View allAll Photos Tagged sacral
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.
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
Pranu Mutteddu (o Muttedu) è una delle più suggestive e importanti aree funerarie della Sardegna preistorica. A N del pianoro, in località Su Crancu, si localizza l'agglomerato capannicolo di riferimento della necropoli.
A S di esso si trovano i sepolcreti di Pranu Mutteddu e di Nuraxeddu, eccezionalmente attorniati da folti gruppi di menhir (in coppie, in allineamento o presenti all'interno delle stesse tombe) e da costruzioni rotonde di probabile carattere sacrale.
Più a S, sul roccione di Genna Accas, è situata l'omonima necropoli ipogeica a domus de janas con tre circoli tombali.
Altre strutture affiorano nella zona circostante, particolarmente interessanti i resti dell'"allée converte" di Baccoi.
I sepolcri, costruiti con l'arenaria locale, sono in genere costituiti da due-tre anelli concentrici di pietre, talvolta presentano un paramento gradonato per il sostegno del tumulo. Al centro è presente la camera funeraria, costruita in tecnica sub-ciclopica, alla quale si accede tramite un corridoio formato da lastroni ortostatici (talvolta menhir) coperti a piattabanda.
Le celle interne si diversificano per forma, circolari o allungate, in base al numero di sepolture che dovevano ospitare: non mancano le ciste monosome dove il defunto veniva introdotto attraverso un portello quadrangolare e deposto rannicchiato.
Le coperture delle celle erano tabulari o a pseudovolta a mensole aggettanti.
La tomba II, particolarmente grandiosa, presenta l'ingresso, l'anticella e la cella funeraria scavati in due distinti blocchi rocciosi trasportati in loco e adagiati su una massicciata accuratamente predisposta; nella fine lavorazione della pietra, ottenuta con la martellina, e nel disegno architettonico e planimetrico richiamano fedelmente le sepolture a domus de janas.
Lo scavo della tomba II ha restituito vasetti miniaturistici, un pomo sferoide, punte di freccia in ossidiana, uno stiletto e un pugnaletto in selce, un piattello fittile, un'accettina in pietra bianca ed elementi di collana in argento.
Gli oggetti evidenziano un contesto Ozieri (Neolitico finale, 3200-2800 a.C.) con attardamenti nel primo Calcolitico (2800-2600 a.C.).
Per quanto riguarda i menhir, Pranu Mutteddu restituisce, con i suoi 50 esemplari, il maggiore raggruppamento della Sardegna. Distribuiti variamente, in coppia, in allineamenti, in piccoli gruppi, talora sulle stesse architetture tombali, sono realizzati con l'arenaria locale. Sono del tipo "protoantropomorfo", a forma ogivale o subogivale e superficie anteriore piana.
(Da Sardegnacultura)
www.sardegnacultura.it/j/v/253?s=20774&v=2&c=2488...
www.sardegnacultura.it/j/v/253?s=20428&v=2&c=2489...
www.ilportalesardo.it/archeo/goni.htm
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.
for educational purpose only
please do not use without permission
AMDG
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.
location: Central Slovak Museum, Banská Bystrica, Slovakia
provenance: Selce pri Banskej Bystrici
for educational purpose only
please do not use without permission
originally in the chapel of Spiš Castle
property of the East Slovak Museum in Košice
for educational purpose only
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
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: St Ann´s church, Bardejov, north-east Slovakia
location: Šariš Museum Bardejov
IMHO the statue comes from 1480s
for educational purpose only
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Martyrdom of St John Evangelist 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
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
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: St Egidius Basilica in Bardejov, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
This type of a Gothic retable, with juxtaposition of many figures in relief, is typical for Lower Saxony, but in Central Europe is regarded as unique. Altar has been badly damaged, but especially the statue of St Damian (with the drapery in beautiful style) can mediate the notion of the former altar´s glory. I´m fascinated by the statue of an unknown old bearded saint with big eyes and twisted neck (third figure from the left), it gives me the creeps :-) Regarding iconography, any suggestion is cordially welcome.
provenance: Šiba, Šariš, north-east Slovakia
for educational purpose only
please do not use without permission
provenance: Richvald, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
provenance: Richvald, Šariš county, north-east Slovakia
location: Šariš Museum Bardejov
for educational purpose only
please do not use without permission
This type of a Gothic retable, with juxtaposition of many figures in relief, is typical for Lower Saxony, but in Central Europe is regarded as unique. Altar has been badly damaged, but especially the statue of St Damian (with the drapery in beautiful style) can mediate the notion of the former altar´s glory. I´m fascinated by the statue of an unknown old bearded saint with big eyes and twisted neck (third figure from the left), it gives me the creeps :-) Regarding iconography, any suggestion is cordially welcome.
provenance: Šiba, Šariš, north-east Slovakia
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
for educational purpose only
please do not use without permission
This type of a Gothic retable, with juxtaposition of many figures in relief, is typical for Lower Saxony, but in Central Europe is regarded as unique. Altar has been badly damaged, but especially the statue of St Damian (with the drapery in beautiful style) can mediate the notion of the former altar´s glory. I´m fascinated by the statue of an unknown old bearded saint with big eyes and twisted neck (third figure from the left), it gives me the creeps :-) Regarding iconography, any suggestion is cordially welcome.
provenance: Šiba, Šariš, north-east Slovakia
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
provenance: Danišovce, Spiš county
location: Spiš Museum in Levoča
height: 120 cm
for educational use only
please do not use without permission
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)