View allAll Photos Tagged sacral
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: Czulice, Lesser Poland (Malopolska region)
IMHO the statue is a little older
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AMDG
Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia
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brocade, gold and silver threads
provenance: St Elizabeth Cathedral, Košice, Slovakia
location: East Slovak Museum, Košice
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please do not use without permission
vista of the original Gothic Louvre palace behind St John Baptist
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location: parish church of St Nicholas in Prešov, eastern Slovakia
dating: c 1720s
(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)
Fresco ; Wall painting sacral ; Cycle ;
by Thomas von Villach (~ 1435-~ 1529) ; Kärnten
1470 ; 1480 ; in Thörl ; Austria ; Kärnten ; Parish Church ; Choir
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/
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 Slovak National Gallery Bratislava, Slovakia
height 150 cm
for educational purpose only
please do not use without permission
The clergy followed the politicians' lead at almost every juncture, leaving transcendent morality at the footstool of a sacralized patriotism. It's true that, even more than the politicians, and certainly more than the secular Northern press, the Northern clergy trumpeted the virtues of universal emancipation and the sin of slavery, and on this count deserve praise. Some even went so far as to protest racism in the North, as Moses Smith did in a Thanksgiving sermon to his Plainville, Connecticut, Congregational church: "[A]s to the black man, he is as really, and I have sometimes believed more terribly enslaved at the North than at the South. He knows that he is a slave there, and expects a slave's reward. But here he is tantalized with the name of freedom, but denied its privileges. … Do what he will and be what he will, he is hated everywhere at the North, banished from society, denied often so much as a seat in the cars. … We talk of liberty? Of all galling bondage, this bondage to social feelings, this servitude to caste, this being a "nigger" in society, and "a nigger" at the communion table is probably the most heartless and unrelenting slavery beneath the skies. It may not shackle the body, but it crushes the mind and kills the heart."
~ from Upon the Altar of the Nation: A Moral History of the Civil War,
by Harry S. Stout
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
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AMDG
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property of the Slovak National Gallery, Bratislava, Slovakia
for educational purpose only
please do not use without permission
dôležitá informácia v Profile
Idyllic sacral landscape
The painting, which was found on May 2nd 1766, comes from the northern wall of the ekklesiasterion (a room dedicated to worship, where only Isiac priests could enter) of the Temple of Isis.
The fragment, pertaining to the central area of a wall in the IV Pompeian style, was originally placed on the left side of the painting depicting Io, Argos and Hermes, as demonstrated by the engraving made by Casanova on Morghen’s drawing.
Of the theatrical scene painting, in which the landscape was inserted, as if it was a real place seen through a window, remains a residue of pillar. In the middle of the composition, on a small island surrounded by dark blue water, there is a small distyle temple flanked by a sacred door.
On the left side, in the foreground, there is an arula adorned with female figurines, probably Isiac priestesses, that lift with one hand the hem of their garments, while with the other carry a tray of offerings or another attribute. The only living being of the composition, which seems to evoke places of Upper Egypt, is a kingfisher with bright deep blue and violet feathering, resting on a rock, in the foreground.
High altar of the Holy Cross: panel paintings and predella reliefs by anonymous master from 1450-1460, over life size crucifixion (one of the best in Slovakia) by Master Paul of Levoča from around 1510, Virgin Mary by an unknown Kežmarok carver from the beginning of the 16th century (headwear is a later addition), St John and Mary Magdalene are from 17th century.
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AMDG
property of the Slovak National Gallery Bratislava, Slovakia
height 150 cm
for educational purpose only
please do not use without permission
Baptism of Christ on the other side of the panel
provenance: St Elizabeth Cathedral in Košice
location: East Slovak Museum in Košice
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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
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
My friend Matthias from www.aundm.com/ illuminated the Aachener Dom from the inside at the Night of Youth of the "Aachener Heiligtumsfahrt". (Aachener Heiligtumsfahrt = religious used-to-be masses pilgrim to Aachen in order to see the four relics of the catholic faith. Or the things, the church say, they are...)
Aside from the religious stuff there, the dom is really beautiful, inked in all the colors (ok, mainly blue!).
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
Košice, Abov county, eastern Slovakia
Gothic reliefs 1400-1430
Baroque sculptural additions 1720 by Simon Grimming
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Een merkwaardig bouwwerk in alle opzichten
Plaats: psychiatrisch centrum Sint-Norbertus te Duffel - Antwerpen België
Realisatiejaar: 2007
Ontwerp: Thierry De Cordier; Belgisch beeldend kunstenaar, schilder, beeldhouwer, tekenaar, graficus.
Voor de tuin van het psychiatrisch centrum Sint-Norbertus te Duffel ontwierp De Cordier in 2007 een Kapel van het niets.Het is in alle opzichten een merkwaardig bouwwerk.
Bedacht als een zwartbeschilderde betonnen doos met een ontsloten ruimtelijkheid via de witte binnenwanden en de 8 m hoge betonplaat met dramatisch binnenvallend licht. De binnenruimte is vrijwel leeg op een zitbank na en een smalle zwarte pijler als teken, frontaal geplaatst voor de witte hoge wand.
Deze sacrale ruimte opgevat als een stille ruimte voor de patiënten en de bezoekers van de instelling moet een plek van rust en meditatie worden. De vormentaal van De Cordier verwijst naar de Kaaba in Mekka, de Victory Boogie Woogie van Piet Mondriaan of de negatie van schilderkunst, het zwarte vierkant van Kazimir Malevitsj.
De muren werden volledig bekleed met Duo van De Boer.
A remarkable building
Plaats: Psychiatric centre Sint-Norbertus at Duffel- Antwerp, Belgium
Realisatiejaar: 2007
Ontwerp: Designed by: Thierry De Cordier: Belgian graphic artist, painter, sculptor and designer.
De Cordier designed this chapel, named Kapel van het niets”, for the garden of the psychiatric centre Sint-Norbertus in Duffel in 2007. It is by al means a peculiar construction.
Created as a black-coated concrete box with an opened up internal space by means of white walls and the 8-meter high concrete slab with dramatic, penetrating light. The interior space is almost empty with one bench and a narrow black column placed as a sign in front of the high, white wall.
This sacred space serves as a silent room for patients and visitors; it is a place of peace and quiet. With this shape De Cordier refers to the Kaaba in Mekka, the Victory Boogie Woogie of Piet Mondriaan or the negation of paint art: the black square of Kazimir Malevitsj.
De walls are covered with Duo from De Boer.
Martyrdom of St John Evangelist on the other side of the panel
provenance: St Elizabeth Cathedral in Košice
location: East Slovak Museum in Košice
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please do not use without permission
L'infiorata è un momento magico dove la sacralità, la fede, l'arte e la natura s'incontrano piacevolmente disegnando pitture nella terra come nel cuore. L’evento si svolge ogni anno, nel mese di Giugno, dove un immenso tappeto floreale si estende articolandosi in vari quadri, per circa 2000 metri, coprendo interamente il percorso della solenne processione.
Un sentito ringraziamento a tutti di vero cuore per aver visitato la mia galleria fotografica !!!
© Tutti i diritti riservati. Si prega di non utilizzare le foto senza il mio permesso
© All rights reserved. Please don't use photos without my 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: Lesser Poland
for educational purpose only
please do not use without permission
AMDG
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...
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
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)
The landmark of the old mining village with interesting spindle-shaped urbanism is the Lutheran Church located on a low hill at the upper end of the village called Koceľovce. The church is an almost intactly preserved Gothic building from the first half of the 14th century, originally dedicated to St. Bartholomew.
The single-nave space with a polygonal chancel, a sacristy on the north side and a high tower on a square plan in the west, which turns into an octogon on the upper floors, is covered by a high gabled roof with shingles. The roofing of the tower, with an atypical metal Art Nouveau helmet, dates from the beginning of the 20th century. The nave is vaulted with classicist Theresian vaults instead of the original beamed ceiling, which is stylishly followed by an equally vaulted brick porch. During the last third of the 14th century, the polygonal chancel was built and vaulted with a cross rib vault. The stylistic purity of the church is emphasized by high windows divided by profiled bars and tracery and a system of supporting pillars of the chancel. The current southern entrance to the church was opened during the restoration in the 2nd half of the 18th century, it is closed by a Gothic door with decorative fittings, which were transferred here from the original entrance portal in the tower. Another Gothic door with rich wrought iron decoration is in the portal to the sacristy. This interesting wrought iron door also became the logo of the church.