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Salvador del Mundo / Savior of the World
17th Century
FILIPINO
Solid ivory with traces of gilding and polychromy.
The figure of child Jesus standing with his weight on his left leg, the right leg relaxed and slightly backward. The body leaning to the right with exceptionally naturalistic pose, his right hand lifted in blessing and the left held out to support a golden orb, representing the Salvador del Mundo or Savior of the World.
Traces of gilding and polychromy remain in his short curly hair which is in turn inspired by images of Jesus during the baroque period particularly those carved by the great Spanish sculptor, Juan Martinez Montañes. The main body and the left hand are each carved from a single piece of ivory. However, the right hand is made from 3 separate pieces.
Height excluding the base is 25cm or 10 in.
Provenance: Amir Motashemi Gallery. London, UK
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)
La soledad de mi patio de flores
el rombo cuadriculado de tu frente
la jaula abierta, el gorrión dormido
la espada descansa saciada,
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
Icône du Christ Sauveur / Christ the Savior Icon
Tempera de jaune d'oeuf / Egg tempera
Panneau de tilleul creusé / Carved lime tree panel
Dorure et 'assist' / Gold size and 'assist' : 22 carats
24 x 30 cm
Par la main de / By the hand of
Sœur Madeleine Marchand
2013
Institut Périchorèse - Atelier d'iconographie
Perichorese Institute - Iconography Workshop
Atelier In-Chora Workshop
Montréal / Montreal (Québec, Canada)
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.
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
My friend and I drove cross country from Ann Arbor, MI to Naples, FL to bury a friend. We saw the Jesus in Ohio right before we got home, and he wanted to swim in the lake. A lady saw him jump and thought he was naked. I explained, got a handshake, then got kicked out. But not until after we got this!
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
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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
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
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