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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.
Rilievo a nord di Ascoli, isolato rispetto alle colline circostanti, l'Ascensione si caratterizza per la presenza di alti strati marini di conglomerato di breccia e sabbia che poggiano su argille e su tufi arenacei. La tradizione popolare accredita al luogo una sacralità persistente; nel medioevo era meta di pellegrinaggi religiosi e, anche adesso, ogni anno a maggio, migliaia di persone salgono sul monte per la festa dell'Ascensione, quando la statua della Madonna, proveniente da Polesio, viene trasferita nella chiesa costruita sulla vetta. Il nome della rupe di Santa Polisia è legato alla leggenda della sfortunata figlia del Prefetto di Ascoli, battezzata da S. Emidio e scomparsa prodigiosamente mentre cercava di sfuggire ai pretoriani.
One of two organs built by Aquilino Amezua in years 1901 - 1903 to replace the previous organs destroyed by an earthquake in 1888.
The pride not only of Šariš, but also of the whole of Slovakia is the ancient town of BARDEJOV, which is undoubtedly one of the most beautiful Slovak towns. It was included in the UNESCO World Natural and Cultural Heritage List in 2000. Bardejov has also a fitting nickname – “the most gothic town in Slovakia”.
The picturesque square with colorful burgher houses, the majestic Basilica Minor of St. Egidius, the Jewish suburb, the historic town hall, the Executioner's House, well-preserved city walls with bastions ... A huge number of valuable and remarkable monuments in a relatively small area. The city center is formed by the Town Hall Square surrounded on three sides by 46 burgher houses on narrow medieval plots. In the middle stands the Basilica Minor of St. Egidius, in front of which is located the original pair of bells Ján and Urban. The bells were originally placed in the bell tower of the Basilica’s tower. The old bells got damaged over time, so they were replaced by new castings. The Basilica of St. Egidius was built in the middle of the 14th century and contains a unique collection of 11 late Gothic winged altars. Feeling like climbing a flight of stairs? The tower of the basilica offers the most beautiful views of the city.
Wolfegg is about 15 km from Weingarten. There you will find the parish church of St. Catherine, built by Johann Georg Fischer from Füssen between 1733 and 1736 as a representative building for the Wolfegg Canonry. The stucco was created by the Wessobrunner stucco artist Johannes Schütz. The large frescoes were painted by Franz Joseph Spiegler (who was also a fresco painter in Zwiefalten). Jacob Hör, a student of Gabler, made the organ. It is the only instrument of his that has survived.
The ceiling fresco, which stretches across the entire nave, is striking. It shows a secular theme, the duel between Antonio di Sanseverino and Count Johannes von Sonnenberg from 1487.
Megalithic Monuments and Their Animistic Symbolism and Meaning - The Portuguese Case and Some Examples by Daniel Arrhakis (2026)
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In Image The Zedes Dolmen - Trás-os-Montes, Portugal
Megalithic Monuments and Their Animistic Symbolism and Meaning
Megalithic monuments, built between the Neolithic and Bronze Ages, represent the first great manifestations of monumental architecture in humanity. More than simple feats of engineering, these stone structures were deeply linked to animism, the belief that all elements of nature—stones, trees, rivers, stars—possess a spiritual essence or soul.
Types of Monuments and Their Symbolism
Menhirs (Isolated Stones)
They symbolized the connection between Earth and Heaven. Often associated with phallic symbols, they represented the fertility of the earth and vital energy. They could also serve as territorial markers or dwellings for the spirits of ancestors.
Cromelechs (Stone Circles)
They represented the cosmos, the cyclical nature of time, and the sacred feminine (the womb, the community). They functioned as open-air temples and astronomical calendars to predict solstices and equinoxes, crucial moments for agricultural survival.
Dolmens (Burial Chambers)
They symbolized the womb of Mother Earth. The act of burying the dead in these stone structures represented the individual's return to the origin of life, awaiting their spiritual rebirth.
The Animistic and Spiritual Meaning
The Stone as a Living Element
In animistic thought, the stone was not inanimate matter. It was an eternal element, a receptacle of divine powers and spiritual memories, capable of retaining the energy of the ancestors.
Ancestor Worship
The megaliths served as a bridge between the world of the living and the world of the dead. The spirits of the ancestors continued to protect the tribe, mediating the relationship with the forces of nature and ensuring the fertility of the harvests.
Sacralization of the Territory
Erecting a megalith transformed the natural landscape into a sacred space. The arrangement of the stones aligned the community with cosmic and telluric forces (energies of the Earth itself).
Portuguese Megalithic Monuments
The Portuguese Case and Some Examples
Portugal possesses one of the oldest and richest megalithic heritages in the world, concentrated mainly in the Alentejo region. The transition to the Neolithic period in this area shaped a strong spiritual connection with the earth and the cosmos, visible in large-scale monuments that materialize local animistic beliefs.
Almendres Cromlech (Évora)
It is the largest megalithic enclosure in the Iberian Peninsula and about 2,000 years older than Stonehenge. The Almendres Cromlech has about 95 monoliths arranged in two concentric oval shapes.
Symbolism and Alignment: It is oriented according to the axes of the solstices and equinoxes, demonstrating the animistic worship of the stars (Sun and Moon) as life-generating deities and regulators of harvests.
Art and Spirituality: Several monoliths display relief engravings, such as staffs and circles. The "Menhir No. 56" presents a stylized anthropomorphic representation, interpreted as the "Mother Goddess" or a fertility deity protecting the enclosure.
Anta Grande do Zambujeiro (Évora)
Located near Valverde, the Anta Grande do Zambujeiro is one of the largest single-chamber dolmens in Europe, with upright stones approximately 6 meters high that supported a huge covering slab.
The Womb of the Earth: It functioned as a large collective funerary sanctuary. From an animistic perspective, the monument functioned as the spiritual womb of the community, where the dead returned to the depths of the earth to merge with the spirit of the ancestors.
Ritualistic aspects: At the entrance there was an external atrium intended for offerings, where rituals and libations were performed to appease and honor the souls of the deceased.
The Zedes Dolmen - Trás-os-Montes
Also known locally as Casa da Moura, it is one of the most important and well-preserved megalithic monuments in the Trás-os-Montes region. It is located in the parish of Zedes, about six kilometers from Carrazeda de Ansiães, in the district of Bragança.
This funerary dolmen probably dates back to the 3rd millennium BC (end of the Neolithic or beginning of the Chalcolithic), serving as a collective burial site for the first agricultural communities in the region.
The structure is composed of:
Polygonal chamber: Formed by eight to nine upright stones (large vertical stones) embedded in the ground.
Covering slab: A huge horizontal stone (lid) resting on the vertical upright stones.
Corridor/Vestibule: Oriented to the east, still preserving the low slabs that delimited the entrance to the monument.
Archaeologists identify the following geometric and symbolic motifs there:
Wavy lines: possible representation of a serpent.
Custody: symbol in the form of a staff above the lines.
Anthropomorphic figures: stylized human representations.
Menhir of Meada (Castelo de Vide)
Located in Northern Alentejo, the Menhir of Meada stands out as the largest monolithic menhir in the Iberian Peninsula Reaching a total height of 8.5 meters.
Cosmic Link and Fertility: Erected on a cylindrical and imposing granite block, its form clearly evokes a phallic energy linked to the fertilization of nature. In animism, this vertical landmark served to "anchor" the energy of the sky (uranic) directly into the agricultural soil, functioning as a large spiritual lightning rod protecting the surrounding territory.
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Os Monumentos Megalíticos e o Seu Simbolismo e Significado Animista
Os monumentos megalíticos, construídos entre o Neolítico e a Idade do Bronze, representam as primeiras grandes manifestações de arquitetura monumental da humanidade. Mais do que simples proezas de engenharia, estas estruturas de pedra estavam profundamente ligadas ao animismo, a crença de que todos os elementos da natureza — pedras, árvores, rios, astros — possuem uma essência espiritual ou alma.
Tipos de Monumentos e o Seu Simbolismo
Menires (Pedras Isoladas)
Simbolizavam a ligação entre a Terra e o Céu. Muitas vezes associados a símbolos fálicos, representavam a fertilidade da terra e a energia vital. Podiam também servir como marcos territoriais ou habitações para os espíritos dos antepassados.
Cromeleques ou Cromlech (Círculos de Pedras)
Representavam o cosmos, a ciclicidade do tempo e o sagrado feminino (o ventre, a comunidade). Funcionavam como templos ao ar livre e calendários astronómicos para prever solstícios e equinócios, momentos cruciais para a sobrevivência agrícola.
Antas ou Dólmenes (Câmaras Funerárias)
Simbolizavam o útero da Mãe-Terra. O ato de enterrar os mortos nestas estruturas de pedra representava o retorno do indivíduo à origem da vida, esperando o seu renascimento espiritual.
O Significado Animista e Espiritual
A Pedra como Elemento Vivo
No pensamento animista, a pedra não era matéria inanimada. Era um elemento eterno, recetáculo de poderes divinos e memórias espirituais, capaz de reter a energia dos ancestrais.
Culto dos Antepassados
Os megálitos serviam de ponte entre o mundo dos vivos e o mundo dos mortos. Os espíritos dos antepassados continuavam a proteger a tribo, a mediar a relação com as forças da natureza e a garantir a fertilidade das colheitas.
Sacralização do Território
Erguer um megálito transformava a paisagem natural num espaço sagrado. A disposição das pedras alinhava a comunidade com as forças cósmicas e telúricas (energias da própria Terra).
Monumentos Megalíticos Portugueses
O Caso Português e Alguns Exemplos
Portugal possui um dos patrimónios megalíticos mais antigos e ricos do mundo, concentrado sobretudo na região do Alentejo. A transição para o Neolítico nesta zona moldou uma forte ligação espiritual com a terra e com o cosmos, visível em monumentos de grande escala que materializam as crenças animistas locais.
Cromeleque dos Almendres (Évora)
É o maior recinto megalítico da Península Ibérica e cerca de 2000 anos mais antigo do que Stonehenge. O Cromeleque dos Almendres conta com cerca de 95 monólitos dispostos em duas formas ovais concêntricas.
Simbolismo e Alinhamento: Está orientado segundo os eixos dos solstícios e equinócios, demonstrando o culto animista aos astros (Sol e Lua) como divindades geradoras de vida e reguladoras das colheitas.
Arte e Espiritualidade: Vários monólitos exibem gravuras relevadas, como báculos (cajados) e círculos. O "Menir n.º 56" apresenta uma representação antropomórfica estilizada, interpretada como a "Deusa-Mãe" ou uma divindade da fertilidade protetora do recinto.
Anta Grande do Zambujeiro (Évora)
Situada perto de Valverde, a Anta Grande do Zambujeiro é um dos maiores dólmenes de câmara única da Europa, com esteios de cerca de 6 metros de altura que suportavam uma enorme laje de cobertura.
O Ventre da Terra: Funcionava como um grande santuário funerário coletivo. Sob a ótica animista, o monumento funcionava como o útero espiritual da comunidade, onde os mortos regressavam às profundezas da terra para se fundirem com o espírito dos antepassados.
Ritualística: À entrada existia um átrio exterior destinado a oferendas, onde se realizavam rituais e libações para apaziguar e homenagear as almas dos falecidos.
A Anta de Zedes - Trás-os-Montes
Também conhecida localmente como Casa da Moura, é um dos monumentos megalíticos mais importantes e bem conservados da região de Trás-os-Montes. Localiza-se na freguesia de Zedes, a cerca de seis quilómetros de Carrazeda de Ansiães, no distrito de Bragança.
Este dólmen funerário remonta provavelmente ao III milénio a.C. (finais do Neolítico ou início do Calcolítico), servindo como sepultura coletiva para as primeiras comunidades agrícolas da região.
A estrutura é composta por:
Câmara poligonal: Formada por oito a nove esteios (grandes pedras verticais) fincados no solo.
Laje de cobertura: Uma enorme pedra horizontal (tampa) que assenta sobre os esteios verticais.
Corredor/Vestíbulo: Orientado a nascente (Este), preservando ainda as lajes baixas que delimitavam a entrada do monumento.
os arqueólogos identificam ali os seguintes motivos geométricos e simbólicos:
Linhas onduladas: possível representação de serpente.
Báculo: símbolo em forma de cajado sobre as linhas.
Figuras antropomórficas: representações humanas estilizadas.
Menir da Meada (Castelo de Vide)
Localizado no Norte Alentejano, o Menir da Meada destaca-se por ser o maior menir monolítico da Península Ibérica, atingindo os 8,5 metros de altura total.
Elo Cósmico e Fertilidade: Erguido num bloco de granito cilíndrico e imponente, a sua forma evoca claramente uma energia fálica ligada à fertilização da natureza. No animismo, este marco vertical servia para "ancorar" a energia do céu (urânica) diretamente no solo agrícola, funcionando como um grande para-raios espiritual protetor do território envolvente.
In Scheidegg in the Allgäu in Bavaria there is the parish church St. Gallus. Built between 1797 – 1798. Architect of this sarcral building was Johann Georg Specht. The consecration was 1806.
Freiburg Minster (German: Freiburger Münster or Münster Unserer Lieben Frau) is the cathedral of Freiburg im Breisgau, southwest Germany. The last duke of Zähringen had started the building around 1200 in romanesque style. The construction continued in 1230 in Gothic style. The minster was partly built on the foundations of an original church that had been there from the beginning of Freiburg, in 1120.
It is the only Gothic church tower in Germany that was completed in the Middle Ages (1330), and miraculously, has lasted until the present, surviving the bombing raids of November 1944, which destroyed all of the houses on the west and north side of the market.
Hello Vienna
Although it is one of my favorite photos, I remember this photo with mixed feelings, because after that we went to Dubrovnik for a few days to celebrate my dad's birthday. Somewhere at the Vienna airport, Tamara and I had catched ourselves a pretty nasty germ. We didn't see much of the city, but all the more from the shoals of the bowl in the hotel room ... by implication this means: I have to go back to Dubrovnik (without stopping in Vienna)
The Church of St. Lawrence in Březina is originally a gothic sacral building standing in a cemetery on the outskirts of the village of Březina in the Mladá Boleslav region. The church is an important Gothic monument of the central Pojizera region. It is protected as a cultural monument of the Czech Republic.
The church dates from the turn of the 13th and 14th centuries, it was rebuilt in the Renaissance style in the 16th century and partly modernized.
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
Giornate FAI di Primavera: 22 marzo 2014
Il Foro di Augusto è uno dei Fori Imperiali di Roma, il secondo in ordine cronologico.
Disposto ortogonalmente rispetto al precedente Foro di Cesare, ne riprese l'importazione formale, con una piazza porticata dove sul lato breve dominava il tempio dedicato a Marte Ultore, inaugurato nel 2 a.C. che si appoggiava sul fondo all'altissimo muro perimetrale. Dietro ai portici laterali si aprivano ampie esedre, spazi semicircolari coperti. Alla testata del portico settentrionale un ambiente distinto ospitava una statua colossale dell'imperatore.
Anche in questo caso, come nell'opera cesariana, la costruzione del complesso era stata voluta per fini propagandistici e tutta la sua decorazione celebra la nuova età dell'oro che si inaugura con il principato di Augusto. Svetonio racconta che:
« La costruzione del nuovo foro fu dovuta sia alla moltitudine delle persone sia al numero di processi [da portare a termine], i due fori esistenti (il foro romano e quello di Cesare) non erano più sufficienti e c'era bisogno di un terzo; per questo si affrettò ad inaugurarlo, senza che fosse ancora completato il tempio di Marte e stabilì che in esso ci fossero i processi pubblici e fossero estratti a sorte i giudici. »
(Svetonio, Augustus, 29.)
« Fece costruire un Foro più piccolo di quello che avrebbe voluto, perché non voleva espropriare i proprietari delle vicine abitazioni. »
(Svetonio, Augustus, 56)
Ottaviano aveva promesso di erigere a Roma un tempio dedicato a Marte Ultore (ossia "Vendicatore") in occasione della battaglia di Filippi del 42 a.C., nella quale egli stesso e Marco Antonio avevano sconfitto gli uccisori di Cesare, Bruto e Cassio, e dunque vendicato la sua morte. Il grande tempio sostituiva un'edicola provvisoria nel Campidoglio.
Dopo la sconfitta di Marco Antonio e la conquista dell'Egitto tolemaico con la battaglia di Azio (31 a.C.), il Senato conferì ad Ottaviano nel 27 a.C. i massimi poteri civili e militari, propri delle antiche magistrature repubblicane, e in seguito il titolo sacrale ed onorifico di Augustus ("venerato"). Consolidato il proprio potere, Augusto si occupò della riorganizzazione urbanistica e architettonica della capitale, che rappresentò un'importante espressione del nuovo corso politico da lui inaugurato. In questo quadro furono probabilmente avviati anche i lavori di costruzione di un nuovo complesso forense.
Come lo stesso Augusto ricorda nelle Res Gestae, il nuovo complesso monumentale venne eretto ex manubiis, ossia finanziato con il bottino di guerra ottenuto con le proprie vittorie, secondo la tradizione in auge per i condottieri della tarda età repubblicana, e in solo privato, ossia su un terreno acquistato a proprie spese da privati, collocato sulle pendici del Quirinale, a ridosso del popoloso quartiere della Suburra.
Il terreno per la nuova opera pubblica venne acquistato da privati, ma poiché Augusto non volle entrare in conflitto con alcuni proprietari riluttanti a cedere la loro proprietà, il progetto venne ridimensionato, almeno rispetto al desiderio dell'imperatore, non volendo egli ricorrere alle maniere forti.
Il Foro venne inaugurato, probabilmente non ancora del tutto completato, nel 2 a.C., anno nel quale Augusto ottenne il titolo di pater patriae ("padre della patria") e aveva indicato nel nipote Lucio Cesare il proprio successore.
La nuova piazza permise di avere nuovi spazi per i processi; ma la funzione più significativa del foro di Augusto fu quella di centro rappresentativo, destinato alla glorificazione dell'imperatore e della sua stirpe.
De Izaäkkathedraal is zonder twijfel de mooiste kerk van Sint-Petersburg. De kerk, die in 1818 ontworpen werd door architect Auguste de Montferrand, is de op twee na grootste sacrale koepelkerk ter wereld. Het reusachtige gebouw is opgetrokken uit rood graniet en grijs marmer. In 1858 werd de kerk gewijd, maar in het sovjettijdperk werd het gebruikt als atheïstisch museum. De bouw van de kolos op zich al was een hele prestatie. Er waren in totaal 24.000 boomstammen nodig voor de grondfunderingen. De bodem was er namelijk heel moerassig. Het gebouw zelf weegt 300.000 ton en biedt plaats aan 14.000 mensen.
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Approx. 5 kilometers outside of Steingaden is the pilgrimage church of the Scourged Savior in the Wies, or Wieskirche for short.
In 1730 two priests from Steingaden Abbey made a “Scourged Savior” for a procession from various old wooden figures. To the displeasure of the two priests, the figure arouses more pity than they'd like. The figure of the Savior is withdrawn from circulation and lands on a roof structure. In 1738 the Wiesbäuerin brought the figure to her farm, shortly afterwards the Savior poured out tears. The miracle of tears begins, people make a pilgrimage to Wies. A great pilgrimage begins. The Steingaden Abbey is the landowner of the farm. Despite the abbot's doubts about the miracle, he quickly recognized the potential of a pilgrimage. In 1740 he had a wooden chapel built on the Wies.
The abbey is not very wealthy and wants to make the little church Baroque. But first you want to see how the pilgrimage develops. But instead of ebbing away, it increases. So it is decided to build a new church. In 1743 Dominikus Zimmermann was commissioned to draw up the first plans. On the recommendation of the Premonstratensian Abbey in Bad Schussenried, he came to Steingaden. He has been forgiven for his cost overruns for the church in Steinhausen.
In 1745 Zimmermann began construction, which was completed in 1759. The abbot died in 1745 and his successor went to work with great enthusiasm. He presented the building plans to the elector for approval, but to the annoyance of the prince-bishop, construction was well advanced. The choir and priest house were already under roof when the foundation stone was officially laid in July 1746. The choir was completed as an independent structure by 1749. In 1749 the miraculous image is solemnly transferred to the choir. Now the choir serves as a pilgrimage church, but it quickly becomes too small. The nave began in 1750 and construction was consecrated in 1754. In the following years, the interior was completed. In 1759 this work was completed with the erection of the side altars.
At the end of the day, the construction costs 180,000 guilders (approx. 8.1 million euros). Too much for the abbey. In 1772 the abbot had to vacate his post.
surprisingly there weren't many mask on Venice's Piazetta in the early morning of Shrove Tuesday and so I used the time to take some pictures of the cloudy but fascinating sunrise
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Lucerne / Luzern is a city in Switzerland. It is the capital of the Canton of Lucerne and seat of the district with the same name. With a population of 76,156, Lucerne is the most populous city in Central Switzerland, and a focal point of the region. Due to its location on the shore of Lake Lucerne (Vierwaldstättersee), within sight of Mount Pilatus and Rigi in the Swiss Alps, Lucerne is traditionally considered first and foremost as a tourist destination. One of the city's famous landmarks is Chapel Bridge (Kapellbrücke), a wooden bridge first built in the 14th century. It has also been voted as the 5th most popular tourism destination in the world in 2010 by Tripadvisor and has private hotel schools most notably on the shores of lake Luzern in Kastanienbaum.
Jesuitenkirche (Jesuit Church) is 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.
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The Sanctuary of the Divine Mercy is a sacral complex associated with the life and activity of Sister Faustina Kowalska. From the 1940s, a place of pilgrimage connected with the presence of the image of Merciful Jesus and the tomb of Sister Faustina.
The Sanctuary includes, among others;
1. historic monastery complex of the Sisters of Our Lady of Mercy,
2. the chapel of Perpetual Adoration of the Blessed Sacrament, of St. Joseph
3. a modern basilica of the Divine Mercy,
Inside the chapel of St. Joseph is the image of Merciful Jesus, painted according to the vision of Faustyna Kowalska. Since the beatification of Sister Faustina (1993) her mortal remains as relics rest on the side altar under the image of Merciful Jesus. This image quickly became famous for favors and its copies and reproductions spread all over the world. This is the most famous image of the image of Merciful Jesus.
In the years 1999-2002, next to the monastery complex, a modern, two-level, ellipsoidal basilica was built over which the 77-meter high observation tower dominates.
The dynamic development of the Sanctuary took place after the beatification of Sister Faustina on April 18, 1993, and its canonization on April 30, 2000, as well as thanks to the pilgrimages of Pope John Paul II (1997 and 2002) and Pope Benedict XVI (2006).
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Sanktuarium Bożego Miłosierdzia to kompleks sakralny, związany z życiem i działalnością Siostry Faustyny Kowalskiej. Od lat 40-tych XX wieku miejsce pielgrzymek związanych z obecnością obrazu Jezusa Miłosiernego oraz grobu Siostry Faustyny.
W skład Sanktuarium wchodzą między innymi;
1. zabytkowy zespół klasztorny Sióstr Matki Bożej Miłosierdzia,
2. kaplica Wieczystej Adoracji Najświętszego Sakramentu, pw. św. Józefa
3. nowoczesna bazylika Bożego Miłosierdzia,
We wnętrzu kaplicy św. Józefa znajduje się obraz Jezusa Miłosiernego, namalowany według wizji Faustyny Kowalskiej. Od czasu beatyfikacji Siostry Faustyny (1993) jej doczesne szczątki jako relikwie spoczywają na bocznym ołtarzu pod obrazem Jezusa Miłosiernego. Obraz ten szybko zasłynął łaskami a jego kopie i reprodukcje rozeszły się po świecie. Jest to najbardziej znany wizerunek obrazu Jezusa Miłosiernego.
W latach 1999–2002 obok zespołu klasztornego wybudowano nowoczesną, dwupoziomową, elipsoidalną bazylikę nad którą góruje 77-metrowa wieża widokowa.
Dynamiczny rozwój Sanktuarium nastąpił po beatyfikacji siostry Faustyny 18 kwietnia 1993 roku, i jej kanonizacji 30 kwietnia 2000 roku, a także dzięki pielgrzymkom papieża Jana Pawła II (1997 i 2002) oraz papieża Benedykta XVI (2006).
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Between the mountains of Ovcar (985m) and Kablar (889m), the river Zapadna Morava shaped and formed the Ovcar-Kablar gorge, one of the most beautiful gorges in Serbia. Due to it’s extraordinary beauty, abundance in flora and fauna, ten monasteries, preserved sacral and memorial objects and their landmarks and other values, as well, this magic gorge, 8km away from Cacak, has been proclaimed protected natural estate by the governmental Act of the Republic of Serbia, as a region of outstanding features.
In the „hart“ of Ovcar-Kablar Gorge, in oasis of greenery and peacefulness, lies Ovcar Banja spa. Situated at an altitude of 278m above see level, Ovcar Banja (Ovcar spa) has rich thermal springs and water has been used or treatment of rheumatism, spondilosis, arthritis and sport injures. Nature was exceptionally generous to this region, as well as many fast clear mountain rivers, steep cliffs, wooded the landscapes that will take your breath away.
Althought only 20km long, Ovcar-Kablar Gorge is one of the most beautiful gorges in Serbia, which breasts hide it’s biggest treasure, beautiful medieval monasteries. Because of them this gorge got popular name „Serbian Holly Hill“. Once wild and inaccessible, Ovcar-Kablar Gorge today has 10 monasteries: Vavedenje, Nikolje, Jovanje, Preobrazenje, Sretenje, Svete Trojice, Uspenije, Vaznesenje, Ilinje, Blagovestenje as well as the Church of St. Sava and church-cave Kadjenica.
Text from www.ovcarbanja.rs/srpski/ok_klisura.html
More on Ovcar-Kablar gorge on wiki - en.wikipedia.org/wiki/Ov%C4%8Dar-Kablar_Gorge