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The original cathedral was built between 1019 and 1500 in Romanesque and Gothic styles.
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Die Stiftskirche Mariä Himmelfahrt in Obermedlingen ist Teil des ehemaligen Klosters Obermedlingen. Im Jahre 1700 wurde der Grundstein für den Neubau des ehemaligen Klosters und der heutigen Stiftskirche gelegt. Die Kirche wurde 1721 vom damaligen Augsburger Weihbischof Johann Jakob Mayer geweiht, obwohl die Ausstattung noch nicht fertiggestellt war.
Die Ausstattung ist in einem vornehmen frühbarocken Weiß gehalten, zu dem die Altäre, Beichtstühle, Sitzreihen, das Chorgestühl, die Orgel und die Kanzel aus dunkelbraunem Holz einen harmonischen Kontrast bilden. Äußerst beachtenswert sind die Intarsienarbeiten. Die großen Gemälde und Fresken an der Decke schuf Konrad Huber 1784. Davon ist allerdings nur noch das Deckengemälde im Chor erhalten, da ein Teil des Langhausgewölbes 1861 einstürzte. Die heutigen neobarocken Deckengemälde im Langhaus schuf 1894/1896 der Münchner Maler Josef Huber-Feldkirch. Der Deckenstuck ging 1861 ebenfalls verloren, aber die verbliebenen, überaus reichen Stuckaturen im Chor und der Sakristei zeugen von großem Können und sind von hoher Qualität, sodass das Wirken Dominikus Zimmermanns angenommen wird.
Der Außenbau ist durch den weithin sichtbaren, 73 Meter hohen Kirchturm mit Doppelzwiebelhaube besonders imponierend. Er ist der höchste Kirchturm Nordschwabens. Beeindruckend ist auch die Gestaltung der Westfassade der Kirche.
Weltenburg Abbey is located directly on the Danube just before the narrowing near Kehlheim.
The monastery church was rebuilt between 1716 and 1718. The builder is Philipp Plank. But in 1718 the shell was only completed, only a provisional altar was set up and the interior work began.
Cosmas Damian Asam and his brother Egid Quirin Asam can be obtained for the equipment.
Master stonemason Pietro Francesco Giorgioli from Ticino and the local stonemason Matthias Einsele created all marble work until 1720.
In 1721 Cosmas Damian Asam started the dome fresco. Also in 1721, Egid Quirin Asam arrived at the construction site after he had finished his work in the nearby Rohr monastery. He starts with the high altar in the same year. Up to this point the choir wall is still a straight end. The Asam brothers have the choir rebuilt in order to better illuminate the high altar with its figure of St. George. Maria Salome Bornschlegel, the sister of the Asam brothers, began in 1723 with the gold setting of the stucco work and the setting of the high altar.
In 1734, the building was suspended for 10 years, Egid Quirin and Cosmas Damian Asam were given to build the side altars. In 1735 Cosmas Damian Asam leaves the construction site due to payment problems. This is how his son Franz Erasmus Asam completes the work.
The pulpit and confessionals are made by the stonemason Johann Jakob Kürschner. And made entirely of marble. In 1729 the organ was installed on the west gallery. The organ builder Konrad Brandenstein received the order for this in 1728.
Despite the fact that the church is not large, it is one of the most important baroque sacred buildings in Europe. The entire architecture is geared towards the indirectly illuminated ceiling fresco as well as the indirectly backlit statue of St. George on the high altar, a masterpiece executed as the “Theatrum sacrum”.
At the highest point in the old town, the cathedral defines the backdrop of Passau. The cathedral is the cathedral of the Diocese of Passau.
The history of the sacred building goes back to the 8th century.
The baroque church was built between 1668 and 1693, only the Gothic choir was included.
Carlo Lurago is responsible for the overall planning, with the help of the stonemasons Francesco della Torre and Giovanni Battista Passerini.
The interior is characterized by the rich, plastic stucco by Giovanni Battista Carleone.
Carpoforo Tencalla painted the frescoes between 1679 and 1684 according to a program by the dean Johann Bernhadin Gentilotti from Linz.
Not only the stucco comes from Giovanni Battista Carleone, but also the side altars, while the high altar is the work of Josef Henselmann, from 1947-1953.
What would Passau Cathedral be without its organ? It is the largest cathedral organ in the world with 17,974 pipes. Its history is long and it has undergone several renovations.
This side chapel of the Votive Church in Vienna captured my eye with its beautifully colored and incredibly detailed church windows.
The parish church of St. Johannes Baptist zu Steingaden is the former monastery church of the Upper Bavarian community. The sacred building also has the nickname "Welfenmünster", there
1147 Margrave Welf VI. founds a monastery in Steingaden. It was to serve as the burial place of the Guelphs. Welf VI. the monastery hands over the Premonstratensian from Rot an der Rot for settlement with monks.
In 1176 the Romanesque monastery church, which is still preserved in its substance, was consecrated. In 1402 a fire destroyed large parts of the church and the monastery.
In 1525 the monastery and church again suffered severe damage as a result of the peasant war. After the reconstruction, the monastery burns again. In 1646 the buildings fell victim to a major fire as a result of the Thirty Years' War.
In the course of the reconstruction of the monastery and church, Mathias Schmuzer and his son Johannes stuccoed the interior of the church. This stucco is still preserved in the side aisles and in the choir. Jörg Pfeiffer delivers five altars during this time. Completion of this work in 1663.
For the 600th anniversary of the founding of the monastery, from 1740, the nave is redesigned in the Rococo style.
Franz Xaver Schmuzer is responsible for the stucco, Johann Georg Bergmüller paints the ceiling and arcade frescoes. The splendid rococo pulpit comes from Anton Sturm's workshop.
A beautiful prospectus contains an organ by, probably, Johann Georg Hörtich, built in 1745.
Wenn das neue Jahr so beginnt, wie das alte aufgehört hat, können wir uns auf etwas gefasst machen… Bleib heiter und frohes Neues!
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If the new year starts like the old one ended, we can be prepared for something... Stay cheerful and Happy New Year!
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.
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Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
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©Andreas Dlugosch
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Info's zum Foto hier
de.wikipedia.org/wiki/Filialkirche_St._Petrus_(Au_am_Inn)
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The Upper Bavarian Benediktbeuern is characterized by its imposing monastery complex.
In 1681 the construction of the new monastery church of St. Benedict started according to plans by the architect Abbot Placidus. The construction is carried out by Caspar Feichtmayr. Abbot Placidus' plans are not considered particularly successful. On the other hand, the excellent stucco work, which is carried out by Giovanni Prospero Brenni from Ticino and Giovanni Nicòlo Perti from Lake Como, was successful.
Georg Asam paints the ceiling paintings. In the nave, mostly al secco, but the choir paintings and the paintings in the side chapels are done al fresco. These are the first frescoes in Upper Bavaria.
The interior of the church is richly decorated with altars. In 1686 the high altar and its two side altars are only available, the rest of the altar fittings are gradually being added.
In 1788 the altar leaves from the high and its two side altars are replaced with paintings by Martin Knoller. In 1790 a clock was placed on the high altar.
The pulpit is also an original from 1686, as is the organ, which, however, received a new case in 1771. The gallery parapet is from the same year.
The sacristy of the Chalices is a rectangular building built into the Cathedral of Seville which houses a splendid collection of religious painting.
The construction of the Chalices sacristy began in 1509 by the master builder of the cathedral Alonso Rodríguez. After the management passed through different hands and the works were stopped for a time, the project was resumed with a new design made by Diego de Riaño, although finally, due to the master’s death, it was completed by Martín de Gainza in 1537.
The church in Lidzbark Warmiński, under the invocation of Saints Peter and Paul, is a late Gothic, oriented brick building. The church’s rectangular-plan body holds a nave, two aisles and five bays.
The building adjoins a multi-storey chancel to the south and a five-storey tower to the east, whose exterior is decorated with manifold cavities. The church is accessed via a two-story baroque gate, dating from 1760 and topped with a lantern. Twelve terracotta figures of the apostles, made in Munich, are placed on the wall separating the church from the presbytery. The interior of the building is covered with star vaults supported by eight pillars and four pilasters.
(funduszfilmowy.warmia.mazury.pl/en/lokacje-filmowe/lidzba...)
The pilgrimage church of Our Lady stands picturesquely on Lake Constance. The builder is Peter Thumb. Construction began in 1746, and the shell was completed in 1748. The church was consecrated in September 1750 with the participation of 20,000 people. The celebrations last for several days.
The plasterer Joseph Anton Feuchtmayer can be won over to design the interior. He not only stuccoed the church, he also made the altars, the pulpit, the seating and the figures. Together with the fresco painter Gottfried Bernhard Göz, the two create a magnificent work of art.
Die Hofkirche, ursprünglich ein romanischer Bau, ist das sakrale Zentrum des Chorherrenstifts St. Leodegar und Mauritius.
Die Kirche wurde bei einem Brand 1633 zerstört. Die beiden Türme der Kirche, die noch romanische Bauelemente zeigen, blieben bestehen.
The Hofkirche, originally a Romanesque building, is the sacral center of the monastery of St. Leodegar and Mauritius.
The church was destroyed in a fire in 1633. The two towers of the church, which still show Romanesque elements, remained.
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.
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.
In 1368, the Carmelite Monastery was founded in Straubing by Duke Albert I.
The monastery church was built between 1368 and 1430, and seven new altars were consecrated in 1370. The builders are Hans von Burghausen, Hans Krumenauer and Konrad von Straubing.
Wolfgang Dienzenhofer redesigned the church between 1700 and 1755 in the baroque style.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
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©Andreas Dlugosch
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Info's zum Foto hier
www.oberbergkirchen.de/oberbergkirchen/gemeinde/geschichte/
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The Cathedral of Seville is built on the old aljama mosque of the city, this shows the power that one culture exercises over another when it is conquered. This fact makes its plan different, facing Mecca and not Jerusalem, that is, facing south instead of east. It should be clarified that Mecca is oriented at 10o from Seville and not at 86o as the old mosque is oriented, this is due to the fact that in Al-Andalus the mosques had to be oriented towards the south quadrant and not towards the east, as the Christian churches did. When the Cathedral Chapter commissioned the design of the Gothic Cathedral, it stated verbatim that it wanted a Cathedral that everyone who saw it would take for crazy. For this, 5 naves were created that covered the 116 by 76 meter rectangle occupied by the Almohad mosque, this results, unlike what was usual in the great European Gothic Cathedrals, a hall plan with a Latin cross marked in height and in width by the central naves and the transept. This hall plan also results in the absence of an ambulatory at the head, which ends in a straight line like the wall of the old mosque. Later the Royal Chapel would be added, which is a Renaissance apse, but it does not really correspond to the Gothic company. In the naves of the Gospel and the Epistle, which are the lateral naves, there are many chapels. The 60 pillars support 68 ogive vaults, highlighting those of the transept and central nave with their star shapes. Instead of placing a clerestory, a continuous balcony was chosen along the main nave in order to be able to wander around the temple without being seen. Located in the central nave, in order from the feet, are the Retrochoir, the Choir, with two organs, the Transept, the Main Altar, the Back of Altar and the Royal Chapel.
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
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©Andreas Dlugosch
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Info's zum Foto hier
de.wikipedia.org/wiki/Filialkirche_St._Petrus_(Au_am_Inn)
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All'ingresso della Valle di Santo Spirito, dopo le spettacolari Gole di Fara San Martino, sorgono i resti di un antico Monastero risalente all'anno Mille, il Monastero di San Martino a Valle.
Travolto da un'antica frana e rimasto a lungo sepolto, nell'800 fu riportato parzialmente alla luce per la prima volta, poi di nuovo ricoperto da una massa di detriti ed oggi, finalmente, completamente riportato alla luce.
Resti di una struttura ricca di storia e fascino che completano un posto già di suo grandioso ed affascinante...
In 1750 Kaspar Radmiller built the pilgrimage church Heilig Kreuz in Mindelzell in the district of Günzburg.
The reason for the pilgrimage is a particle of the Holy Cross, which was received by the provost in front of Ursberg in 1230.
Martin Kuen paints the frescoes.
The Basilica of Eger is also named Saint Michael and Saint John cathedral. The building is also the cathedral of the archdiocese of Eger, which means the bishops and the archbishop do their everyday tasks here. The Basilica of Eger is considered to be the second largest religious building in Hungary. János László Pyrker was assigned archbishop of Eger in 1827 and he asked the great archtitect of the time, József Hild to make the designs of this magnificent building. The construction lasted from 1831 to 1836 and the building was consecrated in 1837.
Archbishop Pyrker asked a young, talented sculptor from Venice, Marco Casagrande, to make the statues of the basilica. He made the huge statues standing next to the staircase: Saint István and Saint Lászó Hungarian kings standing in the first line, and behind them Peter and Paul apostoles. The tympan is supported by huge Corinthian columns with the inscript on it in Latin: "Come and Let us Adore Lord!" The statues of Faith-Hope-Love standing above the vestibule are also works of Casagrande, just like the angel statues of Love of God and Truth of God.
The door to the right as you enter the basilica leads to the crypt, a series of eerie vaults at the bottom of 50 steps, with tombs guarded by monoliths representing Mourning and Eternity. Among those at rest here are Cardinal József Mindszenty.
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Ich war heute im Regen in einer kleinen rheinhessischen Gemeinde unterwegs gewesen. Mit durchweichten Klamotten freute ich mich, endlich, die evangelischen Kirche erreicht zu haben die ich schon von weitem durch ihre hohe Turmspitze lokalisierten konnte. Doch der Weg war umsonst...
I was in the rain in a small Rhine Hessian community today. With soaked clothes, I was happy, finally, to have reached the Protestant church I could be located from afar by their high spire. But the way was in vain ...
Urheberrecht bei Andreas Dlugosch
Dieses Foto ist urheberrechtlich geschützt. Ohne meine vorherige schriftliche Genehmigung darf das Foto weder ganz, noch auszugsweise kopiert, verändert, vervielfältigt oder veröffentlicht werden.
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©Andreas Dlugosch
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Info's zum Foto hier
de.wikipedia.org/wiki/Rupert_von_Salzburg
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Church of the Assumption of the Virgin Mary (Mohelnice nad Jizerou, Bohemia)
The Roman Catholic Church of the Assumption of the Virgin Mary in Mohelnice nad Jizerou (Mladá Boleslav district) is a stone sacral building from the second half of the 12th century. The church falls under the parish-deanery of Mnichovo Hradiště. In addition to the church itself, a part of the protected area is also the adjacent functional cemetery with a morgue and a wall.
The single-nave church has a rectangular floor plan. It was built by sandstone from Hrubá Skála, the masonry of precisely machined blocks is row-shaped, while each row has a different height. On the west side of the church there is a prismatic tower, on the east there is an apse, inside there is a glass conch. On the north side is a pseudo-Romanesque sacristy and a cross vault, completed during reconstruction in 1876.
The church was restored in 1876 in the spirit of historical purism of the 19th century by the architect Josef Mocker, known for his reconstructions and completions of a number of important medieval monuments, including St. Vitus Cathedral in Prague and Karlštejn Castle. After this purist reconstruction, the original Romanesque church was significantly changed. The windows were modified and enlarged, the ceiling in the nave was replaced, the main entrance to the church was relocated and the floor in the church was raised. Of the original windows, only one small four-leaf rose in the shape of a four-leafed rose, located on the southwest side of the church, has been preserved. During the reconstruction, a new staircase was also built from ground level, making the entrance hall accessible through the entrance from the ground floor of the bell tower on the west side of the church.
(According to the Czech wiki)