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In 1754, a contract was concluded with the builder Johann Schneider from Riedlingen to build a new Lady Chapel. Together with the painter Ignaz Wegscheider from Riedlingen and the Mimmenhausen plasterer Johann Anton Feuchtmayer, they created a true rococo jewel. The Lady Chapel was consecrated in 1756.
A “chapel” under the name “Our Lady” was mentioned here as early as 1465 and 1478. There is also evidence of a chapel at this location being re-consecrated in 1513 under the auxiliary bishop of Constance.
Feuchtmayer not only does the stucco work, he also makes the altars.
But to everyone's horror, part of the ceiling collapsed in 1850, damaging the fresco. The Munich art and history painter Fidelis Schabet painted over the baroque frescoes in 1856. The organ, by Johann Baptist Basilius Bihler, was installed in 1775.
There is also a pilgrimage church in Freising that is popularly known as the “Wieskirche”, as is the world-famous pilgrimage church in Steingaden. And that is no accident.
The Freising forest supervisor Sylvester Hupf went on a pilgrimage to Steingaden sometime around 1740. After his pilgrimage, he attached an image of the scourged Savior to a tree next to the country road from Freising to Mainburg. As soon as the picture of the popular figure from Steingaden is hanging, a lively pilgrimage also begins in Freising. But not everyone likes this, the parish vicar Joseph Krimmer of St. Georg in particular dislikes it because he has to reckon with losses in voluntary donations. Without further ado, he had the portrait brought to St. George. But the cathedral chapter of Freising, which is well-disposed towards the pilgrimage, has the picture returned to the forest.
In 1746 a small wooden chapel was built, but it soon became too small, and so a new stone, transversely elliptical building was built between 1747/48. This building is now the choir of the pilgrimage church. The master builder is probably Johann Lorenz Hirschstötter, Freising's court architect.
But this little church soon proved to be too small and an extension was built from 1759 to 1761.
Franz Xaver Wunderer from Landshut painted the nave fresco in 1761, the three altars were erected between 1756 and 1759, based on designs by Philipp Jakob Greil.
From 1846 to 1882 Mathias Ertle was Wiess pastor. When he takes office, the coffers are empty. Through a lot of skill, setting up his own farm and purchasing land, Ertl fills the cash register. The priest's house and sacristan's house were rebuilt, and the construction of a bell tower was also his initiative. However, there are also drastic changes in the interior. The rococo altars are removed and replaced with classicist ones.
Today, retired priests act as curators in the Wieskirche.
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.
The Cathedral of Seville is built on the old aljama mosque of the city, this shows the power that one culture exercises over another when it is conquered. This fact makes its plan different, facing Mecca and not Jerusalem, that is, facing south instead of east. It should be clarified that Mecca is oriented at 10o from Seville and not at 86o as the old mosque is oriented, this is due to the fact that in Al-Andalus the mosques had to be oriented towards the south quadrant and not towards the east, as the Christian churches did. When the Cathedral Chapter commissioned the design of the Gothic Cathedral, it stated verbatim that it wanted a Cathedral that everyone who saw it would take for crazy. For this, 5 naves were created that covered the 116 by 76 meter rectangle occupied by the Almohad mosque, this results, unlike what was usual in the great European Gothic Cathedrals, a hall plan with a Latin cross marked in height and in width by the central naves and the transept. This hall plan also results in the absence of an ambulatory at the head, which ends in a straight line like the wall of the old mosque. Later the Royal Chapel would be added, which is a Renaissance apse, but it does not really correspond to the Gothic company. In the naves of the Gospel and the Epistle, which are the lateral naves, there are many chapels. The 60 pillars support 68 ogive vaults, highlighting those of the transept and central nave with their star shapes. Instead of placing a clerestory, a continuous balcony was chosen along the main nave in order to be able to wander around the temple without being seen. Located in the central nave, in order from the feet, are the Retrochoir, the Choir, with two organs, the Transept, the Main Altar, the Back of Altar and the Royal Chapel.
There's a feeling I get when I look to the west
And my spirit is crying for leaving
(Led Zeppelin)
Stairway to Heaven's Photographs
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Background by Sacral
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.
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.
When you come to Ursberg, a town in the district of Günzburg in Bavaria, you must visit the church St. Petrus and St. Johannes Evangelist, a former monastery church of the Promenstratensian Order.
The church was built 1230. Joseph Dossenberger rebuilt the inner of this sacral building in baroque style. At the same time Jakob Fröschle and Konrad Huber painted the frescos. The organ on the gallery is an instrument by Johann Nepomuk Holzhey, a famous organ builder in the baroque period.
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 1768, more precisely on July 23rd, the monastery building complex including the church fell victim to a major fire.
Prince Abbot Martin II Gerbert decides to rebuild immediately. The prince abbot recruited the French architect Pierre Michel d'Ixnard for the new planning.
Ludovico Bossi, choir, and Johann Caspar Gigl, dome rotunda, stucco the church. The dome fresco is painted by Johann Christian Wentzinger. Johann Andreas Silbermann, organ builder from Strasbourg, built the large organ, his main work, between 1772 and 1775.
The church was inaugurated in 1783.
The prince abbot had a crypt built in the new building for the ancestors of the Habsburgs. He had various Habsburg bones transferred from various crypts to St. Blasien.
In 1806, after secularization, the monastery came to the Baden house. The monks have to leave St. Blasien.
In 1809, a Zurich entrepreneur bought the monastery buildings and set up a spinning mill and machine factory in the eastern part.
The domed rotunda is empty and is to be demolished. The Silbermann organ was sold to Karlsruhe as early as 1806 and fell victim to a hail of bombs there in 1944. Today's organ comes from the master organ builder Friedrich Wilhelm Schwarz, who installed it in the church in 1912. The brochure comes from Gebr. Metzger from Überlingen.
Friedrich Weinbrenner, Baden building director and architect, saved the domed rotunda from demolition in 1810. The copper on the roof has already been sold off.
In 1874 a fire broke out in the factory, destroying almost all parts of the building and the domed rotunda.
It remains a burnt ruin. 1911 – 1913 the church was reconstructed by Friedrich Ostendorf.
In 1977, the west wing of the abbey burned down and was renovated in an exemplary manner along with the church by 1983.
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 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.
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.
"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
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.
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
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.
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.
Ilsenburg Abbey (German: Kloster Ilsenburg) was a monastery of the Benedictine Order located at Ilsenburg near Wernigerode, in Saxony-Anhalt in Germany. The former abbey is a stop on the Romanesque Road.
The monastery was built in the Saxon lands of Eastphalia at the site of a former Pfalz and hunting lodge, mentioned as Elysynaburg in a 995 deed issued by King Otto III.
On 15 April 1003 King Henry II donated the estate for this purpose to the Bishop of Halberstadt, and the abbey had been founded by 1009. In 1018 the Halberstadt bishop vested the monastery with further possessions around Ilsenburg and Osterwieck. The first monks possibly descended from Fulda Abbey in Franconia.
Fostered by Bishop Burchard II of Halberstadt from about 1070, the convent experienced a flourishing period whereupon numerous filial monasteries were established, such as Huysburg, and the abbeys of Harsefeld, Hillersleben, and Wimmelburg.
A larger Romanesque church was erected and dedicated to Sts Peter and Paul on 5 June 1087; including the oldest preserved three-aisled choir of all Benedictine sacral buildings in Germany.
The adjacent cloister buildings were erected after a blaze in 1120 and finished in 1176. The monastic community included up to 25 monks, it joined the Benedictine Bursfelde Congregation in 1464/65.
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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.
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.