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The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.
(please do not use without permission)
Reportage.
Luogo: Cossoine.
Le immagini che inserirò sono sconsigliate a chi è vegetariano e a chi ha lo stomaco debole.
L'uccisione del maiale è un rito antico, quasi sacrale, dove il rosso del sangue si mischia a quello del vino.
location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
dôležitá informácia v Profile
Keltic museum In Slovakia, Havranik - reconstructed old Keltic village together with sacral place. The skull of the bull contrasted nicely with the dark stem.
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Mamiya 6, 75/3.5 (wide open) Ilford Delta 400, Pyrocat HD (1:1:100)
Location:
Interesting document of the counter-reformation sacral art - 17th century roman-catholic Gothic Revival altarpiece in the style of local late Gothic altars with wings and predella. The upper part with the medallion depicting David with lions is a Baroque addition from 1687.
location: East Slovak Museum, Košice
for educational purpose only
please do not use without permission
Answers:
1. They are T2 images, as can be identified from the hyperintense CSF surrounding the intrathecal segments of the sacral nerve roots on the lower right image (green arrows). The foraminal segments of the nerve roots cannot be used to make this assessment as they are surrounded by similarly hyperintense perineural fat.
2. The lesion is a subtle but definite blurring of the right sacro-iliac joint margins (yellow arrows). The extent of adjacent marrow oedema, if any, is difficult to assess on FSE T2 images, which have bright fat signal - see, for example, the lower middle image. It is not possible to say if the high signal in the right sacral ala or the posterior ilium, or both (or neither!), is oedema or fat.
3. Marrow oedema is best assessed by correlating with a T1 sequence, or better yet, a fat-suppressed (STIR or CHESS) T2 sequence, as shown on the next slide.
(Back to Slide 1.)
RHMRQA_0709 WS 1680x1050.014.jpg
WHF657693_MRI
Sauro Spada ..Per racconti brevi ed inediti in lingua Romagnola..la Romagna-Toscana plaude al Premio Letterario 2013 e Marradi sua Capitale Culturale si compiace dai suoi Campaniani luoghi di Sacralità Poetica del ‘900
REGOLAMENTO
Formato Opera
• Il concorso è composto da un'unica sezione:
Racconto breve in lingua romagnola.
• Il racconto deve essere inedito e accompagnato
dalla versione in lingua italiana.
• Ogni autore deve presentare una sola opera.
• Il racconto deve avere una lunghezza massima di
3 fogli formato A4 singola facciata, interlinea 2.
• La giuria si riserva di valutare caso per caso
eventuali eccezioni.
Quota di partecipazione
• Nessuna. La partecipazione è gratuita.
Consegna
• L'opera deve essere inviata esclusivamente
tramite posta ordinaria e in busta anonima
al seguente indirizzo:
Premio Sauro Spada
c/o Alberto Spada
Via P.Vicinio da Sarsina n. 42
47521 Cesena (FC)
• Ogni Autore partecipante deve includere,
insieme all'elaborato, una busta chiusa separata
contenente i propri dati anagrafici, il proprio
indirizzo, il numero telefonico e l'eventuale
indirizzo di posta elettronica, il titolo dell' opera
ed inoltre la dichiarazione firmata: "Autorizzo
il trattamento dei dati ai fini concorsuali
(D.Lgs/2003)". Il titolo dell'opera deve essere
riportato anche sull'esterno della busta contenente
i dati anagrafici.
• Non sono prese in considerazione le opere
inviate via e-mail,
• Il materiale consegnato non verrà restituito.
• L'opera vincitrice potrà essere liberamente
pubblicata sul sito web dell'associazione
www.lacasadeipavoni.it, sugli organi di stampa
e sulle riviste specializzate.
Giuria
• Il vincitore sarà eletto secondo l'insindacabile
ed inappellabile giudizio della giuria composta
da 5 membri. I giudici scelti dall'Associazione
La Casa dei Pavoni saranno esclusi dalla partecipazione
al concorso.
Patrocini
• Associazione Culturale "La Casa dei Pavoni",
famiglia Spada, Comune di Montiano, Comitato
Sagra Paesana di Montenovo, Fondazione
Cassa di Risparmio di Cesena.
Informazioni
• Associazione Culturale "La Casa dei Pavoni"
info@lacasadeipavoni.it
3277452486
Varie
Le generalità che devono essere fornite sono
utilizzate esclusivamente:
- per comunicare i risultati ai partecipanti;
- per l'invio di materiale e altre attività e iniziative
dell'Associazione culturale "La Casa dei Pavoni".
I dati raccolti non verranno in ogni caso comunicati
o diffusi a terzi. Scrivendoci, è sempre
possibile:
- modificare o cancellare i dati inviati;
- chiedere che non venga inviato alcun materiale
promozionale.
La partecipazione al concorso implica
l'accettazione del presente regolamento.
Scadenza
• Il termine ultimo per l'invio dell'opera è sabato
18 maggio 2013. Per l'ottemperanza dei limiti di
tempo fa fede i!timbro postale.
Pubblicazione
• L'opera vincitrice e altre segnalate dalla giuria
saranno inserite in un volume edito a cura del
premio "Sauro Spada".
Premio
• Al vincitore del concorso vanno in premio una
Tela con illustrazione di Alberto Sughi creata
dalla stamperia Pascucci di Gambettola e 50 copie
della pubblicazione sopra citata.
• Il premio deve essere ritirato personalmente
(pena l'esclusione) o) in casi eccezionali) delegando
persona di propria fiducia nel corso della
cerimonia di premiazione che si terrà venerdì 14
giugno 201 3 alle ore 21.00 a Montenovo di Montiano
(FC)) Piazza del Castello, in occasione della
manifestazione "Montenovo Terra Davanti al
Mare" (In caso di pioggia la premiazione si effettuerà
al coperto).
• Il racconto vincitore ed alcuni tra quelli segnalati
dalla giuria) saranno letti durante la cerimonia di
premiazione.
• Il vincitore del premio "Sauro Spada" sarà avvisato
telefonicamente o tramite e-mail e reso noto a
tutti i partecipanti a partire da mercoledì 12
giugno 2013 con la pubblicazione sul sito internet
www.lacasadeipavoni.it, via e-mai! e sugli organi
di stampa.
I concorrenti potranno inoltre informarsi) sempre
a partire da tale data, telefonando al numero
3277452486.
-
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
provenance: Richvald, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
a.k.a:
Master of the Historia Friderici et Maximiliani
Meister des Pulkauer Tafelbilder
Master of the Pulkau Altar
Historia-Meister
Meister der Historia Friderici et Maximiliani
On the reverse of this table painting is the scene of Finding the Grave of Saint Stephen the Protomartyr.
location: Slovak National Gallery
(please do not use without permission)
In the vicinity of Jelšava, an old mining village Rákoš hides a quiet church with unique Gothic paintings. The church was built on an elevated site in the northern part of the village under the slope of Železník Hill on top of which a castle of the Bubek Family was once standing.
The Roman Catholic Church of the Holy Trinity is an early Gothic single-nave building from the mid-13th century. It has still a Romanesque horseshoe-shaped apse and slotted Romanesque windows, but the entrance portal is already formed by a Gothic arch. The nave has a flat wooden painted ceiling from the end of the 17th century. In front of the church stands a Baroque brick belfry with a wooden superstructure.
Wall paintings from the last third of the 15th century cover the walls and the vault of the chancel and almost the entire northern wall of the nave. High-quality Italian fresco paintings can be seen, a piece of art ordered by the wealthy noblemen from the House of Bubek. Travelling through northern Italy in the service of King Louis the Great, they had an opportunity to acquaint themselves with the best works of Italian masters whom they brought to the Kingdom of Hungary to decorate churches in Plešivec, Štítnik, and Rákoš. The vault of the sanctuary depicts the Christ Pantocrator with angels, the four church fathers and the symbols of the Evangelists (Matthew – angel, Mark – lion, Luke – bull, and John – eagle). On the walls of the sanctuary, we can find prophets, apostles and three saint kings: Ladislaus, Stephen, and Emeric. In the window lining, there are figures of women saints: Catherine, Barbara, Elisabeth and Margaret of Hungary. One of the most interesting parts is the unconventional depiction of Christ standing in a grave held by Mother Mary. The scene is complemented with the figures of an angel and of St. John the Baptist. Figures of saints, prophets, a depiction of the ten virgins, a partially damaged figure of the Virgin Mary Protector and a very well-preserved sitting figure of God with three faces giving blessings are on the walls of the triumphal arch. This unusual way of portraying the Holy Trinity which has been later banned by the Trident Council for its striking resemblance to the pagan god Triglav, still appears in two other locations in Slovakia – Ochtiná (logo of the Gothic Route) and Žehra.
The northern wall of the nave is almost entirely covered with murals in three horizontal bands. The upper band depicts scenes from the St. Ladislaus legend, it shows lancer horse riders of the St. Ladislaus’s royal entourage at the forefront, in a dynamic moment of fight with the Cumans. The second and the third band below portray the Last Judgment with the central figure of Christ the Redeemer with angels and a number of saints on the sides. Right below them we can see open graves from which dead are rising. Archangel Michael divides them into two groups, the saved ones, who walk to the left towards the heaven‘s gate, and the damned ones, whose chains are bound by the devils to the gate of hell. The most recent of the paintings date back to the first half of the 15th century; they depict the Assumption of the Virgin, individual figures of saints and the Stigmatization of St. Francis. We have chosen the hand of St. Francis with a stigma as the logo of the church. On the outer southern wall of the church, fragments of the painting of Madonna and Child have been preserved. Since 1992, there have been intermittent renewal activities of the church taking place, during which the restoration of murals was included. Furniture is stored and it would be returned into the church, once the restoration works are finished.
Basilica of St Aegidius, church with the largest number (11) Gothic altars in Europe, in their original setting, UNESCO´s World Heritage site
Bardejov, north-eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
dôležitá informácia v Profile
First settlements around the Roman roads of the area developed around the year 1000. In 1428, the name Im Schöff is mentioned for the first time, but this name was lost when the copy of a sacral painting from Passau was installed in a chapel of the graveyard, which came to be known as Mariahilf ("Mary's help").
More intensive settlement started only after the Second Turkish Siege of Vienna in 1683. The area was of some importance because the road to Schönbrunn Palace led through it.
Gumpendorf was mentioned in 1130 for the first time and developed from a Roman watchtower. It was subject to various feudal lords and was sold to the municipality of Vienna in 1798.
Magdalenengrund was originally known as Im Saugraben an der Wien auf der Gstätten ("In the sow pit on the Wien on the meadow") and consisted only of vineyards. In 1698, some plots were released for construction.
The Laimgrube (clay pit) is probably the oldest part of Mariahilf. It was mentioned in 1291 for the first time, but has existed already since the 11th century. Its name is derived from the clay soil, which was used to produce bricks.
Windmühle (windmill) developed from a feudal holding used by various monastic orders. In 1529 it was destroyed during the First Turkish Siege. Emperor Ferdinand I had the ownerhsip transferred to Johann Francolin, subject to the condition that he should build windmills there. However, he had only one mill built.
On March 6, 1850, the five Vorstädte of Gumpendorf, Mariahilf, Windmühle, Magdalenengrund and Laimgrube became part of Vienna as the Fifth District, Mariahilf. When Wieden was split into two districts in 1861, it became the 6th District. In 1862, some areas north of Mariahilfer Straße were ceded to the 7th District (Neubau).
Towards the end of the 19th century, Mariahilf had developed to become an important business district of Vienna. The Mariahilfer Strasse was a major shopping street; however, the big department stores were beyond the district boundary, over in the 7th District. The Mariahilfer area influenced the roads for mainly small and medium-sized businesses.
Between 1890 and 1907, the Kaunitzgasse steam power plant became one of the first electricity works in Vienna. Following the acquisition of the originally privately operated power plant, by the municipality of Vienna, it was decommissioned and converted into a substation.
Mariahilf is home to many of Vienna's gay and lesbian residents and contains a sizable concentration of bars, clubs, restaurants and shops catering to the community, along with the Rosa Lila Villa community center.
In the 1990s, there were two minor changes in the district boundaries: in 1995 in the area of the belt on the border at the 15th District, and 1996 in the Europe Square in front of the West Railway Station, where the 6th, 7th and 15th District meet. Both border changes affected mainly the transport structures. The district affiliation of residential areas did not change.
The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.
(please do not use without permission)
The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.
(please do not use without permission)
vista of the original Gothic Louvre palace behind St John Baptist
for educational purpose only
please do not use without permission
The High altar of Saint Nicholas in the parish Church of Saint Nicholas in Prešov, eastern Slovakia, was erected already in late Gothic period (1490-1506, sculptor Ján Weiss). After the fire of 1673 the Gothic shrine with more than life-size carvings survived and was incorporated to the new Baroque altar construction of 1696 with statues by Jozef Hartmann, with the dominant Saint Sebastian. The prominent position of Saint Sebastian in the altar dedicated to Saint Nicholas can be explained by the intervention of the city mayor, donor of the altar, whose patron saint was Sebastian.
(please do not use without permission)
property of the Archdiocesan Museum in Krakow, Poland
provenance: Krakow (?)
IMHO the painting is much older, from 1450s
for educational purpose only
please do not use without permission
AMDG
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
Pieta, stone, c 1400, sculptor from Bratislava or Vienna
mourning angels, mid-18th century, ascribed to Ľudovít Gode
for educational purpose only
please do not use without permission
AMDG
location: Central Slovak Museum, Banská Bystrica, Slovakia
provenance: Selce pri Banskej Bystrici
for educational purpose only
please do not use without permission
location: Lomnička, Spiš county, Slovakia
height: 138 cm
late 18th century adjustment
for educational purpose only
please do not use without permission
AMDG
location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
dôležitá informácia v Profile
Baptism of Christ on the other side of the panel
provenance: St Elizabeth Cathedral in Košice
location: East Slovak Museum in Košice
for educational purpose only
please do not use without permission
RenSarasvati.com
This Chakra art is available to purchase royalty free from iStockphoto at the following link: www.istockphoto.com/search/lightbox/13553746
location: St. Elizabeth Cathedral, Košice, Slovakia
panel paintings: unknown from Spiš county, dated 1516
wooden statues: unknown from Košice, Bratislava or Vienna, 1474-1477 or later
height of the statues in the shrine: 159 & 164 cm
for educational purpose only
please do not use without permission
AMDG
dôležitá informácia v Profile
Reportage.
Luogo: Cossoine.
Questa è la prima parte del reportage. A breve posterò le altre foto.
Le immagini che inserirò sono sconsigliate a chi è vegetariano e a chi ha lo stomaco debole.
L'uccisione del maiale è un rito antico, quasi sacrale, dove il rosso del sangue si mischia a quello del vino.