property of the Archdiocesan Museum in Krakow, Poland

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

provenance: Fričovce, Šariš county, north-east Slovakia

location: Šariš Museum Bardejov

for educational purpose only

please do not use without permission

Parish church of the Holy Cross, Kežmarok, Spiš county, 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

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.

S1-S2 Seperation - Displacement

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 Ann´s church, Bardejov, north-east Slovakia

location: Šariš Museum Bardejov

IMHO the statue comes from 1480s

for educational purpose only

please do not use without permission

provenance: St Ann´s church, Bardejov, north-east Slovakia

location: Šariš Museum Bardejov

IMHO the statue comes from 1480s

for educational purpose only

please do not use without permission

provenance: St Ann´s church, Bardejov, north-east Slovakia

location: Šariš Museum Bardejov

IMHO the statue comes from 1480s

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

Pashupatinath in Nepal

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

location: Central Slovak Museum, Banská Bystrica, Slovakia

provenance: Selce pri Banskej Bystrici

for educational purpose only

please do not use without permission

provenance: St Ann´s church, Bardejov, north-east Slovakia

location: Šariš Museum Bardejov

IMHO the statue comes from 1480s

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

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

Hyde Park United Methodist Church, Cincinnati, OH

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

Sketchblog: sharonfrost.tyeppad.com/day_books

3 1/2 x 11 in. double page moleskine spread; watercolor, ink, whatever on paper.

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.

[di Chiara Zirino]

www.medioevoinumbria.it/ita/folklore/miserere2.htm

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.

[di Chiara Zirino]

www.medioevoinumbria.it/ita/folklore/miserere2.htm

Kristus karaļa kalnā

from the altarpiece of Ľubica, north-east Slovakia

location: East Slovak Museum Košice

for educational purpose only

please do not use without permission

ƒ/8.0 55.0 mm 1/2000 1600

location: Nativity altarpiece, parish church in Levoča

(please do not use without permission)

Among the beautiful sacral sights we can undoubtedly include the Greek Catholic wooden Church of the Protection of the Holy Mother of God from 1770, which stands in the mountain village of Miroľa in the northeastern region of Slovakia.

It has a characteristic log structure and a three-part outer and inner division. The interior is decorated with iconostasis and altar. In the sanctuary, there is the icon of the archangel Michael and the icon of the Mother of God, Virgin Hodegetria with praise located. Liturgical objects are found in the anteroom that were revealed in the individual rebuildings of the temple. Especially the rare raincoat, probably from the 17th century, is worth noticing.

A special chapter is the rare books used in religious services in the Church-Slavic language. The temple has been repaired several times, most recently a complete reconstruction in 2005-2008 has been carried out. As well as with other wooden churches, even here stands a wooden entrance gate with a low shingled roof in front of the church.

www.kamnavylet.sk/en/attraction/wooden-church-in-mirola