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Votivkirche (9, Rooseveltplatz, the provost parish church "To the Divine Savior").
History
Archduke Ferdinand Max after the rescue of his brother Franz Joseph I (assassination attempt of Johann Libenyi on 18 February 1853), suggested by an appeal the construction of a memory church, which was built from 1856 to 1879 according to the plans of Heinrich Ferstel (who at the beginning of construction was only 28 years old) together with the parsonage behind it in the style of French cathedral gothic of the 13th century on the Glacis in front of the (gate) Schottentor. Since the Glacis had not yet been released for development, the church had to be erected on the outer edge of this one and thus a few years later it stood distant from the Ring Road. Around the construction of the church there were a number of unrealized projects: the planned in a semicircular shape University of Vienna behind the church respectively a Hall of Fame (Viennese Acropolis, realized in the Arsenal) and the Tegetthoff monument in front of the church.
The site was definitively established on 25th October 1855; on 24th of April, 1856, the foundation stone was laid by Cardinal Archbishop Rauscher (commemorative plaque); on 18th of August, 1868, the completion of the tower was celebrated. The consecration was carried out by Cardinal Archbishop Kutschker on the occasion of the silver wedding of the Imperial couple on April 24, 1879 (commemorative plaque). The Votivkirche was in the monarchy (catholic) garrison church for Vienna (imperial decision of 1862). Here, too, all military funerals commenced. The Votivkirche is one of the most outstanding examples of historic architecture.
Roosevelt square - Votivkirche, around 1900
Exterior
Double tower facade with three figures portals and window rose.
Main portal
Main portal with rich figural decoration by Johannes Benk (Christ-King statue in the midst of the apostles, surrounded by models from the Old Covenant [Abel, Noe, Melchizedek, Isaak, Samson, Aaron, Moses]; in the gable above the Holy Trinity (by Josef Gasser), on the side four evangelists and Austro-Hungarian provincial patrons (Koloman [Lower Austria], Vigilius (South Tyrol), Aegius [Carinthia], Josef [Steiermark], Leopold [Lower Austria], Wenzel (Bohemia), Spiridion (Dalmatia), Michael (Galicia), Georg (Krain), Rochus (Croatia), St. Nicholas of Bari (Veneto), Ladislaus (Transylvania), Justus (Trieste), Hedwig (Silesia), Ruprecht (Salzburg), Johannes Nepomuk (Bohemia) by Franz Melnitzky and Peter Kastlunger) above the rosette "Coronation of Mary" by Gasser.
Side portal
Reliefs of Gasser ( "Annunciation of Mary" [below it the four prophets Jeremiah, Isaiah, David and Micah by Anton Schmidgruber], "Resurrection of Christ" (below it St Francis, Elisabeth and Sophie von Kastlunger).
Entrance portals
The entrance portals into the transept are devoted to God the Father and the Holy Spirit. There are eight prophets, or church fathers, on the arcade arrows. The church received a new roof of Eternit-plates in 1967.
Interior
Three-aisled, ribbed vaulted basilica, with four flat side chapels on each side; three-aisled transept; choir with 7/12 closing; chapel ambulatory and apse chapel. The wall and ceiling paintings stem from Joseph von Führich, A. von Wörndle, Carl Jobst and Josef Matyáš Trenkwald. On the vault of the central nave, the Christ's Family Tree by Franz Jobst and Carl Jobst. The organ (1874-1878) by E. F. Walcker & Co. (Ludwigsburg) is the only mechanical work of this size (3,762 pipes) in Europe (Anton Bruckner has also played here).
The glass paintings of the church windows, to which Trenkwald had supplied the designs, were destroyed during the Second World War and replaced by figural windows (mostly by designs by Christine Feldmann, with the exception of the "emperor window" which was renewed according to old pattern, thus in the replacement windows there are also topics that fall into the time after church building).
High altar
High altar of white marble with six Egyptian alabaster columns with figural ornamentation by Gasser, Robert Streschnak and Ferdinand Laufberger (cardinal virtues in the vault of the canopy), portrait of Mary, that was a gift from Pope Pius IX in the middle of the (constantly locked) chapel ambulatory.
Marienaltar (once the Antwerp altar)
Here stood the Antwerp altar (the most important work of the Flemish carving art of the 15th century, since 1996 for security reasons as a loan in the cathedral and diocesan museum).
The theme of the church window is the history of Christ's suffering.
"Emperor window"
Window of the city of Vienna "Emperor window"
The window was donated by the municipality of Vienna in 1877 and renewed by the latter after the Second World War.
Bishop's Chapel
The altar is dedicated to the Divine Heart of Jesus; grave of the Auxiliary Bishop Godfried Marschall (he was the first church minister).
Church windows: Bishops of Austrian church history.
Altar of the Mother of God of Guadelupe.
Church window: History of the worship of the Virgin of Guadelupe.
Winged altar
The altar made of cedar wood from Lebanon, shows Mary's engagement with St. Joseph, the proclamation with closed wings.
Church window: History of the worship of the Marienbild of Mariazell.
Barbara candle (Artillery Memorial).
Church window: History of Mary's image by Maria Pötsch.
Monument to the members of the executive who have fallen.
Church window: History of the wonderful glass window of Absam (Tyrol).
Church window: Rudolf I
Church window: Ferdinand II
Gothic chapel shrine
Holy grave for the last days of Holy Week.
Church window: 23rd Eucharistic Congress in Vienna (1912).
Church window: death in the National Socialist concentration camp Mauthausen.
Baptismal chapel
Baptismal stone of Egyptian marble; tumba by Niklas Graf Salms (Salm tomb).
Church windows: Major Austrian missionaries.
Pulpit
Pulpit of marble; On the gold mosaic of the parapet, the four church fathers and the teaching Savior; at the foot of the pulpit the bust of Ferstel by Viktor Tilgner.
Monument to the Austrian Kaiserschützen Regiments, church Window: Representatives of the Austrian Social Reform (draft by Hans Schweiger).
Cross altar
Church window: left John of God (defense of Vienna against the Turks 1529), right Franz Jägerstätter.
Votivkirche (9, Rooseveltplatz; Propsteipfarrkirche „Zum göttlichen Heiland").
Geschichte
Erzherzog Ferdinand Max regte nach der Errettung seines Bruders Franz Joseph I. (Attentat von Johann Libenyi am 18. Februar 1853) durch einen Aufruf den Bau einer Gedächtniskirche an, die 1856-1879 nach den Plänen von Heinrich Ferstel (der bei Baubeginn erst 28 Jahre alt war) samt dem dahinterstehenden Pfarrhaus im Stil französischer Kathedralgotik des 13. Jahrhunderts auf dem Glacis vor dem Schottentor erbaut wurde. Da das Glacis damals noch nicht zur Verbauung freigegeben war, musste die Kirche am äußeren Rand desselben errichtet werden und stand damit einige Jahre später fern der Ringstraße. Rund um den Bau der Kirche gab es eine Reihe unrealisierter Projekte: die halbkreisförmig hinter der Kirche geplante Universität Wien beziehungsweise eine Ruhmeshalle (Wiener Akropolis; realisiert im Arsenal) und das Tegetthoffdenkmal vor der Kirche.
Das Areal wurde am 25. Oktober 1855 definitiv festgelegt, am 24. April 1856 fand die Grundsteinlegung durch Kardinal-Erzbischof Rauscher statt (Gedenktafel), am 18. August 1868 feierte man die Turmvollendung. Die Weihe nahm Kardinal-Erzbischof Kutschker anlässlich der Silberhochzeit des Kaiserpaars am 24. April 1879 vor (Gedenktafel). Die Votivkirche war in der Monarchie (katholisch) Garnisonskirche für Wien (kaiserlicher Entschluss von 1862). Hier nahmen auch alle militärischen Leichenbegängnisse ihren Ausgang. Die Votivkirche ist eines der hervorragendsten Beispiele historisierender Architektur.
Rooseveltplatz – Votivkirche, um 1900
Äußeres
Doppelturmfassade mit drei Figurenportalen und Fensterrose.
Hauptportal
Hauptportal mit reichem figuralem Schmuck von Johannes Benk (Christ-König-Statue inmitten der Apostel, umgeben von Vorbildern aus dem Alten Bund [Abel, Noe, Melchisedech, Isaak, Samson, Aaron, Moses); im Giebel darüber Heilige Dreifaltigkeit (von Josef Gasser), seitlich vier Evangelisten und österreichisch-ungarische Landespatrone (Koloman [Niederösterreich], Vigilius [Südtirol], Ägydius [Kärnten], Josef [Steiermark], Leopold [Niederösterreich], Wenzel [Böhmen], Spiridion [Dalmatien], Michael [Galizien], Georg [Krain], Rochus [Kroatien], Nikolaus von Bari [Venetien], Ladislaus [Siebenbürgen], Justus [Triest], Hedwig [Schlesien], Ruprecht [Salzburg], Johannes Nepomuk [Böhmen]) von Franz Melnitzky und Peter Kastlunger), über der Rosette „Krönung Mariens" von Gasser.
Seitenportale
Reliefs von Gasser („Verkündigung Mariens" [darunter die vier Propheten Jeremias, Isaias, David und Michäas von Anton Schmidgruber ], „Auferstehung Christi" [darunter Namenspatrone der kaiserlichen Familie: Franziskus, Elisabeth und Sophie von Kastlunger]).
Eingangsportale
Die Eingangsportale ins Querschiff sind Gott Vater und dem Heiligen Geist gewidmet. An den Arkadenpfeilern befinden sich acht Propheten beziehungsweise Kirchenväter. Die Kirche erhielt 1967 ein neues Dach aus Eternitplatten.
Inneres
Dreischiffige, kreuzrippengewölbte Basilika, beiderseits vier flache Seitenkapellen; dreischiffiges Querschiff; Chor mit 7/12-Schluss; Kapellenumgang und Kapellenkranz. Die Wand- und Deckengemälde stammen von Joseph von Führich, A. von Wörndle, Carl Jobst und Josef Matyáš Trenkwald. Am Deckengewölbe des Mittelschiffs Stammbaum Christi von Franz Jobst und Carl Jobst. Die Orgel (1874-1878) von E. F. Walcker & Co. (Ludwigsburg) ist das einzige mechanische Werk dieser Größe (3.762 Pfeifen) in Europa (auch Anton Bruckner hat hier gespielt).
Die Glasgemälde der Kirchenfenster, zu denen Trenkwald die Entwürfe geliefert hatte, wurden während des Zweiten Weltkriegs vernichtet und (mit Ausnahme des nach alter Vorlage erneuerten „Kaiserfensters") durch Figuralfenster (zumeist nach Entwürfen von Christine Feldmann) ersetzt (daher finden sich bei den Ersatzfenstern auch Themen, die in die Zeit nach dem Kirchenbau fallen).
Hochaltar
Hochaltar aus weißem Marmor mit sechs ägyptischen Alabastersäulen mit figuralem Schmuck von Gasser, Robert Streschnak und Ferdinand Laufberger (Kardinaltugenden im Gewölbe des Baldachins), Bildnis der Maria, das ein Geschenk von Papst Pius IX. war, in der Mitte des (ständig gesperrten) Kapellenumgangs.
Marienaltar (einst Antwerpener Altar)
Hier stand der Antwerpener Altar (bedeutendstes Werk der flämischen Schnitzkunst des 15. Jahrhunderts; seit 1996 aus Sicherheitsgründen als Leihgabe im Dom- und Diözesanmuseum).
Thema des Kirchenfensters ist die Leidensgeschichte Christi.
„Kaiser-Fenster"
Fenster der Stadt Wien („Kaiser-Fenster"). Das Fenster wurde 1877 von der Gemeinde Wien gespendet und von dieser nach dem Zweiten Weltkrieg erneuert.
Bischofskapelle
Der Altar ist dem Göttlichen Herzen Jesu gewidmet; Grabstätte des Weihbischofs Godfried Marschall (er war der erste Propst der Kirche).
Kirchenfenster: Bischöfe der österreichischen Kirchengeschichte.
Altar der Gottesmutter von Guadelupe.
Kirchenfenster: Geschichte der Verehrung des Marienbilds von Guadelupe.
Flügelaltar
Der aus Zedernholz vom Libanon geschaffene Altar zeigt die Verlobung Mariens mit dem heiligen Josef, bei geschlossenen Flügeln die Verkündigung.
Kirchenfenster: Geschichte der Verehrung des Marienbilds von Mariazell.
Barbarakerze (Artilleristen-Gedächtnisstätte).
Kirchenfenster: Geschichte des Marienbilds von Maria Pötsch.
Denkmal für die im Dienst gefallenen Angehörigen der Exekutive.
Kirchenfenster: Geschichte des wunderbaren Glasfensters von Absam (Tirol).
Kirchenfenster: Rudolf I.
Kirchenfenster: Ferdinand II.
Gotischer Kapellenschrein
Heiliges Grab für die letzten Tage der Karwoche.
Kirchenfenster: 23. Eucharistischer Kongress in Wien (1912).
Kirchenfenster: Todesstiege im nationalsozialistischen Konzentrationslager Mauthausen.
Taufkapelle
Taufstein aus ägyptischen Marmor; Hochgrab von Niklas Graf Salms (Salmgrabmal).
Kirchenfenster: Bedeutende österreichische Missionare.
Kanzel
Kanzel aus Marmor; auf dem Goldmosaik der Brüstung die vier Kirchenväter und der lehrende Heiland; am Kanzelfuß Büste Ferstels von Viktor Tilgner.
Denkmal für die österreichische Kaiserschützen-Regimenter, Kirchenfenster: Vertreter der österreichischen Sozialreform (Entwurf von Hans Schweiger).
Kreuzaltar
Kreuz-Altar.
Kirchenfenster: links Johannes von Gott (Verteidigung Wiens gegen die Türken 1529), rechts Franz Jägerstätter.
Jesus said, "I am the resurrection and the life; whoever believes in me, even if he dies, will live, and everyone who lives and believes in me will never die." –John 11:25-26
Stained glass window detail edited. Photographed in Saint Mary's Church, Denville, NJ, USA.
Copyright 2009 Loci B. Lenar
Votivkirche (9, Rooseveltplatz, the provost parish church "To the Divine Savior").
History
Archduke Ferdinand Max after the rescue of his brother Franz Joseph I (assassination attempt of Johann Libenyi on 18 February 1853), suggested by an appeal the construction of a memory church, which was built from 1856 to 1879 according to the plans of Heinrich Ferstel (who at the beginning of construction was only 28 years old) together with the parsonage behind it in the style of French cathedral gothic of the 13th century on the Glacis in front of the (gate) Schottentor. Since the Glacis had not yet been released for development, the church had to be erected on the outer edge of this one and thus a few years later it stood distant from the Ring Road. Around the construction of the church there were a number of unrealized projects: the planned in a semicircular shape University of Vienna behind the church respectively a Hall of Fame (Viennese Acropolis, realized in the Arsenal) and the Tegetthoff monument in front of the church.
The site was definitively established on 25th October 1855; on 24th of April, 1856, the foundation stone was laid by Cardinal Archbishop Rauscher (commemorative plaque); on 18th of August, 1868, the completion of the tower was celebrated. The consecration was carried out by Cardinal Archbishop Kutschker on the occasion of the silver wedding of the Imperial couple on April 24, 1879 (commemorative plaque). The Votivkirche was in the monarchy (catholic) garrison church for Vienna (imperial decision of 1862). Here, too, all military funerals commenced. The Votivkirche is one of the most outstanding examples of historic architecture.
Roosevelt square - Votivkirche, around 1900
Exterior
Double tower facade with three figures portals and window rose.
Main portal
Main portal with rich figural decoration by Johannes Benk (Christ-King statue in the midst of the apostles, surrounded by models from the Old Covenant [Abel, Noe, Melchizedek, Isaak, Samson, Aaron, Moses]; in the gable above the Holy Trinity (by Josef Gasser), on the side four evangelists and Austro-Hungarian provincial patrons (Koloman [Lower Austria], Vigilius (South Tyrol), Aegius [Carinthia], Josef [Steiermark], Leopold [Lower Austria], Wenzel (Bohemia), Spiridion (Dalmatia), Michael (Galicia), Georg (Krain), Rochus (Croatia), St. Nicholas of Bari (Veneto), Ladislaus (Transylvania), Justus (Trieste), Hedwig (Silesia), Ruprecht (Salzburg), Johannes Nepomuk (Bohemia) by Franz Melnitzky and Peter Kastlunger) above the rosette "Coronation of Mary" by Gasser.
Side portal
Reliefs of Gasser ( "Annunciation of Mary" [below it the four prophets Jeremiah, Isaiah, David and Micah by Anton Schmidgruber], "Resurrection of Christ" (below it St Francis, Elisabeth and Sophie von Kastlunger).
Entrance portals
The entrance portals into the transept are devoted to God the Father and the Holy Spirit. There are eight prophets, or church fathers, on the arcade arrows. The church received a new roof of Eternit-plates in 1967.
Interior
Three-aisled, ribbed vaulted basilica, with four flat side chapels on each side; three-aisled transept; choir with 7/12 closing; chapel ambulatory and apse chapel. The wall and ceiling paintings stem from Joseph von Führich, A. von Wörndle, Carl Jobst and Josef Matyáš Trenkwald. On the vault of the central nave, the Christ's Family Tree by Franz Jobst and Carl Jobst. The organ (1874-1878) by E. F. Walcker & Co. (Ludwigsburg) is the only mechanical work of this size (3,762 pipes) in Europe (Anton Bruckner has also played here).
The glass paintings of the church windows, to which Trenkwald had supplied the designs, were destroyed during the Second World War and replaced by figural windows (mostly by designs by Christine Feldmann, with the exception of the "emperor window" which was renewed according to old pattern, thus in the replacement windows there are also topics that fall into the time after church building).
High altar
High altar of white marble with six Egyptian alabaster columns with figural ornamentation by Gasser, Robert Streschnak and Ferdinand Laufberger (cardinal virtues in the vault of the canopy), portrait of Mary, that was a gift from Pope Pius IX in the middle of the (constantly locked) chapel ambulatory.
Marienaltar (once the Antwerp altar)
Here stood the Antwerp altar (the most important work of the Flemish carving art of the 15th century, since 1996 for security reasons as a loan in the cathedral and diocesan museum).
The theme of the church window is the history of Christ's suffering.
"Emperor window"
Window of the city of Vienna "Emperor window"
The window was donated by the municipality of Vienna in 1877 and renewed by the latter after the Second World War.
Bishop's Chapel
The altar is dedicated to the Divine Heart of Jesus; grave of the Auxiliary Bishop Godfried Marschall (he was the first church minister).
Church windows: Bishops of Austrian church history.
Altar of the Mother of God of Guadelupe.
Church window: History of the worship of the Virgin of Guadelupe.
Winged altar
The altar made of cedar wood from Lebanon, shows Mary's engagement with St. Joseph, the proclamation with closed wings.
Church window: History of the worship of the Marienbild of Mariazell.
Barbara candle (Artillery Memorial).
Church window: History of Mary's image by Maria Pötsch.
Monument to the members of the executive who have fallen.
Church window: History of the wonderful glass window of Absam (Tyrol).
Church window: Rudolf I
Church window: Ferdinand II
Gothic chapel shrine
Holy grave for the last days of Holy Week.
Church window: 23rd Eucharistic Congress in Vienna (1912).
Church window: death in the National Socialist concentration camp Mauthausen.
Baptismal chapel
Baptismal stone of Egyptian marble; tumba by Niklas Graf Salms (Salm tomb).
Church windows: Major Austrian missionaries.
Pulpit
Pulpit of marble; On the gold mosaic of the parapet, the four church fathers and the teaching Savior; at the foot of the pulpit the bust of Ferstel by Viktor Tilgner.
Monument to the Austrian Kaiserschützen Regiments, church Window: Representatives of the Austrian Social Reform (draft by Hans Schweiger).
Cross altar
Church window: left John of God (defense of Vienna against the Turks 1529), right Franz Jägerstätter.
Votivkirche (9, Rooseveltplatz; Propsteipfarrkirche „Zum göttlichen Heiland").
Geschichte
Erzherzog Ferdinand Max regte nach der Errettung seines Bruders Franz Joseph I. (Attentat von Johann Libenyi am 18. Februar 1853) durch einen Aufruf den Bau einer Gedächtniskirche an, die 1856-1879 nach den Plänen von Heinrich Ferstel (der bei Baubeginn erst 28 Jahre alt war) samt dem dahinterstehenden Pfarrhaus im Stil französischer Kathedralgotik des 13. Jahrhunderts auf dem Glacis vor dem Schottentor erbaut wurde. Da das Glacis damals noch nicht zur Verbauung freigegeben war, musste die Kirche am äußeren Rand desselben errichtet werden und stand damit einige Jahre später fern der Ringstraße. Rund um den Bau der Kirche gab es eine Reihe unrealisierter Projekte: die halbkreisförmig hinter der Kirche geplante Universität Wien beziehungsweise eine Ruhmeshalle (Wiener Akropolis; realisiert im Arsenal) und das Tegetthoffdenkmal vor der Kirche.
Das Areal wurde am 25. Oktober 1855 definitiv festgelegt, am 24. April 1856 fand die Grundsteinlegung durch Kardinal-Erzbischof Rauscher statt (Gedenktafel), am 18. August 1868 feierte man die Turmvollendung. Die Weihe nahm Kardinal-Erzbischof Kutschker anlässlich der Silberhochzeit des Kaiserpaars am 24. April 1879 vor (Gedenktafel). Die Votivkirche war in der Monarchie (katholisch) Garnisonskirche für Wien (kaiserlicher Entschluss von 1862). Hier nahmen auch alle militärischen Leichenbegängnisse ihren Ausgang. Die Votivkirche ist eines der hervorragendsten Beispiele historisierender Architektur.
Rooseveltplatz – Votivkirche, um 1900
Äußeres
Doppelturmfassade mit drei Figurenportalen und Fensterrose.
Hauptportal
Hauptportal mit reichem figuralem Schmuck von Johannes Benk (Christ-König-Statue inmitten der Apostel, umgeben von Vorbildern aus dem Alten Bund [Abel, Noe, Melchisedech, Isaak, Samson, Aaron, Moses); im Giebel darüber Heilige Dreifaltigkeit (von Josef Gasser), seitlich vier Evangelisten und österreichisch-ungarische Landespatrone (Koloman [Niederösterreich], Vigilius [Südtirol], Ägydius [Kärnten], Josef [Steiermark], Leopold [Niederösterreich], Wenzel [Böhmen], Spiridion [Dalmatien], Michael [Galizien], Georg [Krain], Rochus [Kroatien], Nikolaus von Bari [Venetien], Ladislaus [Siebenbürgen], Justus [Triest], Hedwig [Schlesien], Ruprecht [Salzburg], Johannes Nepomuk [Böhmen]) von Franz Melnitzky und Peter Kastlunger), über der Rosette „Krönung Mariens" von Gasser.
Seitenportale
Reliefs von Gasser („Verkündigung Mariens" [darunter die vier Propheten Jeremias, Isaias, David und Michäas von Anton Schmidgruber ], „Auferstehung Christi" [darunter Namenspatrone der kaiserlichen Familie: Franziskus, Elisabeth und Sophie von Kastlunger]).
Eingangsportale
Die Eingangsportale ins Querschiff sind Gott Vater und dem Heiligen Geist gewidmet. An den Arkadenpfeilern befinden sich acht Propheten beziehungsweise Kirchenväter. Die Kirche erhielt 1967 ein neues Dach aus Eternitplatten.
Inneres
Dreischiffige, kreuzrippengewölbte Basilika, beiderseits vier flache Seitenkapellen; dreischiffiges Querschiff; Chor mit 7/12-Schluss; Kapellenumgang und Kapellenkranz. Die Wand- und Deckengemälde stammen von Joseph von Führich, A. von Wörndle, Carl Jobst und Josef Matyáš Trenkwald. Am Deckengewölbe des Mittelschiffs Stammbaum Christi von Franz Jobst und Carl Jobst. Die Orgel (1874-1878) von E. F. Walcker & Co. (Ludwigsburg) ist das einzige mechanische Werk dieser Größe (3.762 Pfeifen) in Europa (auch Anton Bruckner hat hier gespielt).
Die Glasgemälde der Kirchenfenster, zu denen Trenkwald die Entwürfe geliefert hatte, wurden während des Zweiten Weltkriegs vernichtet und (mit Ausnahme des nach alter Vorlage erneuerten „Kaiserfensters") durch Figuralfenster (zumeist nach Entwürfen von Christine Feldmann) ersetzt (daher finden sich bei den Ersatzfenstern auch Themen, die in die Zeit nach dem Kirchenbau fallen).
Hochaltar
Hochaltar aus weißem Marmor mit sechs ägyptischen Alabastersäulen mit figuralem Schmuck von Gasser, Robert Streschnak und Ferdinand Laufberger (Kardinaltugenden im Gewölbe des Baldachins), Bildnis der Maria, das ein Geschenk von Papst Pius IX. war, in der Mitte des (ständig gesperrten) Kapellenumgangs.
Marienaltar (einst Antwerpener Altar)
Hier stand der Antwerpener Altar (bedeutendstes Werk der flämischen Schnitzkunst des 15. Jahrhunderts; seit 1996 aus Sicherheitsgründen als Leihgabe im Dom- und Diözesanmuseum).
Thema des Kirchenfensters ist die Leidensgeschichte Christi.
„Kaiser-Fenster"
Fenster der Stadt Wien („Kaiser-Fenster"). Das Fenster wurde 1877 von der Gemeinde Wien gespendet und von dieser nach dem Zweiten Weltkrieg erneuert.
Bischofskapelle
Der Altar ist dem Göttlichen Herzen Jesu gewidmet; Grabstätte des Weihbischofs Godfried Marschall (er war der erste Propst der Kirche).
Kirchenfenster: Bischöfe der österreichischen Kirchengeschichte.
Altar der Gottesmutter von Guadelupe.
Kirchenfenster: Geschichte der Verehrung des Marienbilds von Guadelupe.
Flügelaltar
Der aus Zedernholz vom Libanon geschaffene Altar zeigt die Verlobung Mariens mit dem heiligen Josef, bei geschlossenen Flügeln die Verkündigung.
Kirchenfenster: Geschichte der Verehrung des Marienbilds von Mariazell.
Barbarakerze (Artilleristen-Gedächtnisstätte).
Kirchenfenster: Geschichte des Marienbilds von Maria Pötsch.
Denkmal für die im Dienst gefallenen Angehörigen der Exekutive.
Kirchenfenster: Geschichte des wunderbaren Glasfensters von Absam (Tirol).
Kirchenfenster: Rudolf I.
Kirchenfenster: Ferdinand II.
Gotischer Kapellenschrein
Heiliges Grab für die letzten Tage der Karwoche.
Kirchenfenster: 23. Eucharistischer Kongress in Wien (1912).
Kirchenfenster: Todesstiege im nationalsozialistischen Konzentrationslager Mauthausen.
Taufkapelle
Taufstein aus ägyptischen Marmor; Hochgrab von Niklas Graf Salms (Salmgrabmal).
Kirchenfenster: Bedeutende österreichische Missionare.
Kanzel
Kanzel aus Marmor; auf dem Goldmosaik der Brüstung die vier Kirchenväter und der lehrende Heiland; am Kanzelfuß Büste Ferstels von Viktor Tilgner.
Denkmal für die österreichische Kaiserschützen-Regimenter, Kirchenfenster: Vertreter der österreichischen Sozialreform (Entwurf von Hans Schweiger).
Kreuzaltar
Kreuz-Altar.
Kirchenfenster: links Johannes von Gott (Verteidigung Wiens gegen die Türken 1529), rechts Franz Jägerstätter.
L'Amour 56th Pazzo Style Challenge
WILD WILD WEST
Laycie Pearl
Victor Savior
All the monthly winner will then do the final in January and we will crown the L'Amour Pazzo Style Challenge overall winner.
Only a few more months to enter, so keep an eye out for notices.
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Christmas gathering of several different churches and denominations in North Kohala (Hawaii) celebrating together in unity the birth of our Lord and Savior Jesus Christ.
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
AI generated by Adobe Firefly.
“Everyone's asleep, but nobody's dreaming
We got all the fiction that's worth believing”.
Inspired by Saviors by Green Day.
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
“Jesus had no servants, yet they called Him Master.
Had no degree, yet they called Him Teacher.
Had no medicines, yet they called Him Healer.
Had no army, yet kings feared Him.
He won no military battles, yet He conquered the world.
He committed no crime, yet they crucified Him.
He was buried in a tomb, yet He lives today.
Feel honored to serve such a Leader who loves us.”
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Votivkirche (9, Rooseveltplatz, the provost parish church "To the Divine Savior").
History
Archduke Ferdinand Max after the rescue of his brother Franz Joseph I (assassination attempt of Johann Libenyi on 18 February 1853), suggested by an appeal the construction of a memory church, which was built from 1856 to 1879 according to the plans of Heinrich Ferstel (who at the beginning of construction was only 28 years old) together with the parsonage behind it in the style of French cathedral gothic of the 13th century on the Glacis in front of the (gate) Schottentor. Since the Glacis had not yet been released for development, the church had to be erected on the outer edge of this one and thus a few years later it stood distant from the Ring Road. Around the construction of the church there were a number of unrealized projects: the planned in a semicircular shape University of Vienna behind the church respectively a Hall of Fame (Viennese Acropolis, realized in the Arsenal) and the Tegetthoff monument in front of the church.
The site was definitively established on 25th October 1855; on 24th of April, 1856, the foundation stone was laid by Cardinal Archbishop Rauscher (commemorative plaque); on 18th of August, 1868, the completion of the tower was celebrated. The consecration was carried out by Cardinal Archbishop Kutschker on the occasion of the silver wedding of the Imperial couple on April 24, 1879 (commemorative plaque). The Votivkirche was in the monarchy (catholic) garrison church for Vienna (imperial decision of 1862). Here, too, all military funerals commenced. The Votivkirche is one of the most outstanding examples of historic architecture.
Roosevelt square - Votivkirche, around 1900
Exterior
Double tower facade with three figures portals and window rose.
Main portal
Main portal with rich figural decoration by Johannes Benk (Christ-King statue in the midst of the apostles, surrounded by models from the Old Covenant [Abel, Noe, Melchizedek, Isaak, Samson, Aaron, Moses]; in the gable above the Holy Trinity (by Josef Gasser), on the side four evangelists and Austro-Hungarian provincial patrons (Koloman [Lower Austria], Vigilius (South Tyrol), Aegius [Carinthia], Josef [Steiermark], Leopold [Lower Austria], Wenzel (Bohemia), Spiridion (Dalmatia), Michael (Galicia), Georg (Krain), Rochus (Croatia), St. Nicholas of Bari (Veneto), Ladislaus (Transylvania), Justus (Trieste), Hedwig (Silesia), Ruprecht (Salzburg), Johannes Nepomuk (Bohemia) by Franz Melnitzky and Peter Kastlunger) above the rosette "Coronation of Mary" by Gasser.
Side portal
Reliefs of Gasser ( "Annunciation of Mary" [below it the four prophets Jeremiah, Isaiah, David and Micah by Anton Schmidgruber], "Resurrection of Christ" (below it St Francis, Elisabeth and Sophie von Kastlunger).
Entrance portals
The entrance portals into the transept are devoted to God the Father and the Holy Spirit. There are eight prophets, or church fathers, on the arcade arrows. The church received a new roof of Eternit-plates in 1967.
Interior
Three-aisled, ribbed vaulted basilica, with four flat side chapels on each side; three-aisled transept; choir with 7/12 closing; chapel ambulatory and apse chapel. The wall and ceiling paintings stem from Joseph von Führich, A. von Wörndle, Carl Jobst and Josef Matyáš Trenkwald. On the vault of the central nave, the Christ's Family Tree by Franz Jobst and Carl Jobst. The organ (1874-1878) by E. F. Walcker & Co. (Ludwigsburg) is the only mechanical work of this size (3,762 pipes) in Europe (Anton Bruckner has also played here).
The glass paintings of the church windows, to which Trenkwald had supplied the designs, were destroyed during the Second World War and replaced by figural windows (mostly by designs by Christine Feldmann, with the exception of the "emperor window" which was renewed according to old pattern, thus in the replacement windows there are also topics that fall into the time after church building).
High altar
High altar of white marble with six Egyptian alabaster columns with figural ornamentation by Gasser, Robert Streschnak and Ferdinand Laufberger (cardinal virtues in the vault of the canopy), portrait of Mary, that was a gift from Pope Pius IX in the middle of the (constantly locked) chapel ambulatory.
Marienaltar (once the Antwerp altar)
Here stood the Antwerp altar (the most important work of the Flemish carving art of the 15th century, since 1996 for security reasons as a loan in the cathedral and diocesan museum).
The theme of the church window is the history of Christ's suffering.
"Emperor window"
Window of the city of Vienna "Emperor window"
The window was donated by the municipality of Vienna in 1877 and renewed by the latter after the Second World War.
Bishop's Chapel
The altar is dedicated to the Divine Heart of Jesus; grave of the Auxiliary Bishop Godfried Marschall (he was the first church minister).
Church windows: Bishops of Austrian church history.
Altar of the Mother of God of Guadelupe.
Church window: History of the worship of the Virgin of Guadelupe.
Winged altar
The altar made of cedar wood from Lebanon, shows Mary's engagement with St. Joseph, the proclamation with closed wings.
Church window: History of the worship of the Marienbild of Mariazell.
Barbara candle (Artillery Memorial).
Church window: History of Mary's image by Maria Pötsch.
Monument to the members of the executive who have fallen.
Church window: History of the wonderful glass window of Absam (Tyrol).
Church window: Rudolf I
Church window: Ferdinand II
Gothic chapel shrine
Holy grave for the last days of Holy Week.
Church window: 23rd Eucharistic Congress in Vienna (1912).
Church window: death in the National Socialist concentration camp Mauthausen.
Baptismal chapel
Baptismal stone of Egyptian marble; tumba by Niklas Graf Salms (Salm tomb).
Church windows: Major Austrian missionaries.
Pulpit
Pulpit of marble; On the gold mosaic of the parapet, the four church fathers and the teaching Savior; at the foot of the pulpit the bust of Ferstel by Viktor Tilgner.
Monument to the Austrian Kaiserschützen Regiments, church Window: Representatives of the Austrian Social Reform (draft by Hans Schweiger).
Cross altar
Church window: left John of God (defense of Vienna against the Turks 1529), right Franz Jägerstätter.
Votivkirche (9, Rooseveltplatz; Propsteipfarrkirche „Zum göttlichen Heiland").
Geschichte
Erzherzog Ferdinand Max regte nach der Errettung seines Bruders Franz Joseph I. (Attentat von Johann Libenyi am 18. Februar 1853) durch einen Aufruf den Bau einer Gedächtniskirche an, die 1856-1879 nach den Plänen von Heinrich Ferstel (der bei Baubeginn erst 28 Jahre alt war) samt dem dahinterstehenden Pfarrhaus im Stil französischer Kathedralgotik des 13. Jahrhunderts auf dem Glacis vor dem Schottentor erbaut wurde. Da das Glacis damals noch nicht zur Verbauung freigegeben war, musste die Kirche am äußeren Rand desselben errichtet werden und stand damit einige Jahre später fern der Ringstraße. Rund um den Bau der Kirche gab es eine Reihe unrealisierter Projekte: die halbkreisförmig hinter der Kirche geplante Universität Wien beziehungsweise eine Ruhmeshalle (Wiener Akropolis; realisiert im Arsenal) und das Tegetthoffdenkmal vor der Kirche.
Das Areal wurde am 25. Oktober 1855 definitiv festgelegt, am 24. April 1856 fand die Grundsteinlegung durch Kardinal-Erzbischof Rauscher statt (Gedenktafel), am 18. August 1868 feierte man die Turmvollendung. Die Weihe nahm Kardinal-Erzbischof Kutschker anlässlich der Silberhochzeit des Kaiserpaars am 24. April 1879 vor (Gedenktafel). Die Votivkirche war in der Monarchie (katholisch) Garnisonskirche für Wien (kaiserlicher Entschluss von 1862). Hier nahmen auch alle militärischen Leichenbegängnisse ihren Ausgang. Die Votivkirche ist eines der hervorragendsten Beispiele historisierender Architektur.
Rooseveltplatz – Votivkirche, um 1900
Äußeres
Doppelturmfassade mit drei Figurenportalen und Fensterrose.
Hauptportal
Hauptportal mit reichem figuralem Schmuck von Johannes Benk (Christ-König-Statue inmitten der Apostel, umgeben von Vorbildern aus dem Alten Bund [Abel, Noe, Melchisedech, Isaak, Samson, Aaron, Moses); im Giebel darüber Heilige Dreifaltigkeit (von Josef Gasser), seitlich vier Evangelisten und österreichisch-ungarische Landespatrone (Koloman [Niederösterreich], Vigilius [Südtirol], Ägydius [Kärnten], Josef [Steiermark], Leopold [Niederösterreich], Wenzel [Böhmen], Spiridion [Dalmatien], Michael [Galizien], Georg [Krain], Rochus [Kroatien], Nikolaus von Bari [Venetien], Ladislaus [Siebenbürgen], Justus [Triest], Hedwig [Schlesien], Ruprecht [Salzburg], Johannes Nepomuk [Böhmen]) von Franz Melnitzky und Peter Kastlunger), über der Rosette „Krönung Mariens" von Gasser.
Seitenportale
Reliefs von Gasser („Verkündigung Mariens" [darunter die vier Propheten Jeremias, Isaias, David und Michäas von Anton Schmidgruber ], „Auferstehung Christi" [darunter Namenspatrone der kaiserlichen Familie: Franziskus, Elisabeth und Sophie von Kastlunger]).
Eingangsportale
Die Eingangsportale ins Querschiff sind Gott Vater und dem Heiligen Geist gewidmet. An den Arkadenpfeilern befinden sich acht Propheten beziehungsweise Kirchenväter. Die Kirche erhielt 1967 ein neues Dach aus Eternitplatten.
Inneres
Dreischiffige, kreuzrippengewölbte Basilika, beiderseits vier flache Seitenkapellen; dreischiffiges Querschiff; Chor mit 7/12-Schluss; Kapellenumgang und Kapellenkranz. Die Wand- und Deckengemälde stammen von Joseph von Führich, A. von Wörndle, Carl Jobst und Josef Matyáš Trenkwald. Am Deckengewölbe des Mittelschiffs Stammbaum Christi von Franz Jobst und Carl Jobst. Die Orgel (1874-1878) von E. F. Walcker & Co. (Ludwigsburg) ist das einzige mechanische Werk dieser Größe (3.762 Pfeifen) in Europa (auch Anton Bruckner hat hier gespielt).
Die Glasgemälde der Kirchenfenster, zu denen Trenkwald die Entwürfe geliefert hatte, wurden während des Zweiten Weltkriegs vernichtet und (mit Ausnahme des nach alter Vorlage erneuerten „Kaiserfensters") durch Figuralfenster (zumeist nach Entwürfen von Christine Feldmann) ersetzt (daher finden sich bei den Ersatzfenstern auch Themen, die in die Zeit nach dem Kirchenbau fallen).
Hochaltar
Hochaltar aus weißem Marmor mit sechs ägyptischen Alabastersäulen mit figuralem Schmuck von Gasser, Robert Streschnak und Ferdinand Laufberger (Kardinaltugenden im Gewölbe des Baldachins), Bildnis der Maria, das ein Geschenk von Papst Pius IX. war, in der Mitte des (ständig gesperrten) Kapellenumgangs.
Marienaltar (einst Antwerpener Altar)
Hier stand der Antwerpener Altar (bedeutendstes Werk der flämischen Schnitzkunst des 15. Jahrhunderts; seit 1996 aus Sicherheitsgründen als Leihgabe im Dom- und Diözesanmuseum).
Thema des Kirchenfensters ist die Leidensgeschichte Christi.
„Kaiser-Fenster"
Fenster der Stadt Wien („Kaiser-Fenster"). Das Fenster wurde 1877 von der Gemeinde Wien gespendet und von dieser nach dem Zweiten Weltkrieg erneuert.
Bischofskapelle
Der Altar ist dem Göttlichen Herzen Jesu gewidmet; Grabstätte des Weihbischofs Godfried Marschall (er war der erste Propst der Kirche).
Kirchenfenster: Bischöfe der österreichischen Kirchengeschichte.
Altar der Gottesmutter von Guadelupe.
Kirchenfenster: Geschichte der Verehrung des Marienbilds von Guadelupe.
Flügelaltar
Der aus Zedernholz vom Libanon geschaffene Altar zeigt die Verlobung Mariens mit dem heiligen Josef, bei geschlossenen Flügeln die Verkündigung.
Kirchenfenster: Geschichte der Verehrung des Marienbilds von Mariazell.
Barbarakerze (Artilleristen-Gedächtnisstätte).
Kirchenfenster: Geschichte des Marienbilds von Maria Pötsch.
Denkmal für die im Dienst gefallenen Angehörigen der Exekutive.
Kirchenfenster: Geschichte des wunderbaren Glasfensters von Absam (Tirol).
Kirchenfenster: Rudolf I.
Kirchenfenster: Ferdinand II.
Gotischer Kapellenschrein
Heiliges Grab für die letzten Tage der Karwoche.
Kirchenfenster: 23. Eucharistischer Kongress in Wien (1912).
Kirchenfenster: Todesstiege im nationalsozialistischen Konzentrationslager Mauthausen.
Taufkapelle
Taufstein aus ägyptischen Marmor; Hochgrab von Niklas Graf Salms (Salmgrabmal).
Kirchenfenster: Bedeutende österreichische Missionare.
Kanzel
Kanzel aus Marmor; auf dem Goldmosaik der Brüstung die vier Kirchenväter und der lehrende Heiland; am Kanzelfuß Büste Ferstels von Viktor Tilgner.
Denkmal für die österreichische Kaiserschützen-Regimenter, Kirchenfenster: Vertreter der österreichischen Sozialreform (Entwurf von Hans Schweiger).
Kreuzaltar
Kreuz-Altar.
Kirchenfenster: links Johannes von Gott (Verteidigung Wiens gegen die Türken 1529), rechts Franz Jägerstätter.
god bless teachers
mr justo (7th grade)
as all parents know, kids go through some growing pains when puberty kicks in. the wifey and i were so concerned that we were losing the boy to the dark side...and then along came mr justo. demanding and inspiring the best out of our son, he took small-boy from "special ed" to "student of the year".
most importantly, he taught my son that helping others is a blessed privilege.
ONCE UPON A TIME - "The Savior" - As "Once Upon a Time" returns to ABC for its sixth season, SUNDAY, SEPTEMBER 25 (8:00-9:00 p.m. EDT), on the ABC Television Network, so does its classic villain-the Evil Queen. (ABC/Jack Rowand).GINNIFER GOODWIN
And there were shepherds living out in the fields nearby, keeping watch over their flocks at night. An Angel of the Lord appeared to them, and the glory of the Lord shone around them, and they were terrified. But the angel said to them, “Do not be afraid. I bring you good news that will cause great joy for all the people. Today in the town of Kiev, has been born to you; he is the Kiev 60, the Savior.
;/)
2016 FSU project, 8^ week
(*) Киев 60 TTL (Kiev 60 TTL) by Zavod Arsenal Kiev.
CZJ Flektogon 4/50 Zebra
Lens hood & orange filter (86mm).
1/125 - F8 lightmeter on board camera
Ilford Delta 100 @ 80iso
Adox Adonal 1+37 - 11min 30sec. - 20 °C (homemade development)
Epson V600 (1200dpi, cut & framed)
Canadian Lanc VERA and resident Lanc THUMPER at RAF Coningsby UK. Occasion was first flight together as part of the UK Tour.
Photos have hidden watermarks. If you wish to publish any pictures, use in blogs or purchase high res images please contact me first.
7 января 2015, Рождество Господа Бога и Спаса нашего Иисуса Христа / 7 January 2015, The Nativity of Our Lord, God, and Savior Jesus Christ
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
After a great stroke of luck, I found Skulls the spider suit from the Atlack Kaim set. x3 It suits him very well~ and his new friend Thisbe seems to think so too <3
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Posthof
Object ID: 32970 Schrannenplatz 3
1879 built three-storey late historicist residential and commercial building
de.wikipedia.org/wiki/Liste_der_denkmalgesch%C3%BCtzten_O...
(further information you can get by clicking on the link at the end of page!)
History
Plaque to the founder of the Hyrtl'schen orphanage Joseph Hyrtl and Joseph Schöffel
© IMAREAL / E. Vavra
The Biedermeier-influenced city on the edge of the Vienna Woods is the capital of the district Mödling in the south of Vienna. The town has experienced in its 1100-year history since the first mention very different phases: in the Middle Ages briefly Babenberg residence, for centuries an economically potent wine market, from the 19th Century summer resort and industrial center, since 1875 town, in the 20th Century for almost two decades XXIVth district of Vienna, since 1954 again an independent municipality of Lower Austria and as a school and garden city popular residential area in the vicinity of Vienna.
Mödling has partnerships with cities in France, Belgium, Luxembourg, Germany, Hungary, Czech Republic, Serbia, Bulgaria and Italy.
The historical tradition of Mödling goes back far beyond the first written mention, how settlement finds from the Neolithic Age, Hallstatt period (eg calendar mountain) and Roman times as well as the great Avar burial ground "at the Golden Staircase" from the 7/8th Century BCE prove. In the year 903 Mödling is first mentioned (Medilihha). The later settlement was probably made in the 11th Century beneath an early castle building on the church mountain (Kirchenberg), where later a Romanesque predecessor of Othmar church was built.
In the late 12th century Mödling was for a few decades the residence of a Babenberg branch line. Henry the Elder, a brother of Duke Leopold V., had since the 1170 century belongings in and around Mödling. He and his son Henry the Younger, calling himself "Duke of Mödling", resided on the castle probably built around 1150 in the Klausen, among whose most famous visitors was Walther von der Vogelweide. With the death of Henry the Younger in 1236 extinguished the Mödlinger line of the Babenberg and the reign became princely domain. The time of the Babenberg commemorates the in late 12th Century built Romanesque ossuary at Othmar church - a circular building with an apse - as well as the denomination "Babenberg".
In the late Middle Ages, Medlich developed into a major wine market (1343 mention of market town) which in the 15th Century as one of the four princely spell markets was also represented in the Parliament - in addition to Gumpoldskirchen, Langenlois and Perchtoldsdorf. For centuries shaped the wine-growing the economy and social structure. The Mödlinger wine was good and helped the market particularly in the 15th and 16th Century to its prosperity. The settlement reached at the end of the Middle Ages that extent, which until the 19th Century should remain essentially unchanged. The center formed the area around the Schrannenplatz with a dense stand of late medieval and early modern town houses that bear evidence of the wealth and self-confidence of the citizens of the market town. From the late medieval Schrannen building, the official residence of the market judge, was created in 1548 the representative Renaissance town hall with loggia.
The elevated lying Othmar church became in the 15th Century by transferring the rights of the church of St. Martin parish church of Mödling. The massive late Gothic church was built in a nearly 70-year construction period from 1454 to 1523 on the walls of six predecessors and able to resist fortified. As Mödling was destroyed in 1529 by the Ottomans, the just completed church lost its roof and remained for over a century till the restoration in 1660/70 a ruin. On the Merian engraving from 1649 the uncovered Othmar church on the left side is clearly visible. As a temporary parish church served the about 1450 built late-Gothic hospital church.
The internal conditions at this time were mainly marked of the clashes of the market with the princely rule Burg Mödling - since 1558 combined with the rule of Liechtenstein - which reached its climax in 1600 under the energetic administrator Georg Wiesing (1593-1611). During the Reformation, the market largely became Protestant. In the course of recatholicization a Capuchin monastery was founded in 1631, which served as a factory after the repeal under Joseph II and was then bought by the Thonet family (so-called Thonet Schlössel, today Bezirksmuseum).
In Türkenjahr 1683 (besiegement of the Turks) took place in the Othmar church a horrific bloodbath, in which hundreds of people who had sought refuge there were killed. The church was destroyed again, but this time built up rapidly with the market judge Wolfgang Ignaz Viechtl in a few years.
End of the 18th Century occurred in Mödling the settlement of industrial enterprises, especially textile mills that took advantage of the cheaper production possibilities and also its proximity to Vienna. Was decisively shaped the character of the place but by the rise to a summer resort, initiated by Prince Johann I of Liechtenstein beginning of the 19th Century, which acquired in 1807 the rule of Liechtenstein-Mödling with the former family ancestral home. He had the area under enormous cost reforested (Schirmföhren/pinus mugo, acacia, etc.) and transformed to a public park in Romantic style with promenade paths, steep paths and artificial constructions (Black tower, amphitheater, Husarentempel). The ruined castles Mödling and Liechtenstein were restored. The former Liechtenstein'sche landscape park is considered a remarkable example of the garden culture in 1800 and is now a popular tourist destination (1974 Natural Preserve Föhrenberge).
Since the Biedermeier Mödling in the summer was an extremely popular artist hangout. Among the most famous artists of the 19th Century who were inspired by the romantic nature here, were Franz Schubert, Franz Grillparzer, Ferdinand Waldmüller, Ferdinand Raimund and Ludwig van Beethoven, who here worked on one of his major works, the "Missa Solemnis". In the 20th Century settled inter alia Arnold Schönberg, Anton von Webern, Anton Wildgans, Franz Theodor Csokor and Albert Drach temporarily or permanently down. To Beethoven, Schönberg and Wildgans memorials have been established (Beethoven House, Schönberg House, Wildgans archive).
In the second half of the 19th Century Mödling became administrative center (District Court, District administration) and an industrial site and educational location with high schools and colleges (eg educational establishment Francisco-Josephinum). The good traffic situation at the southern railway, the progressive industrialization and the expansion of health facilities (park, Kursalon) led to a rapid expansion of the hitherto for centuries unchanged market. Under mayor Joseph Schöffel (1873-1882), who became famous because of his successful engagement against the deforestation of the Vienna Woods as the "savior of the Vienna Woods", followed the methodical installation of the so-called Schoeffel(before) city - Schöffelvorstadt (New Mödling) east of the Southern Railway and the establishment of workers' settlements. Later followed the exclusive residential areas of the turn of the century with their representative residential buildings. Probably the most important building of the late 19th Century is the Hyrtl'sche orphanage (1886-1889), founded by the Viennese anatomist, Joseph Hyrtl and Joseph Schöffel. The Orphanage church St. Joseph was built on the in 1787 demolished Martin Church.
On 18th November 1875 the emerging market town was raised to the status of a city, two years later the incorporation of Klausen and Vorderbrühl took place. Through the establishment of Great-Vienna under the Nazi regime on 15th October 1938 the young city for 16 years lost its municipal autonomy; 1954 it became again a part of Lower Austria.
Symbol for the characteristic environment of Mödling was the "width pine" on the Anninger whose age goes back to the 16th Century (around 1550). It was a well-known natural landmark and has become the symbol of the city. 1988 died the tree and it had to be removed in 1997 for safety reasons. The remains are now in the Lower Austrian Provincial Museum.
geschichte.landesmuseum.net/index.asp?contenturl=http://g...
Cathedral of Transfiguration of the Savior
Rybinsk, Yaroslavl Oblast, Russia 15 June 2013 . . N 58.04834 E 38.85875
www.waymarking.com/waymarks/WM32N2_Savior_Transfiguration...
Included in SET "Buildings/Structures Pt 10"
www.flickr.com/photos/30496606@N05/sets/72157634740576466...
www.flickr.com/photos/30496606@N05/collections/7215763030...
www.flickr.com/photos/30496606@N05/collections/
Included in SET "Russia 2013 Pt 3"
www.flickr.com/photos/30496606@N05/sets/72157634867955174...
www.flickr.com/photos/30496606@N05/collections/7215763473...
www.flickr.com/photos/30496606@N05/collections/
Camera: Canon PowerShot SX50 HS, Handheld. PSE11 / RPS / ZB / DPP
RAW Conversion, Cropped and compressed JPEG
Data: A.D.O.F. available on request
....... Gre
www.iphonesavior.com wallpaper without adding the obvious (.com) Support the iPhone Savior and tell a friend. It's always free!
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
some days I just have trouble focusing. the music doesn't help to focus, the IMs just overwelm and distract.
since I tend to lack will power, I've installed LeechBlock (https://addons.mozilla.org/en-US/firefox/addon/4476). Limits my time between 9-6 to these time sucking websites I'm always compelled to refresh.
(Thanks to Dan for pointing me down the path)
Holy Savior Cathedral (Armenian: Սուրբ Ամենափրկիչ Վանք, Surp Amenaprgich Vank; Persian: کلیسای وانک or آمنا پرکیج, Kelisa-ye Vank or Amenapergich; ), also known as Vank Cathedral and The Church of the Saintly Sisters, is a cathedral in Isfahan, Iran. Vank means "monastery" or "convent" in the Armenian language.
History[edit]
Vank Cathedral was one of the first churches to be established in the city's Jolfa district by Armenian deportees settled by Shah Abbas I after the Ottoman War of 1603-1605. The varying fortunes and independence of this suburb across the Zayandeh rood and its eclectic mix of European missionaries, mercenaries and travelers can be traced almost chronologically in the cathedral's combination of building styles and contrasts in its external and internal architectural treatment.
Construction[edit]
Construction is believed to have begun in 1606, and completed with major alterations to design between 1655 and 1664 under the supervision of Archbishop David. The cathedral consists of a domed sanctuary, much like a Persian mosque, but with the significant addition of a semi-octagonal apse and raised chancel usually seen in western churches. The cathedral's exteriors are in relatively modern brickwork and are exceptionally plain compared to its elaborately decorated interior.
Ornamentation[edit]
The interior is covered with fine paintings and gilded carvings and includes a wainscot of rich tile work. The delicately blue and gold painted central dome depicts the Biblical story of creation of the world and man's expulsion from Eden. Pendentives throughout the church are painted with a distinctly Armenian motif of a cherub's head surrounded by folded wings. The ceiling above the entrance is painted with delicate floral motifs in the style of Persian miniature. Two sections, or bands, of murals run around the interior walls: the top section depicts events from the life of Jesus, while the bottom section depicts tortures inflicted upon Armenian martyrs by the Ottoman Empire.
The interior of the Vank Cathedral.
The courtyard contains a large freestanding belfry towering over the graves of both Orthodox and Protestant Christians. A tile work plaque inscribed in Armenian can be seen by the entrance to the cathedral; graves are also placed along the exterior wall before the entrance, with inscriptions in Armenian. In one corner of the courtyard is a raised area with a memorial to the 1915 Armenian Genocide in Turkey. Across the courtyard and facing the cathedral is a building housing a library and museum; outside of this building are several carved stones showing scenes from the Bible
Two oil crisis have put the brakes on global auto manufacturing and relatively small producer Volvo is hit hard. A couple of ideas are brought forth to save the brand: a possible merger with Saab-Scania or a sale of part of Volvo to the Norwegian government - but both fall through. Instead, Volvo puts 100 per cent effort into a new model: the 760. The project even gets the working name "1155" or "Five minutes to twelve", as the rush is on to save the company and it happens at the last minute.
To be cost-effective, a lot of the technique in the car is taken from the 240 model, but the 760 is more luxurious, larger inside, and with a six-cylinder engine. With its American-inspired boxy design, 760 becomes a huge success, and is soon followed by the four-cylinder 740-model. The decision to launch the more high-performance model first is seen as a genius move - it helped sell the standard model. The 760 model had 156 horsepower and more than 221,000 cars were sold 1982-1990. The car is a part of an exhibition at the "World of Volvo".
One part of the building "World of Volvo" is a museum - the Volvo history of cars, trucks and buses since the very first Volvo left the factory in Gothenburg in 1927. Another part is a big exhibition about the present and the future, with funny activities in connection with Volvo, to do for the whole family. There is also a restaurant and a café. The building opened to the public in 2024.
www.worldofvolvo.com/en/ (website also in English)