View allAll Photos Tagged sacral
Košice, Abov county, eastern Slovakia
Gothic reliefs 1400-1430
Baroque sculptural additions 1720 by Simon Grimming
(please do not use without permission)
Zagreb 14th June 2009
The Zagreb Cathedral on Kaptol is a Roman Catholic institution and not only the tallest building in Croatia, but also the most monumental sacral building in Gothic style southeast of the Alps.[3] It is dedicated to the Assumption of Mary and to kings Saint Stephen and Saint Ladislaus. The cathedral is typically Gothic, as is its sacristy, which is of great architectural value. Its prominent spires are considered to be landmarks as they are visible from most parts of the city.
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History[edit]
In 1093 when king Ladislaus (1040-1095) moved the bishop's chair from Sisak to Zagreb, he proclaimed the existing church as a cathedral. Construction on the cathedral started shortly after his death and was finished in 1217 and consecrated by king Andrew II of Hungary. The building was destroyed by the Mongols in 1242 but rebuilt by bishop Timotej (1263-1287) a few years later. At the end of the 15th century, the Ottoman Empire invaded Croatia, triggering the construction of fortification walls around the cathedral, some of which are still intact. In the 17th century, a fortified renaissance watchtower was erected on the south side, and was used as a military observation point, because of the Ottoman threat.
The cathedral was severely damaged in the 1880 Zagreb earthquake. The main nave collapsed and the tower was damaged beyond repair. The restoration of the cathedral in the Neo-Gothic style was led by Hermann Bollé, bringing the cathedral to its present form. As part of that restoration, two spires 108 m (354 ft) high were raised on the western side, both of which are now in the process of being restored as part of an extensive general restoration of the cathedral.
The cathedral is depicted on the reverse of the Croatian 1000 kuna banknote issued in 1993.[4]
When facing the portal, the building is 46 meters wide and 108 meters high.[5] The cathedral contains a relief of Cardinal Aloysius Stepinac with Christ done by the Croatian sculptor Ivan Meštrović. The cathedral was visited by Pope Benedict XVI on 5 June 2011 where he celebrated Sunday Vespers and prayed before the tomb of Blessed Aloysius Stepinac.
The inner side of the wooden dome to a Greek-Orthodox Church from 1775 in Wola Wielka.
The Church has not been in use since 1994, but if you're interested in what's inside, you can easily borrow the keys to the front door and visit it on your own.
On the side of the Church there is a detached bellfry from the 18th century.
(PL 10999)
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.
location: parish church of St Nicholas in Prešov, eastern Slovakia
dating: c 1720s
(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.
My pal, Sara, and this sow took a shine to one another. A good sacral spine rubbin' was just what the vet ordered.
Parish church of the Holy Cross, Kežmarok, Spiš county, Slovakia
for educational purpose only
please do not use without permission
AMDG
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
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
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
The religions being preached all around, emphasize on doing good “karma” which means doing good deeds, alongside mentioning that how everything which is happening is happening as to the wish of the invisible force, “almighty/god”, which means what so ever one is experiencing and occurring is because that invisible force is wishing that to occur. So if this be the case, how is the individual responsible for the thing which it has done, or rather made to “do”, in the present set up either one of the statement has to be false, either the statement of all happening by the wish of that invisible or the person has to pay for its bad karmas or have reward for the good ones.
The existence of the energies, remains the same, its just how to you changed your stance ( by the afflicting changing landscape, emotions, who are there because of your perception as what may or likely to happen) is what makes “you” take the saddle, as its you who has chosen exhibiting energy in that particular manner. If the energies are maintained at optimum levels, then there is no sense of fear, stress and other associating emotions, as their optimal levels makes you to be rejoicing each moment, and work towards making it better, but without any prejudice, fear.
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The fortified early Gothic church from the first half of the 14th century was built on the site of an older building. In the 15th century it was fortified with a wall and a wooden bell tower was built on the grounds in 1657. The single-nave space with a square-ended presbytery and a built-in sacristy has a painted cassette ceiling from 1758, the presbytery is characteristic by its rib vault. The mural paintings date back to the 60s of the 14th century and the creator of at least a part of them is the Master of Ochtiná presbytery. These interior frescoes were discovered in the early 20th century by I. Huszka who was restoring them in 1905. All the paintings, interior and exterior ones, were completely restored between 1983 and 1985 by J. Josefík, L. Székely and I. Žuch.
Within the almost intact medieval church, the murals have a uniquely strong impression and informative value, thanks to their scale and complexity of preservation. Thematically they focus on individual scenes from the Marian and the Passion cycle, but they do not have a uniform concept unlike the upper belt on the nave’s northern wall with a complete depiction of the St. Ladislaus legend.
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
Franciscan church in Bratislava, Slovakia
for educational purpose only
please do not use without permission
AMDG
This imposing edifice comprises a couple of historical buildings representing defensive, sacral and public architecture from different periods of time. Once upon a time, it was one of the finest renaissance royal residences in Poland.
During the Lublin Diet 1569 king Sigismund Augustus signed the Lublin Union here between Poland and Lithuania.
The Castle suffered a significant damage during the wars against the Swedes and Cossacs in the 17th C but, fortunately, the 13th C. romanesque tower, known as the donjon, and the 14th C's gothic chapel of the Holy Trinity with amazing russo-bysantine frescoes suffered no harm.
The neogothic frame of today's Castle was designed in the first half of the 19th Century to serve as a prison and was used by the Nazis during WW II as an execution place for many Jewish and Polish people.
Today the Castle accommodates a museum, and interesting art exhibitions and musical concerts are often kept here.
(100_2285)
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.
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
Schwarzenberská hrobka
Třeboň
"There are two compartments. The first floor is the compartment dedicated to the chapel, which is used for sacral purposes. In the underground space, there is a depository for 26 coffins. On the first floor, which has an octagonal shape, we can see the imitation of stone. The whole building is constructed of hard burned bricks and covered with very durable plaster. On this plaster, the shapes of stone give the impression that it is all made from stone. This plaster is very nicely decorated with stucco.
"Until now, the interior never underwent reparation work because the plaster was made with a special method which is very durable. The space is dominated by the very modest altar. It is made from white sand stone, fine alabaster, and Istrian marble. In the centre stands a sculpture of Jesus Christ but not as a symbol of suffering and being crucified but as a symbol of hope. He was resurrected on the third day after crucifixion and that is why the sculpture features him this way."
Trebon was the first place in the Czech kingdom where a Schwarzenberg lord settled.
source:
www.radio.cz/en/section/czechs/a-tour-of-the-schwarzenber...