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The Temple of Athena in Paestum, Italy, was built around 500 BC. The architecture is partly in the Ionic style and partly early Doric. Three medieval Christian tombs in the floor show that the temple was used for some time as a Christian church.
Paestum was a major ancient Greek city on the coast of the Tyrrhenian Sea in southern Italy.
Since 1998 Paestum is listed as UNESCO World Heritage Site.
Many thanks for your visits / comments / faves!
Ruine der Heilig-Kreuz-Kirche bei Pfofeld (Franken / Bayern). Mehr Infos siehe Albumtext. | Church of the Holy Cross ruins near Pfofeld. More infos see set text.
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Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
What happened to old churches and cathedrals ?
Losing their powers and their sacrality. Becoming only cold monuments or tombs.
For one evening regaining their splendor. For a concert. Music and lights. Pure magic.
Music pours in the vast space. LIght caresses and wakes up the statues. The place lives again and finds its soul back.
Que reste-t-il des églises et cathédrales d'autrefois ?
Des monstres de pierres, perdant inexorablement leur pouvoir et leur sacralité. Objets de cultes trop grands, pour une poignée de fidèles toujours plus clairsemée. Monuments froids visités par un public iconoclaste ou inculte. Vagues sépulcres.
Mais l'espace d'un soir, retrouver la vocation et la splendeur enfuies.
Pour un concert. Un requiem. Musique et lumières. La musique emplit les vastes espaces, réchauffe les pierres. La lumière chatouille et réveille les statues. Le lieu revit et retrouve son âme.
Eglise Saint-Jacques, concert Requiem de Mozart, Liège
(Saint-Jacques church, for a Requiem of Mozart special concert)
Gli elementi inconfondibili che caratterizzano l' architettura procidana sono tutti presenti in questo esemplare,
Notate : l' arco spezzato dal pilastro centrale, l'arco che sovrasta la porta con i caratteristici segni pagano-sacralii in funzione apotropaica , la raffinate decorazioni della porta in legno.
Palace Style jars originated in Crete, and all examples were once thought to have been produced there. We now know this is not the case. This example was used as a burial vessel and comes from the Grave Circle near the Palace of Nestor. It is decorated in lustrous black paint: sacral ivy is the main motif, with rosettes and squiggly lines used to fill empty spaces. Its broad horizontal rim, neck, and tapering base are painted solid black, as are three horizontal handles set high on the shoulder. Such jars were valuable status symbols, and often show evidence of ancient repair as here: holes were drilled into the broken pieces, which were then joined with lead clamps. Numerous contemporary jars have been found in Tholos VI, a monumental beehive tomb excavated nearby, although none are so well preserved.
Mycenaean, 1520-1400 BCE, terracotta. From Pylos, Grave Circle, Pit 3.
H. 70.3 x Diam. of rim 32.3 cm (27 11/16 × 12 3/4 in.)
Chora Archaeological Museum (CM 1586)
The monastery of the Benedictine Order at Pannonhalma was founded in 996 in Western Hungary and had a major role in the diffusion of Christianity in medieval Central Europe. The monastery shows a stratification of different architectural styles and various buildings.
Among these buildings: a school (the first ever school founded in the country), the monastic complex – home to the monks whose life is still based on St. Benedict’s Rule ‘Ora et labora’ -, the tourist welcome points and hospitality facilities, the Chapel of Our Lady, the Millennium Chapel and the botanical and herbal gardens.
www.comece.eu/christian-artworks-benedictine-archabbey-of...
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.
The church in Ochtiná was formerly dedicated to St. Nicholas and is one of the oldest and most interesting landmarks of the Gemer countryside. The name of the village is most likely derived from the old German expression for the number eight: ocht, as an evidence of the area settled by German guests in the second half of the 13th century. According to historical sources, original eight German families established here a prosperous settlement founded on mining of iron ore located in the nearby Hrádok hill.
However, the layout of the church point to an older settlement which could have been destroyed during a Mongol invasion. This is indicated by a document from the king Belo IV, from 1243, by which he donates a large part of an area of the Slaná river valley for faithful services to Detrik and Filip Bubek. In 1318, Ochtiná was mentioned as a property of the Štítnik branch of the Bubek family, that certainly supported the construction of the local church and later its murals as well.
The Gothic church, built possibly on the site of a ruined Romanesque structure is a single-nave church with a polygonal-shaped chancel including a northern sacristy. Around the mid-14th century, the interiors were painted with figural wall paintings which were done by fresco technique. Research has shown that the tower had been built later, probably in second half of 15th century. Romanesque windows on the tower are secondarily used from other church in the area. At the beginning of the 16th century, the relatively small space of the church was extended with a northern side nave having a star-shaped vault.
In the first third of the 17th century, when the church was already Lutheran, medieval frescos were hidden under a white lime paint and, during the 18th century, the church was given a new Prussian vault over the nave.
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.
The Catholic parish church in Hérémence is a monumental concrete building by architect Walter Maria Förderer, built in 1967-1970. Controversial to its construction period, it is considered today as an architecturally important church structure of the 20th century in Switzerland.
Pano merged from twelve single images.
SONY DSC
Sinds het najaar van 2006 zetelt boekhandel Dominicanen (voorheen boekhandel Polare) in de eeuwenoude Dominicanenkerk te Maastricht. Tweehonderd jaar geleden verloor de kerk haar sacrale functie, en ze deed sindsdien vele jaren dienst als ondermeer slangenhuis, fietsenstalling en carnavalstempel.
Selexyz dominicanen heeft een breed en diep assortiment publieksboeken en boeken voor professionals.
Op het voormalige priesterkoor van de Dominicanenkerk kunt u terecht voor een overheerlijke cappuccino of een lunchmaaltijd, verzorgd door het befaamde Blanche Dael Coffeelovers. Dit priesterkoor doet ook dienst als cultureel podium. Er vinden regelmatig lezingen en debatten plaats en er is ruimte voor expositie.
Roadside shrine watching over a water source and a vineyard. St. Jana village, in Jastrebarsko county. Late June 2017.
Taken with Panasonic GX7 camera and Leica DG Summilux 25mm F1.4 lens.
Traditional art derives from a creativity which combines heavenly inspiration with ethnic genius, and which does so in the manner of a science endowed with rules and not by way of individual improvisation; ars sine scientia nihil.
Within the framework of a traditional civilization, there is as already mentioned a distinction to be made between sacred art and profane art. The purpose of the first is to communicate, on the one hand, spiritual truths and, on the other hand, a celestial presence; sacerdotal art has in principle a truly sacramental function. The function of profane art is obviously more modest: it consists in providing what theologians call “sensible consolations,” with a view to an equilibrium conducive to the spiritual life, rather in the manner of the flowers and birds in a garden. The purpose of art of every kind—and this includes craftsmanship—is to create a climate and forge a mentality; it thus rejoins, directly or indirectly, the function of interiorizing contemplation, the Hindu darshan: contemplation of a holy man, of a sacred place, of a venerable object, of a Divine image.
Sacred art is vertical and ascending, whereas profane art is horizontal and equilibrating.
In the beginning, nothing was profane; each tool was a symbol, and even decoration was symbolistic and sacral.
With the passage of time, however, the imagination increasingly spread itself on the earthly plane, and man felt the need for an art that was for him and not for Heaven alone; the earth too, which in the beginning was experienced as a prolongation or an image of Heaven, progressively became earth pure and simple, that is to say that the human being increasingly felt himself to possess the right to be merely human.
If religion tolerates this art, it is because it nevertheless has its legitimate function in the economy of spiritual means, within the horizontal or earthly dimension, and with the vertical or heavenly dimension in view.
However, it must be reiterated here that the distinction between a sacred and a profane art is inadequate and too precipitate when one wishes to take account of all artistic possibilities; and it is therefore necessary to have recourse to a supplementary distinction, namely that between a liturgical and an extra-liturgical art: in the first, although in principle it coincides with sacred art, there may be modalities that are more or less profane, just as inversely, extra-liturgical art may comprise some sacred manifestations.
Sacred art is far from always being perfect, although it is necessarily so in its principles and in the best of its productions; nevertheless in the great majority of imperfect works, the principles compensate for the accidental weaknesses, rather as gold, from a certain point of view, can compensate for the but slight artistic value of a given object.
Two pitfalls lie in wait for sacred art and for traditional art in general: a virtuosity tending towards the outward and the superficial, and a conventionalism without intelligence and without soul; but this, it must be stressed, rarely deprives sacred art of its overall efficacy, and in particular of its capacity to create a stabilizing and interiorizing atmosphere.
As for imperfection, one of its causes can be the inexperience, if not the incompetence of the artist; the most primitive works are rarely the most perfect, for in the history of art there are periods of apprenticeship just as later there are periods of decadence, the latter often being due to virtuosity.
Another cause of imperfection is unintelligence, either individual or collective: the image may be lacking in quality because the artist (the word here having an approximate meaning) is lacking in intelligence or spirituality, but it may likewise bear the imprint of a certain collective unintelligence that comes from the sentimental conventionalization of the common religion; in
this case, the collective psychism clothes the spiritual element with a kind of “pious stupidity”, for if there is a naiveté that is charming, there is also a naiveté that is moralistic and irritating.
This must be said lest anyone should think that artistic expressions of the sacred dispense us from discernment and oblige us to be prejudiced, and so that no one should forget that in the traditional domain in general, there is on all planes a constant struggle between a solidifying tendency and a tendency towards transparency which draws the psychic back to the spiritual. All of this may be summed up by saying that sacred art is sacred in itself, but that it is not necessarily so in all its expressions.
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Frithjof Schuon
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Quoted in: Art from the Sacred to the Profane, East and West
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Image: Ceremonial ax, type Yue, China, Shang dynasty (16th-11th century B.C.), 13th century B.C., bronze, 35 x 37, 8 cm, Museum of East Asian Art Cologne
Wat Rong Suea Ten
The Blue Temple of Chiang Rai /
For further information :
www.thailandee.com/en/visit-thailand/wat-rong-suea-ten-bl... /
www.thenotsoinnocentsabroad.com/blog/wat-rong-suea-ten-th... /
The monastery of the Benedictine Order at Pannonhalma was founded in 996 in Western Hungary and had a major role in the diffusion of Christianity in medieval Central Europe. The monastery shows a stratification of different architectural styles and various buildings.
Among these buildings: a school (the first ever school founded in the country), the monastic complex – home to the monks whose life is still based on St. Benedict’s Rule ‘Ora et labora’ -, the tourist welcome points and hospitality facilities, the Chapel of Our Lady, the Millennium Chapel and the botanical and herbal gardens.
www.comece.eu/christian-artworks-benedictine-archabbey-of...
Le Manx est un chat de taille moyenne à grande et au corps musclé, compact, puissant mais tout en rondeur. L'ossature et la musculature sont fortes, le dos droit. Les pattes sont de taille moyenne à courte, là aussi avec une bonne ossature et musculature. Les pattes postérieures sont légèrement plus hautes que les antérieures et les pieds ronds et fermes. La principale caractéristique du Manx est sa queue... ou plutôt son absence de queue (causée par une mutation du gène M.) On distingue plusieurs types de longueurs de queue :
Rumpy : absence totale de queue.
Rumpy riser : la queue est réduite à une excroissance de cartilage, 1 à 3 vertèbres sacrales, au bout de la colonne vertébrale. Ce nom vient du fait que le moignon est visible uniquement quand le chat tente de le lever (en anglais « lever » se dit to rise).
Stumpy : la queue ne mesure que quelques centimètres et est composée de 1 à 3 vertèbres caudales.
Longy : certains chats de race Manx peuvent avoir une queue de longueur pratiquement normale, mais elle peut être tordue et n'est pas acceptée en championnat.
On peut trouver dans une même portée Manx des chatons ayant des longueurs de queue différentes. On ne rencontre généralement en concours que des Manx rumpy. La tête est large et arrondie avec des pommettes saillantes et un nez court, large et bien incurvé. Les yeux sont grands, bien ouverts et ronds d'une couleur accordée à la robe. Les oreilles, de taille moyenne à petite, sont larges à la base avec le bout arrondi et sont placées bien espacées sur le crâne. La fourrure est courte, dense et avec un sous-poil épais. Toutes les couleurs et robes sont acceptées pour cette race.
Wat Rong Suea Ten
The Blue Temple of Chiang Rai /
For further information :
www.thailandee.com/en/visit-thailand/wat-rong-suea-ten-bl... /
www.thenotsoinnocentsabroad.com/blog/wat-rong-suea-ten-th... /
It was constructed in 1694 by Valentin Ulrich Grotian (*24.08.1663 / † 19.05.1741)
He had built seven church organs in East Friesland during his life, but this one here in Pilsum is the only one that still exists today nearly in the original state.
A jewel among churches - the wooden Church of St. St. Nicholas is one of the oldest and most beautiful wooden churches in Slovakia. The three-part log building with a richly ornamented shingled roof and three towers was built in 1658. In 2008 it was entered in the UNESCO World Heritage List together with seven other wooden churches from the area of Slovak Carpathians.
The sacral monument is a part of a unique complex located in the center of Bodružal in the Svidník district. In addition to the temple, it also consists of a separate bell tower, an adjacent cemetery and a wooden fence with a shingled roof and an entrance gate covered by a conical roof.
The three church towers symbolizing the Holy Trinity will catch your attention for sure. The highest tower houses the bells, which were used for military purposes at the beginning of the World War I - the inhabitants of the village replaced them in the second half of the 1920s. The oldest preserved bell features the inscription “1759”.
www.severovychod.sk/vylet/dreveny-chram-bodruzal-unesco?l...
Indian dance day in Budapest
( www.youtube.com/watch?v=9n5fjn2-0u8 ) www.youtube.com/watch?v=9n5fjn2-0u8
Lithuania
It is a small hill in Lithuania, on which stand more than four hundred thousand crosses planted devotion pilgrims according to a popular tradition that has lasted for several centuries
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Lithuania
Si tratta di una piccola altura In Lituania , su cui si ergono oltre quattrocentomila croci, piantate per devozione dai pellegrini secondo una tradizione popolare che dura da alcuni secoli.si percepisce la sacralità del luogo ( non è un cimitero )
"Tutto si basa sull'uomo, ma nella complessità umana c'è un elemento di sacralità, altrimenti non si spiegherebbe perché tanta gente affolli il Pantheon di Roma per vedere l'apertura rotonda della cupola"
Santiango Calatrava
Among the beautiful sacral sights we can undoubtedly include the Greek Catholic wooden Church of the Protection of the Holy Mother of God from 1770, which stands in the mountain village of Miroľa in the northeastern region of Slovakia.
It has a characteristic log structure and a three-part outer and inner division. The interior is decorated with iconostasis and altar. In the sanctuary, there is the icon of the archangel Michael and the icon of the Mother of God, Virgin Hodegetria with praise located. Liturgical objects are found in the anteroom that were revealed in the individual rebuildings of the temple. Especially the rare raincoat, probably from the 17th century, is worth noticing.
A special chapter is the rare books used in religious services in the Church-Slavic language. The temple has been repaired several times, most recently a complete reconstruction in 2005-2008 has been carried out. As well as with other wooden churches, even here stands a wooden entrance gate with a low shingled roof in front of the church.
7998 R Fiume Rijeka Tempio Votivo e Parco della Rimembranza sent 20.VIII.1945. Ex Libris 270 Ediz. G. P. Fiume Eliografia Italiana - Schio 1942 - XX za Dario Bonacich
Votive Temple Kozala
address: 25 Baštijanova Street
Period: Modernism
Kind: Immovable material heritage
Century:
Year: 1934
Purpose: sacral
The Votive Temple on Kozala or the Church of St Romuald and All Saints was erected in 1934 during Italian government in Rijeka, according to the project by Bruno Angheben.
The church was raised over a crypt which holds the bones of Gabrielle D’Annunzio’s 458 legionaries, who died in 1924 on the Bloody Christmas in Rijeka, but also in Italy. The tomb was dedicated as a war cemetery and was opened on 16 March 1930 on the anniversary of the arrival of the Italian king Vittorio Emanuele III to Rijeka. A Memorial Park, Parco della Rimembranza, was arranged around the church and the tomb.
The construction of the church was stimulated by D’Annunzio’s speech during the burial of his legionaries who died in Rijeka, and was financed for political reasons. The title of the church (St Romuald) is a sign of honour to D’Annunzio, as this was the name of his father. The construction was supported politically and financially by the Italian government headed by Benito Mussolini, with the most prominent supporter being Senatore Borletti, who also supported the construction with his personal finances.
The first project, published in the papers immediately before the construction, was made in neo-Romanesque and neo-Gothic style, with emphasis on traditional material, brick and stone. The project changed significantly until the beginning of construction. Angheben cleared the lines and the façade, thus gaining severity and monumentality of the construction. The church was dedicated to St Romuald and All Saints on the tenth anniversary of annexation in September 1934, alluding to D’Annunzio’s Holy Entrance into the city.
The church is entered from a wide plateau accessed from a double staircase. The church is a hall church with rectangular layout. It is covered with white Istrian stone, which due to minimalistic decoration gives a feeling of monumentality. The author repeats the spiked form on the portal, the bell tower and the windows. Together with the pointy cypresses around it, the church seems as if it were aspiring for the sky. Along the portal, at the entrance, there are statues of two angels made by the famous artist Romolo Venucci from Rijeka.
The interior, just like the exterior, is simple. It is dominated by triangular and rectangular shapes, harmonized with the polychrome marble in black, brown and grey. The interior of the church is adorned by Angheben’s wall incrustation of the Way of the Cross in 14 stations, the statue of St Romuald by the artist Ladislaoa de Gaussa and the crucifix by Edmond Treverse.
The city cemetery Kozala is the oldest and the most beautiful city cemetery. The city administration of the former Rijeka used to buy land for it from the middle of the 18th century, while the burials officially started on 1 December 1838. Since 1872 until today, the burial register in the Burial Records has constantly been kept, so sometimes this date is taken as the official beginning of the cemetery. The cemetery Kozala is a treasury of art achievements of sculptors such as Ivan Rendić, Giovanni Mayer, Urbano Bottasso, Domenico Rizzo, Donato Barcaglija and architects Emilio Ambrosini, Francesco Placsek, Ignazio Rossi, Ugo Pagano, Giacomo Mattich, Raffaelle Cullotti.
Next to the Crypt, there was originally the Museum of Annexation, which no longer exists. It is interesting that the 63-metre high bell tower has an elevator installed.
rijekaheritage.org/en/kj/zavjetnihramkozala
Valorization:
The entire cemetery Kozala is protected as a cultural-historical whole in the Republic of Croatia Register of Cultural Goods.
The Đakovo Cathedral or Cathedral basilica of St. Peter (Croatian: Katedrala bazilika Svetog Petra) is the cathedral of the Roman Catholic Archdiocese of Đakovo-Osijek in Đakovo, Croatia.
Đakovo Cathedral is the biggest sacral newly built building of Croatian historicism. The St. Peter Cathedral in Đakovo is the town's most famous landmark and the most important sacral object.
The cathedral was built 1866-1882 under Josip Juraj Strossmayer, who was the bishop of the Catholic diocese of Đakovo and Srijem. The architects of the cathedral are Carl Roesner and Friedrich von Schmidt from Vienna. Fresco paintings depicting scenes from the Old Testament in the nave and the New Testament scenes from the life of St Peter in the chancel were executed by the Roman painters of German origin Alexander Maximillian and Lodovico Seitz, except for two frescoes which were painted by Achille Ansiglioni. The scenes from the life of St Peter were partially made according to the drawings created for Đakovo Cathedral by one of the leading Nazarene painters Friedrich Overbeck.
The landscaped park from the 19th century near the bishop's palace is a horticultural monument under special protection as well as the nearby Small Park (Mali Park) dating from the turn of the 19th/20th century.
Đakovo Cathedral was built in 4 years, and another 12 years was spent decorating the inside.
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9775 R Đakovo Katedrala sv. Petar Arhitekti: Hermann Bollé, Karl Rösner, Friedrich von Schmidt Strossmayerov trg 6, 31400, Đakovo Otvorena anno 1882.