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Weltenburg Abbey is located directly on the Danube just before the narrowing near Kehlheim.
The monastery church was rebuilt between 1716 and 1718. The builder is Philipp Plank. But in 1718 the shell was only completed, only a provisional altar was set up and the interior work began.
Cosmas Damian Asam and his brother Egid Quirin Asam can be obtained for the equipment.
Master stonemason Pietro Francesco Giorgioli from Ticino and the local stonemason Matthias Einsele created all marble work until 1720.
In 1721 Cosmas Damian Asam started the dome fresco. Also in 1721, Egid Quirin Asam arrived at the construction site after he had finished his work in the nearby Rohr monastery. He starts with the high altar in the same year. Up to this point the choir wall is still a straight end. The Asam brothers have the choir rebuilt in order to better illuminate the high altar with its figure of St. George. Maria Salome Bornschlegel, the sister of the Asam brothers, began in 1723 with the gold setting of the stucco work and the setting of the high altar.
In 1734, the building was suspended for 10 years, Egid Quirin and Cosmas Damian Asam were given to build the side altars. In 1735 Cosmas Damian Asam leaves the construction site due to payment problems. This is how his son Franz Erasmus Asam completes the work.
The pulpit and confessionals are made by the stonemason Johann Jakob Kürschner. And made entirely of marble. In 1729 the organ was installed on the west gallery. The organ builder Konrad Brandenstein received the order for this in 1728.
Despite the fact that the church is not large, it is one of the most important baroque sacred buildings in Europe. The entire architecture is geared towards the indirectly illuminated ceiling fresco as well as the indirectly backlit statue of St. George on the high altar, a masterpiece executed as the “Theatrum sacrum”.
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
Dopo un pranzo veloce in vetta , ci siamo incamminati per il ritorno . Nubi minacciose sulle nostre teste e improvvisamente un vento freddo di tempesta. Nella valle una luce sinistra....Entro pochi minuti si sarebbe scatenato il finimondo....
Purtroppo non si è potuto vedere la vista spettacolare : da una parte la Corsica, , l'Elba, Capraia e i rilievi della Toscana; a nord le Alpi con le vette del Gran Paradiso, Rosa , Monviso e , se si è fortunati il gruppo del Brenta e Cevedale....
Questa cima esprime sacralità, anche il nome è antico e importante: in greco significa 'bianco ' , forse allusione alla neve abbondante nei lunghi mesi invernali, O forse richiama il mito del dio omonimo e della ninfa Aretusa, trasformata in fonte .Nel Nuovo Testamento Alfeo è il padre dell'apostolo Giacomo il Minore
Monte Alfeo , 1651 m
The sacristy of the Chalices is a rectangular building built into the Cathedral of Seville which houses a splendid collection of religious painting.
The construction of the Chalices sacristy began in 1509 by the master builder of the cathedral Alonso Rodríguez. After the management passed through different hands and the works were stopped for a time, the project was resumed with a new design made by Diego de Riaño, although finally, due to the master’s death, it was completed by Martín de Gainza in 1537.
St. Blasius and Alexander is the Catholic parish church of Altusried in Ostallgäu.
The church was built in 1204, the nave was built by Georg Schöneberg between 1670 and 1681 after it collapsed.
The main south door, known as the Porta Speciosa, is faced with red marble and flanked by five pairs of columns. It has undergone several transformations and reconstructions since it was originally built in the 13th century. This door gives access to the Cloister, a typical square Late Gothic ensemble built in 1486. The vaulting springs form consoles that are elaborately decorated with symbolic motifs. The doors and windows were given their present form in the 1880s. Sculptured stones from the Romanesque cloister were found during studies carried out in the 1960s, when the door leading into the medieval refectory, with small red marble columns, also came to light.
Wenn das neue Jahr so beginnt, wie das alte aufgehört hat, können wir uns auf etwas gefasst machen… Bleib heiter und frohes Neues!
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If the new year starts like the old one ended, we can be prepared for something... Stay cheerful and Happy New Year!
Urheberrecht bei Andreas Dlugosch
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De Sint-Lambertuskerk (Duits: St. Lamberti) is een rooms-katholiek kerkgebouw in de Duitse stad Münster. Het bouwwerk is het belangrijkste sacrale gebouw van de Westfaalse laatgotiek.
Aan de toren van de Lambertuskerk hangen de ijzeren kooien waarin ooit de lijken van de aanvoerders van de Wederdopers Jan van Leiden, Berend Krechting en Berend Knipperdolling hingen.
Uit een ingeslagen datering is op te maken dat de kooien in het jaar 1535 werden gemaakt. Ze werden vervaardigd door de smid Bertolt von Lüdinghausen uit Dortmund. Oorspronkelijk zouden de kooien voor gevangenentransport dienen, maar ze kwamen te hangen aan de kerktoren. In de bovenste kooi werd het lijk van Jan van Leiden gelegd, in de linker het lijk van Berend Knipperdolling en de rechter het lijk van Berend Krechting.
De kooien zijn allemaal verschillend in afmeting. Nadat de oude kerktoren bouwvallig geworden was, werden de kooien op 3 december 1881 verwijderd. De afbraak van de oude toren begon in 1887, na de voltooiing van de nieuwe toren werden de kooien weer aan de zuidzijde opgehangen. Toen op 18 november 1944 een bom de toren van de kerk trof, stortten twee kooien mee de diepte in, alleen de rechter kooi bleef hangen. Alle drie kooien werden zwaar getroffen en konden na de oorlog niet meer worden gerestaureerd daarom werden er andere kooien gemaakt zodat het lijkt dat ze nog steeds echt zijn.
Wikipedia
This is a very special yard of Naddniprianshchyna display, because this house was brought from the motherland of Taras Grygorovych Shevchenko, the famous poet of Ukraine. It belonged to Shevchenko family. A grandson of the poet’s brother Mykyta – Tymish Petrovych Shevchenko – lived here till 1954. He was a miller and had his own mill. The poet Taras Shevchenko was growing in such a house, listening to the stories of his grandfather Ivan, a participant of Koliivshchyna rebel, about heroic times of Haydamaks and Cossacks.
This is a triple-room building: the house, the mudroom and the storeroom. The walls are made of oak bars, fixed to a wooden frame. Inside of the house there are washed wooden beams; painted icons are decorated by embroidered towels. National garments – a shirt, skirt plakhta, a belt, and a jacket yupka hang on a rail. Above the trunk box there are musical instruments – lira and bandura. Musicians traveled with such instruments to villages and town to play for people in squares fairs, near churches and, quite less frequently, in farmers’ houses.
The honor corner pokut is the lightest and the most decorated place of a house. Icons and a table are placed here. This is the best place of a home, intended for the most respected guest. During a wedding ceremony, a groom with his bride had to sit there on an upside-down fur outwear. At dinner time, there was a place for an oldest man in the family - a grandfather or a father; it was the right place for the first sheaf of a harvest and for a sacral Christmas cereals kutia. Icons had to be covered by embroidered, self-made or purchased towels. They served also for decoration of a house for holidays. Traditional patterns on towels were considered to be talismans, protecting the house and the whole family against invisible evil forces.
The house, the storeroom and the vault are placed in a clean yard. A shed and a barn were located in a service yard.
Хата 19 ст. села Шевченкове Звенигородського району Черкаської області. Це особливе подвір’я на експозиції Наддніпрянщини, тому що хата перевезена із батьківщини Тараса Григоровича Шевченка, належала родині Шевченків, в ній прожив свій вік онук Тарасового брата Микити – Тиміш Петрович Шевченко до 1954 року, був мірошником, мав свій млин. В такій хаті виріс Тарас Григорович, слухаючи розповіді дідуся Івана, який був учасником «Коліївщини», про героїчні часи гайдамаків, козацтва
Тридільне житло: хата. сіни, комора. Стіни з дубових брусів, в закидку. У хаті миті дерев’яні сволоки, на стінах мальовані ікони в рушниках, над скринею – музичний інструмент ліра та бандура, на жердці – народне вбрання: сорочка, плахта, пояс, юпка. Мандрівні музиканти з цими інструментами подорожували селами та містечками, зупиняючись і граючи на майданах, ярмарках, біля церков та монастирів, рідше у сільських хатах.
Найбільш освітлений і прикрашений у хаті покуть, де висять ікони, стоїть стіл. Це саме почесне місце за столом, на покуть садили самого дорогого серцю гостя, а під час весілля на вивернутому кожусі – садили молодих. Під час обіду на покуті мав право сидіти дідусь чи тато, там ставили перший обжинковий сніп, на Різдвяні свята ставили в макітрі кутю. Ікони покривали вишитими, домотканими та купованими рушниками, ними прикрашали хату у свята. Традиційні орнаментальні мотиви на рушниках вважалися оберегами, які захищали житло, де живе вся родина від невидимих злих сил.
Хата, комора і погрібник розташовані на чистому дворі. На господарчому дворі розміщені повітка і хлів з повіткою.
Alan Watts - The Wheel of Life Chillstep
~ Vivid Manipulations ~ Vivid Art ~
BiG THANKS to EVERYONE for your personal comments and also your support from selected groups.
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Urheberrecht bei Andreas Dlugosch
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©Andreas Dlugosch
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Info's zum Foto hier
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Die Stiftskirche Mariä Himmelfahrt in Obermedlingen ist Teil des ehemaligen Klosters Obermedlingen. Im Jahre 1700 wurde der Grundstein für den Neubau des ehemaligen Klosters und der heutigen Stiftskirche gelegt. Die Kirche wurde 1721 vom damaligen Augsburger Weihbischof Johann Jakob Mayer geweiht, obwohl die Ausstattung noch nicht fertiggestellt war.
Die Ausstattung ist in einem vornehmen frühbarocken Weiß gehalten, zu dem die Altäre, Beichtstühle, Sitzreihen, das Chorgestühl, die Orgel und die Kanzel aus dunkelbraunem Holz einen harmonischen Kontrast bilden. Äußerst beachtenswert sind die Intarsienarbeiten. Die großen Gemälde und Fresken an der Decke schuf Konrad Huber 1784. Davon ist allerdings nur noch das Deckengemälde im Chor erhalten, da ein Teil des Langhausgewölbes 1861 einstürzte. Die heutigen neobarocken Deckengemälde im Langhaus schuf 1894/1896 der Münchner Maler Josef Huber-Feldkirch. Der Deckenstuck ging 1861 ebenfalls verloren, aber die verbliebenen, überaus reichen Stuckaturen im Chor und der Sakristei zeugen von großem Können und sind von hoher Qualität, sodass das Wirken Dominikus Zimmermanns angenommen wird.
Der Außenbau ist durch den weithin sichtbaren, 73 Meter hohen Kirchturm mit Doppelzwiebelhaube besonders imponierend. Er ist der höchste Kirchturm Nordschwabens. Beeindruckend ist auch die Gestaltung der Westfassade der Kirche.
The parish church of St. Johannes Baptist in Kaufering near Landsberg am Lech is a baroque jewel. The exact start of construction of this church is not known, it is assumed that it was around 1699/1700. It must have been finished in 1707, as it is referred to as a "splendidly furnished" church. In any case, it will be consecrated in 1723. It is certain that Joseph Schmuzer and his father Johann stuccoed the interior. The high age, an early work by Johann Georg Bergmüller, was created between 1725 - 1730 .. In general, the furnishings of the church dragged on for years, mostly due to a lack of money.
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.
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The parish church of St. Johannes Baptist zu Steingaden is the former monastery church of the Upper Bavarian community. The sacred building also has the nickname "Welfenmünster", there
1147 Margrave Welf VI. founds a monastery in Steingaden. It was to serve as the burial place of the Guelphs. Welf VI. the monastery hands over the Premonstratensian from Rot an der Rot for settlement with monks.
In 1176 the Romanesque monastery church, which is still preserved in its substance, was consecrated. In 1402 a fire destroyed large parts of the church and the monastery.
In 1525 the monastery and church again suffered severe damage as a result of the peasant war. After the reconstruction, the monastery burns again. In 1646 the buildings fell victim to a major fire as a result of the Thirty Years' War.
In the course of the reconstruction of the monastery and church, Mathias Schmuzer and his son Johannes stuccoed the interior of the church. This stucco is still preserved in the side aisles and in the choir. Jörg Pfeiffer delivers five altars during this time. Completion of this work in 1663.
For the 600th anniversary of the founding of the monastery, from 1740, the nave is redesigned in the Rococo style.
Franz Xaver Schmuzer is responsible for the stucco, Johann Georg Bergmüller paints the ceiling and arcade frescoes. The splendid rococo pulpit comes from Anton Sturm's workshop.
A beautiful prospectus contains an organ by, probably, Johann Georg Hörtich, built in 1745.
Ruins of a medieval fortified church are located above the village of Lúčka, situated at the border of the Slovenské rudohorie mountain range and the national park of Slovenský kras. The village had been known since 1409 as part of the Turňa Castle Estate donated to Pál Besen by King Sigismund.
According to the testimony provided by the local church, however, the village dates back to at least the half of the 13th century. The church itself was built as an early-Gothic church of the Gemer style. In the first half of the 15th century, it was surrounded by a defensive stone wall with a watchtower situated in the front. The small fortress was captured by Jan Jiskra’s troopsand is commonly called the Hussite church by the locals. Only the external walls of the church and the considerably lowered defensive wall with the tower that later on served as a belfry have been preserved up to the present. The quadratic tower used to have two floors in the past, with three windows on the first floor and three loopholes on the ground floor that served to watch the surroundings and to protect the fortress from three sides: the west, the south, and the east. The top of the slope upon which the church was built provided for the natural protection from the north.
The area where the church stands counts among the ecologically cleanest territories in Slovakia. It provides for exceptionally good conditions for recreationin a peaceful natural setting and for short walks in the basin of the Čremošná, to the lake of Lúčka, as well as to the surrounding beech and fir forests. Moreover, the unique natural reserve of Zádielska dolina is located in close distance, lined with plateaux where traces of fortified prehistoric settlements were confirmed by archaeological surveys.
ENG: A view into the tower of the basilica St. Lorenz in Kempten Allgäu.
The catholic parish church and basilica St. Lorenz is a former Benedictine collegiate church of the abolished prince monastery Kempten. It belongs to the parish of the same name in Kempten (Allgäu) in the diocese of Augsburg. The church is dedicated to St. Laurentius of Rome, the patron saints are the Assumption of the Virgin Mary and the patron saints of Epimach and Gordian.
During the Thirty Years' War Roman Giel von Gielsberg began preparations for the construction of the church. The church became one of the first large church buildings in Germany after the Thirty Years War around 1650. A special feature of the church was the division into a collegiate church and a parish church.
GER: Ein Blick in den Turm der Basilika St. Lorenz in Kempten Allgäu.
Die katholische Stadtpfarrkirche und Basilika St. Lorenz ist eine ehemalige Benediktinerstiftskirche des aufgehobenen Fürststifts Kempten. Sie gehört zur gleichnamigen Pfarrei in Kempten (Allgäu) im Bistum Augsburg. Die Kirche ist dem heiligen Laurentius von Rom geweiht, Nebenpatronate sind Mariä Himmelfahrt und die Schutzpatrone der Stadt Epimach und Gordian.
Noch während des Dreißigjährigen Krieges begann Roman Giel von Gielsberg die Vorbereitungen zum Kirchenbau. Die Kirche wurde einer der ersten großen Kirchenbauten nach dem Dreißigjährigen Krieg um 1650 rum in Deutschland. Eine Besonderheit der Kirche war die Teilung in Stifts- und Pfarrkirche.
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.
While its first incarnations were mentioned already in 11th century, the present parish church of St. George was built from 1359 onwards and completed in 1407. In the 17th century the Gothic interior was transformed into a harmonious, baroque sacral room with imposing stucco work and frescoes.
Multi-row panorama (stitched from 6 individual HDR images) covering a viewing angle of 175°H x 155°V.
Zoom in to and take a virtual tour!
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Kühbach is a municipality in the Bavarian district of Aichach - Friedberg.
A Benedictine convent was founded there around the year 1000.
In 1577, after a fire, a new Gothic style church was built, but between 1687 and 1688 a new baroque church was built by the builder Giovanni Androi. He includes parts of the previous building.
The magnificent baroque stucco was probably made by Matthias Schmuzer the Younger. and its environment.
The rest of the furnishings are also rich and splendid.
At the highest point in the old town, the cathedral defines the backdrop of Passau. The cathedral is the cathedral of the Diocese of Passau.
The history of the sacred building goes back to the 8th century.
The baroque church was built between 1668 and 1693, only the Gothic choir was included.
Carlo Lurago is responsible for the overall planning, with the help of the stonemasons Francesco della Torre and Giovanni Battista Passerini.
The interior is characterized by the rich, plastic stucco by Giovanni Battista Carleone.
Carpoforo Tencalla painted the frescoes between 1679 and 1684 according to a program by the dean Johann Bernhadin Gentilotti from Linz.
Not only the stucco comes from Giovanni Battista Carleone, but also the side altars, while the high altar is the work of Josef Henselmann, from 1947-1953.
What would Passau Cathedral be without its organ? It is the largest cathedral organ in the world with 17,974 pipes. Its history is long and it has undergone several renovations.