property of the Slovak National Gallery Bratislava, Slovakia

height 150 cm

for educational purpose only

please do not use without permission

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.

Rimavské Brezovo, like many other municipalities in the region, is associated with mining history. The originally early Gothic church, towering over the silhouette of low village houses, used to be dedicated to the Birth of the Virgin Mary before the Reformation. The name of the village was given according to the first written historical reference from the year 1334 as Brezou and, for some time, it was also the county seat of Malohont. The single-nave church was probably built in the first half of the 14th century with a square-ended chancel and a rib vault. Due to the population increase connected with the establishment of iron works facility in the village at the end of the 18th century, the church capacity was insufficient. Therefore, the largest reconstruction of the temple was undertaken in 1893. The original sacristy on the northern side was demolished, the entrance was walled and the nave was extended southwards. The older chancel thus lost its role and started to be used as a sitting space. Thanks to this reconstruction, medieval murals were found under layers of lime paint and their restoration was then devoted to I. Möller and I. Huszek. Unfortunately the work was not always done in the most sparing way. Quality interior paintings in the original Gothic section are probably the work of artists from the workshop of the Master of Ochtiná chancel. The most striking element is Christ in Glory, the figure of the blessing Christ in the shining circle with the Sun and the Moon, depicted in the eastern part of the vault. The winged lion and the golden-winged eagle on the sides symbolize the evangelists Mark and John. Opposite to them are an angel and a winged bull as Matthew and Luke. The Marian theme is elaborated in two bands around the perimeter of the entire chancel. The lower band of the northern wall belongs to the depiction of the Death of the Virgin Mary, above this composition we find a quite unique, for this region, Italian-Byzantine motif of the Assumption with the figure of Christ in the mandorla. A small child stands on his knees as the soul of the Virgin Mary, the whole scene is held by four stylized angels. Beneath the Marian cycle, the entire perimeter of the walls is painted with a template ornament, into which the strip of four-leaf-shaped medallions with heads of prophets is inserted. This part of the paintings appears to be the least affected by the re-paintings and is preserved in a very good condition and in the original colours. On the walls of the nave, due to various building modifications, the frescoes were preserved only in fragments. The most intact frescoes are on the southern part of the triumphal arch: the Christ in a mandorla, a blessing angel, or St. Bartholomew, who was skinned alive, he carries the skin on a stick. Remnants of the Christological Cycle, such as the Christ carrying the cross or the Crucifixion, were preserved on the northern wall of the nave. The southern wall was largely destroyed during the redevelopment. However, research has revealed a depiction of St. Anne as a madonna with a child in her arms, with women carrying gifts in baskets walking into her direction. They also carry young pigeons to prepare a traditional strengthening soup for the fresh mother. This scene is very likely utterly unique on the territory of Slovakia. Comprehensive restoration and research were carried out in successive stages from 2005 till 2019, and the original approximately 700-year-old paving in the chancel was a valuable discovery as well. The restoration of the chancel was awarded by the main prize of the Cultural monument of the year 2012, the artworks were renewed by M. Janšto and R. Boroš. The church logo symbolically depicts a fresco of a young maiden attacked by devils in the hell from the church nave

Sarajevo, Bosnia-Herzegovina, July 2009

(Serbian/Bosnian: Saborna Crkva Rođenja Presvete Bogorodice) is the largest Serbian Orthodox church in Sarajevo and one of the largest in the Balkans.

It was erected at the request of the Orthodox parish of Sarajevo between 1863-1868.

provenance: Zlaté, Šariš county, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission

2006. 1 x 1 x 0,2 m. Wooden crucifix, projector, dvd player. More information about this artwork can be found at: www.markuskison.de/crucifixion

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 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)

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

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

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

Pashupatinath in Nepal

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 18th century University Church; Wroclaw; Poland

I have never before seen this kind of sacral instrument in a church.

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

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

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

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)

Famous sacral building from Kutna Hora which is by the way near Munchen or Bratislava as well.

The Dormition Church (Успенська церква), city if Lviv (Львів), western Ukraine.

Read more:

en.wikipedia.org/wiki/Dormition_Church,_Lviv

en.wikipedia.org/wiki/Lviv

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

location: parish church of St Nicholas in Prešov, eastern Slovakia

dating: c 1720s

(please do not use without permission)

from the altarpiece of Ľubica, Spiš county, north-east Slovakia

location: East Slovak Museum Košice

for educational purpose only

please do not use without permission

location: Šariš, eastern Slovakia

for educational purpose only

please do not use without permission

AMDG

provenance: St Egidius Basilica in Bardejov, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission

from the altarpiece of Ľubica, Spiš, north-east Slovakia

location: East Slovak Museum Košice

for educational purpose only

please do not use without permission

location: Central Slovak Museum, Banská Bystrica, Slovakia

provenance: Selce pri Banskej Bystrici

height: c 120 cm

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

provenance: Richvald, Šariš county, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission

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

location: Šariš, eastern Slovakia

for educational purpose only

please do not use without permission

AMDG

Church of St. Ladislav ( Bratislava )

Country Slovakia Slovakia

City of Bratislava

Coordinates : 48 ° 8'45 "N 17 ° 6'50 " W

Classicism style

Construction 1830 - 1832

Roman Catholic

Consecration of St. Ladislav

Report parish of St. Martin of Tours, Bratislava

Wikimedia Commons: Church of St. Ladislav

Address: Spitalska Street 7

Church of St. Ladislav is a classicist sacral building in Bratislava's Old Town district, Spitalska Street. Is dedicated Ugrian king Ladislaus I. of the House of Árpád. The church is part of the four-wing urban hospital.

Construction History

Church of St. Ladislav is one of the oldest religious buildings in the city. Construction of the present church, is the third standing here. According to the traditional instrument of June 1309 was established at this point, before the Bratislava suburb of Lawrence 's gate, thanks to the Order Antonito, a hospital, which was attached to already existing chapel of the monastery. This building existed here until the end of 14th century. In its place was established in 1397 a new hospital building with a chapel dedicated to St. Ladislaus. According to the hospital it was given the name of the street where it was built.

In 1428, Bratislava was in the Hussite threat. The city is safe hidden behind walls, however, the Hussites failed to capture it, but the area in front of it was very devastated. Since their looting did not escape the hospital, the city was forced to leave after their construction services while simultaneously reconstructed the monastery building Antonito .

The entire complex of buildings served its purpose until 1529, when it was in preparation for the defense against the Turks zrúcali. Antonito went out of town.

Špitála new building built in 1543, the hospital was established a cemetery, which in 1596 built an ossuary. Hospital had two wings vaulted ground floor cross vaults and central columns. In the courtyard stood another building, on the right side of the street wing was nave chapel. Ladislav. Early 19th century building was in a very dilapidated condition and chapel for safety reasons had to close.

Today's new building was built on the Catholic faithful offerings designed by St. Ignatius Feigler. When laying the foundation stone in 1830 (figure testifies to the inscription over the entrance to the church) was personally present Hungarian monarch Ferdinand V. together with the archbishop of Esztergom, cardinal Alexander Rudnaya. The construction was completed in 1832.

Contract description

Insight into the presbytery

Spacious four-winged building footprint on a one-nave church in the central axis. Sacral building with a dome was built on an oval ground plan with radial chapels. Špitála facade is developed in width, but in the middle kinked facade of the church, culminating built square tower with a bell tower, topped pyramidal roof. The facade dominant semicircular window and massive Tympanum.

In 1891 F. Cancel restored the church. Proposed colorful windows, which were drawn up in the following year A. Vermes in Šoporňa. Originally, the interior painted in white, F. Grünwind, painter churches in 1927 filled the interior of the church figural wall paintings and override the classical character of the building .

The main altar consists of outposts canteen with classical tabernacle. On the wall hangs a large painting The Apotheosis of St. Ladislaus, the works of the painter Ferdinand Lütgendorf of 1830, the plan to lower the image to see the church. Ladislaus the hospital.

Altarpiece on the side altar of St. Anna classicism, painted by Viennese painter Joseph Kliegl in1830. From the same year comes a portrait of Christ on the cross at Calvary side altar by the Viennese painter Mayer.

sk.wikipedia.org/wiki/Kostol_sv%C3%A4t%C3%A9ho_Ladislava_(Bratislava)

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

provenance: Richvald, Šariš county, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission

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