View allAll Photos Tagged sacral
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
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)
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)
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
Ogni venerdì santo, dal XIII secolo, lungo le vie di Gubbio sfila una processione pregna di sacralità. Alla luce di falò e fiaccole, al suono di un antichissimo canto in latino, il Miserere [ www.youtube.com/watch?v=3AEuEl7jYuI ], che si è tramandato per secoli oralmente, al ritmo delle preghiere e del suono cupo dei penitenti con le caratteristiche “battistrangole” e il rumore dei passi lenti sul selciato, si richiama alla penitenza, alla purificazione e alla redenzione.
La processione del venerdì santo di Gubbio rievoca i simboli della passione che sfilano portati da uomini in saio e incappucciati: sono il teschio che rappresenta il Golgota, l’uomo con la croce, altri uomini con croci, il calice, i 40 denari, la corda, la colonna, il gallo, i flagelli, la corona di spine, la scritta Inri, il velo della Veronica, il sudario, i chiodi, il martello, la spugna, la lancia, i vestiti di Gesù, i dadi, la scala, le tenaglie. Questi simboli sono proceduti dagli uomini della confraternita che recano in mano il battistrangole, uno strumento in ferro che, scosso, determina un suono lugubre e sordo e richiama la popolazione alla processione e alla sua sacralità.
Seguono le statue del Cristo Morto e della Madonna Addolorata, entrambe preziose statue lignee, la prima si presume cinquecentesca, la seconda ottocentesca. Sono trasportate da uomini che indossano saio bianco con cappa nera (statua del Cristo) e saio bianco con cappa blu (statua della Madonna). Tutti i luoghi più significativi della storia di Gubbio sono raggiunti dal corteo: dal “pietrone”, antichissima pietra sacrificale che indica le origini pre-romane di Gubbio, ai conventi cittadini, all’ospedale, attraversando le vie del centro storico. In piazza San Pietro, Via Dante e Largo San Marziale sono accesi i fuochi e i bracieri. L’attenzione, il coinvolgimento con cui viene seguita la processione dai presenti determina una forte solennità e suggestione.
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
Altar of the Doctors of the Church, 1510-1520
author of the statues: Master Paul of Levoča
author of the paintings: Master Petrus
location: Šariš, eastern Slovakia
for educational purpose only
please do not use without permission
AMDG
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
property of the Archdiocesan Museum in Krakow, Poland
for educational purpose only
please do not use without permission
AMDG
property of the Slovak National Gallery Bratislava, Slovakia
height 150 cm
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)
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 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...
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
Ogni venerdì santo, dal XIII secolo, lungo le vie di Gubbio sfila una processione pregna di sacralità. Alla luce di falò e fiaccole, al suono di un antichissimo canto in latino, il Miserere [ www.youtube.com/watch?v=3AEuEl7jYuI ], che si è tramandato per secoli oralmente, al ritmo delle preghiere e del suono cupo dei penitenti con le caratteristiche “battistrangole” e il rumore dei passi lenti sul selciato, si richiama alla penitenza, alla purificazione e alla redenzione.
La processione del venerdì santo di Gubbio rievoca i simboli della passione che sfilano portati da uomini in saio e incappucciati: sono il teschio che rappresenta il Golgota, l’uomo con la croce, altri uomini con croci, il calice, i 40 denari, la corda, la colonna, il gallo, i flagelli, la corona di spine, la scritta Inri, il velo della Veronica, il sudario, i chiodi, il martello, la spugna, la lancia, i vestiti di Gesù, i dadi, la scala, le tenaglie. Questi simboli sono proceduti dagli uomini della confraternita che recano in mano il battistrangole, uno strumento in ferro che, scosso, determina un suono lugubre e sordo e richiama la popolazione alla processione e alla sua sacralità.
Seguono le statue del Cristo Morto e della Madonna Addolorata, entrambe preziose statue lignee, la prima si presume cinquecentesca, la seconda ottocentesca. Sono trasportate da uomini che indossano saio bianco con cappa nera (statua del Cristo) e saio bianco con cappa blu (statua della Madonna). Tutti i luoghi più significativi della storia di Gubbio sono raggiunti dal corteo: dal “pietrone”, antichissima pietra sacrificale che indica le origini pre-romane di Gubbio, ai conventi cittadini, all’ospedale, attraversando le vie del centro storico. In piazza San Pietro, Via Dante e Largo San Marziale sono accesi i fuochi e i bracieri. L’attenzione, il coinvolgimento con cui viene seguita la processione dai presenti determina una forte solennità e suggestione.
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: 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
Birth of St. John the Baptist
Fresco ; Wall painting sacral; Cycle ; Southern Tyrolia ;
1360 ; 1370 ; Bozen ; Italy ; Southern Tyrolia; St. Johann im Dorfe
In: Weingartner Josef: Die Kunstdenkmäler Südtirols, Bd. II Bozen, Innsbruck 1973, S. 57 ,
Paul Naredi-Rainer, Lukas Madersbacher, Kunst in Tirol, Innsbruck-Wien 2007, Bd. 1, S. 203f.
Image found at the "Institut für Realienkunde des Mittelalters und der frühen Neuzeit" on their Digital IMage Server via their search engine: www.imareal.oeaw.ac.at/realonline/
brocade, gold and silver threads
provenance: St Elizabeth Cathedral, Košice, Slovakia
location: East Slovak Museum, Košice
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)
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
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)
photographed against two sources of light
property of the Archdiocesan Museum in Krakow, Poland
provenance: Ludzmierz, Lesser Poland
for educational purpose only
please do not use without permission
AMDG
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)
Death of Mary
Tempera painting wood ; Furniture sacral ; Winged Altar ;
by "Habsburgischer Hofmaler" ; Vienna ;
1370 ; 1372 ; Innsbruck ; Austria ; Tyrolia ; "Landesmuseum Ferdinandeum Leihgabe Stift Wilten" ; (donation) IN 1962
46x66 ; Merano ; Altar in Castle Tyrolia ;
In: Paul Naredi-Rainer, Lukas Madersbacher, Kunst in Tirol, Innsbruck-Wien 2007, Bd. 1, S. 332f
Image found at the "Institut für Realienkunde des Mittelalters und der frühen Neuzeit" on their Digital IMage Server via their search engine: www.imareal.oeaw.ac.at/realonline/
Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia
for educational purpose only
please do not use without permission
AMDG
Andy Hatcher, retired Sgt USMC, poses with Cody McCasland (8 years).
Hatcher is a war vet who lost his leg in the Iraqi War and races for Operation Rebound.
Cody was born with sacral agenesis, which resulted in both his legs being amputated.
property of the Archdiocesan Museum in Krakow, Poland
provenance: Czulice, Lesser Poland (Malopolska region)
IMHO the statue is a little older
for educational purpose only
please do not use without permission
AMDG
Contact your creativity and ability to flow with the synergistic alchemy of Jasmine, Sandalwood, Rose, Neroli/Petitgrain & Rock Rose blended into Jojoba Oil. For greatest effect you can roll it across the base of spine, the top of the hips and along the low belly.
Apply when you want to feel the swirl of your creative energy. Allow your fluid, dynamic nature to ripple out and through you.
property of the Archdiocesan Museum in Krakow, Poland
provenance: Raclawice Olkuskie, Lesser Poland (Malopolska region)
for educational purpose only
please do not use without permission
AMDG
Aldo Rossi e Perugino
In uno dei capolavori di Perugino, l’”Annunciazione Ranieri”, il porticato rinascimentale fa da cornice alla scena sacrale con forte monumentalità. Si inserisce con lo stesso intento il cimitero di Modena di Aldo Rossi, che con la medesima proporzione di bucatura del porticato originale, ne riprende la volumetria e la prospettiva, fino a diventare muro perimetrale. Potente, aulico, metafisico.
In “San Bernardino risana Giovanni Antonio da Parma ferito con una pala”, invece, oltre la corte interna della scena principale, si intravede un impianto a cupola, quasi orientale: ora, sbuca il Bonnefanten Museum, opera ultima di Rossi, che con la sua copertura in acciaio ne riprende la forma.
Photos by Silvia P.
Roma, vicolo di S. Trifone / via della Barchetta
ROBOCOOP, 2015
Quadri originali:
casatoranieri.blog.tiscali.it/files/2008/03/uid_118f6750a...
www.culturaitalia.it/opencms/ThumbServlet?url=http%3A%2F%...
Architetture:
blog.fotoit.it/wp-content/uploads/2012/06/651-Franco-Zana...
www.geographic.org/photos/netherlands/bonnefanten_museum_...
