layout to its current length of 19 meters; they covered the nave with a flat ceiling and closed the entrance to the unused chapel. At that stage, the entrance to the church was established from the south and three window openings were made on the south wall. From that period comes a valuable matroneum with painted decorations from 1627. In 1807, a bell-tower was built, a beautiful example of the so-called Gemer classicism.
in Luzern (CH), 17 mei 2009
The first large sacral Baroque church in Switzerland; constructed in 1666 by Father Christoph Vogler for the Jesuits.
The vault was redecorated in the mid-18th century. The original vestments of Brother Klaus, a famous Swiss patron, are stored in the inner chapel.
Detail of Santa Maria del Fiore - the world famous cathedral of Florence. It is one of the most impressing churches man has ever built. Image was taken in September 1995.
Hasselblad 503 CX
Carl Zeiss CF 4/180 Sonnar
Agfa Optima 125
The church of St. Bartholomew was built in 1600, and then over the centuries it was altered and restored a number of times.
The log church is oriented towards the East, and comprises a post-and-frame tower, a post-and-beam vestibule as well as a brick sacristy, which was added later. The nave is covered with a double-pitched roof and the chancel with a slightly lower three-pitched roof. The roof over the nave features a neo-Baroque turret. The tower with tapered walls, comprises a top chamber, and is clad with wood boards, and topped with a bulbous cupola.
Inside there is a coved ceiling, and barrel vault in the sacristy. The gallery is supported by four pillars. The entrance from the chancel to the sacristy is framed with ogee arch. The doors to the side of the nave feature the reinstalled Gothic fittings and a hammered lock from ca. 1600.
The Baroque and late Baroque furnishings inside include the high altar from the 1700s, two side altars at the entrance to the chancel from the 1600s, a unique pomegranate-shaped pulpit from the 1700s, as well as a Baroque chalice-shaped baptismal font made from black marble from the 1700s. The benches from 1756 are embellished with painted representations of the Apostles, representatives of various social strata, and scenes from the New Testament. The late-Baroque confessional, dating from the same time, is also decorated with paintings.
In Rogi, there once was a fortified castle, and relics of the ramparts can still be seen here. A reference to the castle, dating from 1462, can be found in a document related to the division of the estate between Czarnocki brothers. According to the document, the stronghold had two towers.
sad.podkarpackie.travel/en/trail-points/krosno-brzozow-tr...
My heart always skips a beat of two when I spot the inverted onion domed roof shapes of the Ukrainian churches near Edmonton from a distance. Beautiful through all seasons, yet something special takes hold visually in winter surrounded by blankets of whiteness and periwinkle skies. During boxing week I had a late morning drive, the light was subdued and temperatures cold enough for bare fingers. The farms and agricultural buildings surrounding Edmonton are some of the finest winter scenics in Alberta, and my eyes were soon beginning to overload.
With patience I stumbled upon two churches along a secondary road through little Fedorah, AB…..this the Ukrainian Orthodox Church. Not much else remains here, and I hope the distinctive Ukrainian sacral landscape on the prairies never recedes.
*Textures courtesy of Skeletal Mess
**Please view LARGE for best surreal country effects
Church of st. Mary Magdalene in Dukla is one of the most valuable Polish rococo churches.
It was built as a gothic one, around 1461, with a brick chancel and a wooden nave. When in 1738 there was a fire in the city, the nave burned down entirely, and the chancel became the basis for the reconstruction of the temple.
The owner of Dukla and the Grand Marshal of the Crown, Józef Wandalin Mniszech, the same one who donated the land for the Bernardine monastery, undertook it. The temple was given a baroque appearance, but another fire and the death of Józef Vandalin in 1747 interrupted the work. They were continued in 1764 by the son of the marshal, Jerzy August Mniszech, supported by his wife, Maria Amalia. It was then that the church's interior acquired a rococo interior and fittings that have survived to this day.
gorybezgranic.pttk.pl/en/295-gory-bez-granic-the-church-o...
Created for dA Users Gallery Challenge 162 – Model
Model with thanks to Elrian-Stock
Background by Tigers stock - deviantArt
Castle tower by sacral stock - deviantArt
Mom and child by Yesterdays paper - deviantArt
Texture by Temari
The vertical section of the Main Sacristy consists of pillars to which half columns and pilasters are attached, the profile of which is richly decorated in the Plateresque style. Above the capitals there is an elegant decoration of grotesques and garlands. The arms of the cross are roofed with fan vaults rest on chamfers decorated with scallops.