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St. Sebaldus church was originally built from 1225-1275 as a Romanesque basilica. The church underwent multiple alterations, these two tall steeples date to the 15th century.
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Nuremberg imperial castle and the steeples of the St. Sebald church.
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The Schürstabhaus on the Sebalder Platz is one of the main medieval attractions around the St. Sebaldus church.
Originally built in the 12th century as two separate buildings, these were soon after connected to form a single structure. The original two buildings can still be noted when counting the floors below the roof on the left (4) and the right side (5) of the building.
In the years 1328–1478 the building was owned by the Schürstab family, which (much) later led to the name of the building. From the 14th through the early 16th century the Schürstabs were an important patrician family in Nuremberg.
The building was damaged in 1943 during am allied bombing raid, the roof structure was destroyed. Only 1995–1997 the building was fully reconstructed and only then it got the name Schürstabhaus.
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The top of the Schöne Brunnen, one of the main attractions on Nuremberg's Hauptmarkt market square. This 19 m tall gothic fountain was completed in 1396.
Unfortunately I got only the upper part, as it was market day the lower parts were obscured by market stalls. In the background are the 15th century steeples of the St. Sebaldus church.
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An interior view of the oldest church in Nuremberg. St. Sebald was built 1225 -1275.
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St. Sebald. Nürnberg
Edificio de la iglesia en Nürnberg
La iglesia medieval de San Sebald en Nürnberg también llamada Sebalduskirche (en honor al ermitaño Sebaldus , que probablemente vivió en el área de Nürnberg en el siglo VIII ), es la iglesia parroquial más antigua de Nürnberg y, junto con la Frauenkirche y la Lorenzkirche, una de los edificios eclesiásticos más destacados de la ciudad. Está de camino al Castillo de Nürnberg al norte un poco por encima del mercado principal y justo al oeste frente al ayuntamiento . Increíblemente rico tiene el equipo dentro. Desde la ReformaSebalduskirche está al lado de Lorenzkirche, una de las dos grandes iglesias protestantes de la ciudad de Nürnberg , que hoy en día pertenecen a la Iglesia Evangélica Luterana de Baviera .
Vista frontal de la Sebalduskirche, 2010
Fachada norte de St. Sebald, 2006
St. Sebald, coro este de SO
La Sebalduskirche es la más antigua de las dos grandes iglesias parroquiales de Nürnberg y la iglesia parroquial evangélica luterana más antigua (desde 1525) de la ciudad. El hecho de que St. Sebald siempre fue más noble e importante que St. Lorenz ya no se puede ver en el paisaje urbano desde que se construyó la estación. Pero la proximidad directa del coro de la iglesia al antiguo ayuntamiento subraya su antigua importancia como la "iglesia del consejo" de Nürnberg , en la que el santo patrón de la ciudad está enterrado con San Sebaldo.
Der Sebalder Pfarrhof ist eines der ältesten und stadtbildprägenden Baudenkmäler Nürnbergs. An seiner Fassade prangt eins der wenigen, noch erhaltenen Kapellenchörlein der fränkischen Metropole.
Es ist das berühmteste und wohl am häufigsten fotografierte ...
Als Chörlein bezeichnet man die Auskragungen im ersten Obergeschoss eines Hauses. Der Begriff "Chor" ist für diese Anbauten seit 1598 schriftlich belegt. Die Kapellenchörlein stammen aus dem 14. und 15. Jahrhundert und dienten als Altarraum kleiner Hauskapellen. Diese nach Osten ausgerichteten Anbauten sind meistens aus Stein und durch ihre Mehreckigkeit einem Kirchenchor nachempfunden.
Einige dieser Chörlein sind aus Holz und wirken oft wie an das Haus "angeklebt" - das Kleinod am Sebaldushof wurde jedoch kunstvoll aus Sandstein gefertigt. Der hübsche gotische Anbau ist eine Kopie von 1898/1902. Das Original kann aber im Germanischen Nationalmuseum besichtigt werden.
Links im Bildanschnitt seht ihr übrigens die Sebaldskirche - vielleicht zeige ich später davon auch noch eine Aufnahme.
All diese Schätze habe ich nur entdeckt, weil ich in Ulrike eine richtig gute Stadtführerin hatte...
" Antwerpen Main Station.The Clock and the main level. 06.08.17, 16:26:18.Being there again.What an amazing building ! Last time was in my childhood...No. 5835.
The original station building was constructed between 1895 and 1905 as a replacement for the original terminus of the Brussels-Mechelen-Antwerp Railway. The stone clad terminus buildings, with a vast dome above the waiting room hall were designed by Louis Delacenserie. The viaduct into the station is also a notable structure designed by local architect Jan Van Asperen. A plaque on the north wall bears the name Middenstatie.
The station is now widely regarded as the finest example of railway architecture in Belgium,[1] although the extraordinary eclecticism of the influences on Delacenserie's design had led to a difficulty in assigning it to a particular architectural style. In W. G. Sebald's novel Austerlitz an ability to appreciate the full range of the styles that might have influenced Delacensiere is used to demonstrate the brilliance of the fictional architectural historian who is the novel's protagonist.
In 2009 the American magazine Newsweek judged Antwerpen-Centraal the world's fourth greatest train station.[2] In 2014 the British-American magazine Mashable awarded Antwerpen-Centraal the first place for the most beautiful railway station in the world.[3]
La gare d'Anvers-Central (en néerlandais : station Antwerpen-Centraal) est une gare ferroviaire belge des lignes 25 de Bruxelles à Anvers et 12, d'Anvers à Essen (frontière), située sur la place Reine Astrid à proximité du centre de la ville d'Anvers, chef-lieu de la province d'Anvers en Région flamande. Elle est considérée comme l'un des monuments les plus fastueux de Belgique et l'une des plus belles gares du monde.
Depuis mars 2007, les travaux de la gare et les réaménagements des voies sur trois niveaux ont permis de créer une liaison directe vers les Pays-Bas via un tunnel ferroviaire sous la gare et la ville, alors que la gare était historiquement une gare terminus.
Der Bahnhof Antwerpen-Centraal (niederländisch Antwerpen-Centraal, französisch Anvers-Central) ist ein Bahnhof der NMBS/SNCB in Antwerpen (Belgien). Täglich wird er von ca. 540 Zügen frequentiert. Es existieren Verbindungen nach Rotterdam (– Amsterdam), Gent (– Kortrijk), Brügge (– Ostende), Brüssel, Lüttich, Neerpelt und Puurs. Er liegt am Astridplein östlich der Antwerpener Altstadt, unmittelbar neben dem berühmten Zoo."
Wikipédia.
Antwerpen-Centraal (Antwerp Central) is the name of the main railway station in the Belgian city of Antwerp. The station is operated by the national railway company NMBS.
The original station building was constructed between 1895 and 1905 as a replacement for the original terminus of the Brussels-Mechelen-Antwerp Railway. The stone clad terminus buildings, with a vast dome above the waiting room hall were designed by Louis Delacenserie and the vast (185 metres long and 44 metres high) iron and glass trainshed by Clement van Bogaert. The viaduct into the station is also a notable structure designed by local architect Jan Van Asperen.
The station is now widely regarded as the finest example of railway architecture in Belgium, although the extraordinary eclecticism of the influences on Delacenserie's design had led to a difficulty in assigning it to a particular architectural style. In W. G. Sebald's novel Austerlitz an ability to appreciate the full range of the styles that might have influenced Delacensiere is used to demonstrate the brilliance of the fictional architectural historian who is the novel's protagonist.
In 2009 the American magazine Newsweek judged Antwerpen-Centraal the world's fourth greatest train station.
Excerpt from Wikipedia:
The Fleisch Bridge (German: Fleischbrücke or "Meat Bridge") or Pegnitz Bridge (Pegnitzbrücke) is a late Renaissance bridge in Nuremberg, Germany. The bridge crosses the river Pegnitz in the center of the old town, linking the districts St. Sebald and St. Lorenz along the axis of the main market. The single-arch bridge was built between 1596 and 1598 and replaced an earlier mixed construction of stone and wood which had been repeatedly destroyed by flood.
The Fleisch Bridge is notable for several technical features that were advanced for its time. These include an unusual large width of 15.3 m, and a clear span of 27 m which made it the largest masonry bridge arch in Germany at the time of its construction. With a rise of only 4.2 m, the arch features a span-to-rise ratio of 6.4 to 1, giving the bridge an almost unprecedented flat profile.
This, however, came at the cost of high lateral thrusts even for a segmental arch bridge. This problem was solved by a particularly innovative construction of the abutments which were built onto 2000 wooden piles, 400 of which were rammed obliquely into the grounds. A very similar arrangement of the abutments had also been implemented slightly earlier at the Rialto Bridge, leading to speculations about a technology transfer from Venice, with which Nuremberg shared close trade links. A recent in-depth research, however, stresses the originality of the Fleisch Bridge on grounds of technical differences between the two bridges.
The Fleisch Bridge has practically remained unchanged since the addition of a portal in 1599 and survived World War II almost unscathed. A Latin inscription at the portal reads: Omnia habent ortus suaque in crementa sed ecce quem cernis nunquam bos fuit hic Vitulus ("All things have a beginning and grow, but the ox upon whom you now look was never a calf.").
La chiesa di San Sebaldo, in tedesco Sebaldskirche, è un'importante chiesa evangelica della città bavarese di Norimberga, in Germania.
È un grande edificio medievale iniziato in stile romanico nel 1225-30 e terminato in forme gotiche nel 1379 dedicato a san Sebaldo, eremita locale che soggiornò nei dintorni di Norimberga nell'VIII secolo .
da Wikipedia
DSC_8860 CP
Excerpt from Wikipedia:
St. Lorenz (St. Lawrence) is a medieval church of the former free imperial city of Nuremberg in southern Germany. It is dedicated to Saint Lawrence. The church was badly damaged during the Second World War and later restored. It is one of the most prominent churches of the Evangelical Lutheran Church in Bavaria.
The nave of the church was completed by around 1400. In 1439, work began on the choir in the form of a hall church in the late German Sondergotik style of Gothic architecture. The choir was largely completed by 1477 by Konrad Roriczer,[1] although Jakob Grimm completed the intricate vaults.
In the choir one can find the carving of the Angelic Salutation by Veit Stoss, and the monumental tabernacle by Adam Kraft. The latter includes a prominent figure of the sculptor himself.
The building and furnishing of the church was cared of by the city council and by wealthy citizens. This is probably the reason why the art treasures of St. Lawrence were spared during the iconoclasm during the Reformation period. Despite St. Lawrence being one of the first churches in Germany to be Lutheran (1525), the wealthy citizens of Nuremberg wanted to preserve the memory of their ancestors and refused the removal of the donated works of art.
The west facade is richly articulated, reflecting the wealth of the Nuremberg citizens. The facade is dominated by the two towers, mirroring St. Sebald and indirectly Bamberg Cathedral with a sharp towering West portal doorway, and an indented rose window 9 metres in diameter.
Hase - Hommage à Dürer; Bronzeskulptur auf Granitsockel, von Jürgen Goertz; Standort: Tiergärtnertorplatz, Sebalder Altstadt
Excerpt from best-cityguide.com:
The museum bridge is a sandstone arch bridge that spans the Pegnitz in Nuremberg. The road bridge is located at the beginning of Königstrasse and connects the St. Sebald and St. Lorenz districts of Nuremberg. It is located between the main market and Lorenzer Platz. Nuremberg’s oldest bridge over the Pegnitz is believed to be the site of today’s Museum Bridge. A wooden bridge is documented for the 13th century. Since the building connected the Franciscan monastery with the city, it was called the Barfüßerbrücke. However, floods repeatedly destroyed the bridge at this location in the centuries that followed. In 1484, a new building with stone substructures and a wooden superstructure followed. In 1590 the building was badly damaged by floods again. Due to the ongoing maintenance work, the city decided in 1699 to replace the construction with a completely massive bridge. In 1700 the bridge was built with two stone arch openings and named after King Joseph I as the Joseph or King’s Bridge. The Pegnitz crossing was adorned by two baroque pulpit structures with wrought-iron grilles, which were arranged on the power pillar. The western structure is decorated with the coats of arms of the six members of the city government at that time. In the 19th century, the name was changed to Museum Bridge, because on the site of the former Barfüßerkirche the "Museum" society, a society for reading and reading, had a meeting house.
Die heutige Nikolaikirche geht auf mindestens zwei Vorgängerbauten zurück. Der erste entstand ab etwa 1230 und entsprach dem regionalen Typus einer spätromanischen, 40 Meter langen, dreischiffigen, flachgedeckten Pfeilerbasilika aus Feldstein mit sechs Achsen, Querschiff und drei Ostapsiden. Ihr erhaltener Westbau entstand um 1230 und trägt bereits frühgotische Züge; das Westportal ist spitzbogig. Ihren Namen hat sie von dem heiligen Nikolaus von Myra. Das Nikolaipatrozinium deutet darauf hin, dass sie die Kirche einer Kaufmannssiedlung war. Als ältestes Bauwerk Berlins bildete sie mit dem Molkenmarkt den Kern der im Aufbau befindlichen Handelsstadt Berlin, während auf der gegenüberliegenden Spreeseite die Siedlung Cölln um die Petrikirche heranwuchs.
Noch vor dem Ende des 13. Jahrhunderts wurde zunächst das Langhaus der Feldsteinbasilika abgebrochen und durch eine dreischiffige frühgotische Backsteinhalle ersetzt. Bereits vor 1379 wurde damit begonnen, die spätromanische Choranlage des Ursprungsbaus durch einen deutlich erweiterten Hallenumgangschor zu ersetzen. Die Einwölbung dieses ambitionierten Chorbaus ist spätestens auf das frühe 15. Jahrhundert zu datieren. Der Grundriss des Chores mit dem Chorumgang orientiert sich an dem in den 1360er-Jahren entstandenen Vorbild, der Spandauer Nikolaikirche – die wiederum auf St. Sebald in Nürnberg zurückging –, doch war die Wandgestaltung deutlich reichhaltiger und perfektionierte in Vielem den Vorgängerbau.
Einhergehende Planungen für ein neues, den Dimensionen des Umgangschors angepasstes Hallenlanghaus wurden aber erst ab etwa 1460 umgesetzt. 1460 erklärte Bischof Dietrich IV., dass jenen, die innerhalb eines Jahres zum Bau an der offenbar einsturzgefährdeten Kirche St. Nikolai beitrügen, ein 40-tägiger Ablass gewährt werde. Prägende Elemente der frühgotischen Vorgängerhalle wurden nicht einbezogen. Die zweigeschossige Liebfrauenkapelle an der Südwestecke des neuen Langhauses ist auf etwa 1465 zu datieren und steht in Zusammenhang mit der schon 1452 erfolgten Stiftung einer Marienbruderschaft durch den kurfürstlichen Küchenmeister Ulrich Czewschel. Die roten Backsteine der Kapelle bilden einen deutlichen Kontrast zum Grau des Turms. Um 1470/1480 folgte als letzter mittelalterlicher Bauabschnitt ein ebenfalls zweigeschossiger Sakristei- und Kapellenanbau an der Nordseite des Umgangschors. Die spätmittelalterliche Bekrönung der Südseite des über alle Bauphasen erhaltenen, querriegelartigen Feldstein-Westbaus mit einem schlanken Spitzturm ist nicht mehr zu datieren. 1876–1878 errichtete Hermann Blankenstein in dessen Ersatz und wiederum unter Wahrung der frühgotischen Untergeschosse die heute prägende neugotische Doppelturmfassade. Für die Zeit durchaus bemerkenswert ist dabei, dass dieser umfassende Eingriff in die historische Bausubstanz unter den Mitgliedern des Architekten-Vereins zu Berlin heftig diskutiert wurde und damit ein wichtiges Zeugnis über die Entwicklung der Denkmalpflege im Deutschland der zweiten Hälfte des 19. Jahrhunderts liefert.
Die äußerst interessante Geschichte dieser Kirche ist so umfassend, daß ich den Wikipediaartikel übernommen habe.
Antwerp, Estación Central.
(...) Towards the end of the nineteenth century, Austerlitz began, in reply to my questions about the history of the building of Antwerp station, when Belgium, a little patch of yellowish gray barely visible on the map of the world, spread its sphere of influence to the African continent with its colonial enterprises, when deals of huge proportions were done on the capital markets and raw-materials exchanges of Brussels, and the citizens of Belgium, full of boundless optimism, believed that their country, which had been subject so long to foreign rule and was divided and disunited in itself, was about to become a great new economic power—at that time, now so long ago although it determines our lives to this day, it was the personal wish of King Leopold, under whose auspices such apparently inexorable progress was being made, that the money suddenly and abundantly available should be used to erect public buildings which would bring international renown to his aspiring state. One of the projects thus initiated by the highest authority in the land was the central station of the Flemish metropolis, where we were sitting now, said Austerlitz; designed by Louis Delacenserie, it was inaugurated in the summer of 1905, after ten years of planning and building, in the presence of the King himself.
Delacenserie's eclecticism, uniting past and future in the Centraal Station with its marble stairway in the foyer and the steel and glass roof spanning the platforms, was in fact a logical stylistic approach to the new epoch, said Austerlitz, and it was also appropriate, he continued, that in Antwerp Station the elevated level from which the gods looked down on visitors to the Roman Pantheon should display, in hierarchical order, the deities of the nineteenth century—mining, industry, transport, trade, and capital. For halfway up the walls of the entrance hall, as I must have noticed, there were stone escutcheons bearing symbolic sheaves of corn, crossed hammers, winged wheels, and so on, with the heraldic motif of the beehive standing not, as one might at first think, for nature made serviceable to mankind, or even industrious labor as a social good, but symbolizing the principle of capital accumulation.
And Time, said Austerlitz, represented by the hands and dial of the clock, reigns supreme among these emblems. The clock is placed above the only baroque element in the entire ensemble, the cruciform stairway which leads from the foyer to the platforms, just where the image of the emperor stood in the Pantheon in a line directly prolonged from the portal; as governor of a new omnipotence it was set even above the royal coat of arms and the motto Endracht maakt macht. The movements of all travelers could be surveyed from the central position occupied by the clock in Antwerp Station, and conversely all travelers had to look up at the clock and were obliged to adjust their (...)
W. G. Sebald, Austerlitz, 2001.
Die evangelisch-lutherische St.-Egidien-Kirche am Egidienplatz ist eine Kirche in der Sebalder Altstadt von
Nürnberg. Es handelt sich dabei um den ältesten Kirchenort und die einzige Barockkirche Nürnbergs.
de.wikipedia.org/wiki/St._Egidien_(N%C3%BCrnberg)
Blick von der Nürnberger Kaiserburg nach Süden, links hinten die Lorenzkirche, vorne die Sebalduskirche
de.wikipedia.org/wiki/St._Lorenz_(Nürnberg)
Excerpt from Wikipedia:
St. Sebaldus Church (St. Sebald, Sebalduskirche) is a medieval church in Nuremberg, Germany. Along with Frauenkirche (Our Lady's Church) and St. Lorenz, it is one of the most important churches of the city, and also one of the oldest. It is located at the Albrecht-Dürer-Platz, in front of the old city hall. It takes its name from Sebaldus, an 8th-century hermit and missionary and patron saint of Nuremberg. It has been a Lutheran parish church since the Reformation.
The construction of the building began in 1225, the church achieved parish church status in 1255 and was completed by 1273–75. It was originally built as a Romanesque basilica with two choirs. During the 14th century several important changes to the construction were made: first the side aisles were widened and the steeples made higher (1309–1345), then the late gothic hall chancel was built (1358–1379). The two towers were added in the 15th century. In the middle 17th century galleries were added and the interior was remodelled in the Baroque fashion. The church suffered serious damage during World War II and was subsequently restored. Some of the old interior undamaged includes the Shrine of St. Sebaldus, works by Veit Stoss and the stained glass windows. In the church the famous epitaph of the Tucher family can be found.
First shot - chronologically speaking - in the current badger series. Badger contemplates the rolling red Toyota blind. The rest is mystery. “Men and animals regard each other across a gulf of mutual incomprehension.” - W.G. Sebald
Photographed in Grasslands National Park, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©2024 James R. Page - all rights reserved.
Nürnberg - Sebalduskirche, Innenansicht (Blick zum Westchor)
www.sebalduskirche.de/sebaldusgrab/
de.wikipedia.org/wiki/Sebaldusgrab
St. Lorenz ist ein gotischer Kirchenbau in Nürnberg. Die Lorenzkirche war die Pfarrkirche des südlich der Pegnitz gelegenen mittelalterlichen Siedlungskerns der ehemaligen Reichsstadt Nürnberg und bildet städtebaulich das Pendant zu der älteren Kirche St. Sebald im nördlichen Stadtteil. Wikipedia
St. Lorenz ist ein gotischer Kirchenbau in Nürnberg. Die Lorenzkirche war die Pfarrkirche des südlich der Pegnitz gelegenen mittelalterlichen Siedlungskerns der ehemaligen Reichsstadt Nürnberg und bildet städtebaulich das Pendant zu der älteren Kirche St. Sebald im nördlichen Stadtteil. Wikipedia
Excerpt from Wikipedia:
St. Sebaldus Church (St. Sebald, Sebalduskirche) is a medieval church in Nuremberg, Germany. Along with Frauenkirche (Our Lady's Church) and St. Lorenz, it is one of the most important churches of the city, and also one of the oldest. It is located at the Albrecht-Dürer-Platz, in front of the old city hall. It takes its name from Sebaldus, an 8th-century hermit and missionary and patron saint of Nuremberg. It has been a Lutheran parish church since the Reformation.
The construction of the building began in 1225, the church achieved parish church status in 1255 and was completed by 1273–75. It was originally built as a Romanesque basilica with two choirs. During the 14th century several important changes to the construction were made: first the side aisles were widened and the steeples made higher (1309–1345), then the late gothic hall chancel was built (1358–1379). The two towers were added in the 15th century. In the middle 17th century galleries were added and the interior was remodelled in the Baroque fashion. The church suffered serious damage during World War II and was subsequently restored. Some of the old interior undamaged includes the Shrine of St. Sebaldus, works by Veit Stoss and the stained glass windows. In the church the famous epitaph of the Tucher family can be found.
Der im Jahr 1824 erbaute Kettensteg zählt zu den ältesten erhaltenen eisernen Hängebrücken auf dem europäischen Festland. Die schmale Fußgängerbrücke verbindet die Altstadtteile St. Lorenz und St. Sebald - Built in 1824, the chain footbridge is one of the oldest preserved iron suspension bridges on the European mainland. The narrow pedestrian bridge connects the old town districts of St. Lorenz and St. Sebald (Nuremberg, Germany)
Excerpt from Wikipedia:
St. Sebaldus Church (St. Sebald, Sebalduskirche) is a medieval church in Nuremberg, Germany. Along with Frauenkirche (Our Lady's Church) and St. Lorenz, it is one of the most important churches of the city, and also one of the oldest. It is located at the Albrecht-Dürer-Platz, in front of the old city hall. It takes its name from Sebaldus, an 8th-century hermit and missionary and patron saint of Nuremberg. It has been a Lutheran parish church since the Reformation.
The construction of the building began in 1225, the church achieved parish church status in 1255 and was completed by 1273–75. It was originally built as a Romanesque basilica with two choirs. During the 14th century several important changes to the construction were made: first the side aisles were widened and the steeples made higher (1309–1345), then the late gothic hall chancel was built (1358–1379). The two towers were added in the 15th century. In the middle 17th century galleries were added and the interior was remodelled in the Baroque fashion. The church suffered serious damage during World War II and was subsequently restored. Some of the old interior undamaged includes the Shrine of St. Sebaldus, works by Veit Stoss and the stained glass windows. In the church the famous epitaph of the Tucher family can be found.
Monument of St. Sebaldus, a work of Peter Vischer the Elder and his sons. Begun in 1508, and completed in 1519.
The medieval church of St. Sebald in Nuremberg, named after the hermit Sebaldus, who probably lived in the Nuremberg area in the 8th century, is the oldest parish church in Nuremberg and, alongside the Frauenkirche and the Lorenzkirche, one of the city's outstanding church buildings. It is located on the way to Nuremberg Castle north, just above the main market.
The Sebaldus Church is the older of Nuremberg's two large parish churches and the oldest (since 1525) Evangelical Lutheran parish church in the city.
en.wikipedia.org/wiki/St._Sebaldus_Church,_Nuremberg
(This impressing church was too huge for my lens to get it on one photo.)
DE:
Die mittelalterliche Kirche St. Sebald in Nürnberg, nach dem wohl im 8. Jahrhundert in der Gegend von Nürnberg lebenden Einsiedler Sebaldus), ist die älteste Pfarrkirche Nürnbergs und neben der Frauenkirche und der Lorenzkirche einer der herausragenden Kirchenbauten der Stadt. Sie steht auf dem Weg zur Nürnberger Burg nördlich etwas oberhalb des Hauptmarkts.
Die Sebalduskirche ist die ältere der beiden großen Stadtpfarrkirchen Nürnbergs und die älteste (seit 1525) evangelisch-lutherische Pfarrkirche der Stadt.
de.wikipedia.org/wiki/St._Sebald_(Nürnberg)#
(Diese beeindruckende Kirche war zu groß für meine Objektiv um sie gut auf ein Foto zu bekommen.)
by Peter Vischer from 1517
The grave monument of Saint Sebaldus of Nuremberg is one of the most important German bronze sculptures at the transition from the Medieval to the Renaissance. Peter Vischer and his Nuremberg foundry workshop created the work with its rich figurative decoration between 1507 and 1517. It forms an open housing around the actual, older reliquary.
DE
Sebaldusgrab von Peter Vischer aus dem Jahr 1517
Das Grabmonument des Heiligen Sebaldus von Nürnberg i ist eines der bedeutendsten deutschen Bronzebildwerke am Übergang vom Mittelalter zur Renaissance. Peter Vischer und seine Nürnberger Gießerwerkstatt schufen das Werk mit seinem reichen figürlichen Schmuck zwischen 1507 und 1517. Es bildet ein offenes Gehäuse um den eigentlichen, älteren Reliquienschrein.
Excerpt from Wikipedia:
St. Lorenz (St. Lawrence) is a medieval church of the former free imperial city of Nuremberg in southern Germany. It is dedicated to Saint Lawrence. The church was badly damaged during the Second World War and later restored. It is one of the most prominent churches of the Evangelical Lutheran Church in Bavaria.
The nave of the church was completed by around 1400. In 1439, work began on the choir in the form of a hall church in the late German Sondergotik style of Gothic architecture. The choir was largely completed by 1477 by Konrad Roriczer,[1] although Jakob Grimm completed the intricate vaults.
In the choir one can find the carving of the Angelic Salutation by Veit Stoss, and the monumental tabernacle by Adam Kraft. The latter includes a prominent figure of the sculptor himself.
The building and furnishing of the church was cared of by the city council and by wealthy citizens. This is probably the reason why the art treasures of St. Lawrence were spared during the iconoclasm during the Reformation period. Despite St. Lawrence being one of the first churches in Germany to be Lutheran (1525), the wealthy citizens of Nuremberg wanted to preserve the memory of their ancestors and refused the removal of the donated works of art.
The west facade is richly articulated, reflecting the wealth of the Nuremberg citizens. The facade is dominated by the two towers, mirroring St. Sebald and indirectly Bamberg Cathedral with a sharp towering West portal doorway, and an indented rose window 9 metres in diameter.
Nürnberg - Sebalduskirche, Innenansicht (Blick zum Westchor)
Die Nürnberger Burg ist das Wahrzeichen der Stadt Nürnberg. Sie ist eine Doppelburg und besteht aus der Kaiserburg und der Burggrafenburg.
Früheste bauliche Spuren stammen aus der Zeit um 1000. Nach den schweren Beschädigungen durch die Luftangriffe auf Nürnberg im Zweiten Weltkrieg wurde die Burganlage in historischen Formen wieder aufgebaut. Sie zählt in ihrem historischen Charakter als Wehrbau und Kaiserresidenz, Reichsburg und hohenzollernscher Burggrafensitz zu den geschichtlich und baukünstlerisch bedeutendsten Wehranlagen Europas.
Sie ist eines der bedeutendsten Kunst- und Baudenkmäler der Stadt und gehört zur Historischen Meile Nürnberg.
Die Nürnberger Burg liegt nördlich der Pegnitz auf einem Sandsteinrücken oberhalb der Sebalder Altstadt. Im Westen grenzt sie an den Neutorgraben, im Norden an den Vestnertorgraben. Die Burg ist nach Norden hin Teil der Nürnberger Stadtbefestigung. Von der Burg aus bietet sich nach Süden ein Blick auf das unter ihr liegende Handwerkerviertel und die Altstadt. Für eine Verteidigungslage war der Platz gut gewählt. Der dem Pegnitztal nahe der nördlichen Niederterrasse parallellaufende felsige Burgsandsteinrücken fällt nach Süden, Westen und Norden steil ab und bietet sich damit für eine Burg in Spornlage an. Seine Reliefenergie ist bedeutend: Dem 351 m hohen Gipfel nähert sich die 320 m-Isohypse im Süden auf 50 m, im Westen und Norden auf 200 m, während sie nach Osten 1300 m weit ausschwingt. Außerdem gehörte der Ort wohl zum Königsland und lag zwischen dem alten Königshof Altdorf mit dessen Ableger Mögeldorf und dem Königshof Fürth.
(Wikipedia)
Nürnberg - Sebalduskirche: Opferkerzen neben dem Westportal
The medieval church of St. Sebald in Nuremberg, named after the hermit Sebaldus, who probably lived in the Nuremberg area in the 8th century, is the oldest parish church in Nuremberg and, alongside the Frauenkirche and the Lorenzkirche, one of the city's outstanding church buildings. It is located on the way to Nuremberg Castle north, just above the main market.
The Sebaldus Church is the older of Nuremberg's two large parish churches and the oldest (since 1525) Evangelical Lutheran parish church in the city.
en.wikipedia.org/wiki/St._Sebaldus_Church,_Nuremberg
(This impressing church was too huge for my lens to get it on one photo.)
DE:
Die mittelalterliche Kirche St. Sebald in Nürnberg, nach dem wohl im 8. Jahrhundert in der Gegend von Nürnberg lebenden Einsiedler Sebaldus), ist die älteste Pfarrkirche Nürnbergs und neben der Frauenkirche und der Lorenzkirche einer der herausragenden Kirchenbauten der Stadt. Sie steht auf dem Weg zur Nürnberger Burg nördlich etwas oberhalb des Hauptmarkts.
Die Sebalduskirche ist die ältere der beiden großen Stadtpfarrkirchen Nürnbergs und die älteste (seit 1525) evangelisch-lutherische Pfarrkirche der Stadt.
de.wikipedia.org/wiki/St._Sebald_(Nürnberg)#
(Diese beeindruckende Kirche war zu groß für meine Objektiv um sie gut auf ein Foto zu bekommen.)
and to the right the Rectory with Sebalder Choir
The medieval church of St. Sebald in Nuremberg, named after the hermit Sebaldus, who probably lived in the Nuremberg area in the 8th century, is the oldest parish church in Nuremberg and, alongside the Frauenkirche and the Lorenzkirche, one of the city's outstanding church buildings. It is located on the way to Nuremberg Castle north, just above the main market.
The Sebaldus Church is the older of Nuremberg's two large parish churches and the oldest (since 1525) Evangelical Lutheran parish church in the city.
en.wikipedia.org/wiki/St._Sebaldus_Church,_Nuremberg
(This impressing church was too huge for my lens to get it on one photo.)
DE:
St. Sebald und zur rechten Seite das Pfarrhaus mit dem Sebalder Chörlein.
Die mittelalterliche Kirche St. Sebald in Nürnberg, nach dem wohl im 8. Jahrhundert in der Gegend von Nürnberg lebenden Einsiedler Sebaldus), ist die älteste Pfarrkirche Nürnbergs und neben der Frauenkirche und der Lorenzkirche einer der herausragenden Kirchenbauten der Stadt. Sie steht auf dem Weg zur Nürnberger Burg nördlich etwas oberhalb des Hauptmarkts.
Die Sebalduskirche ist die ältere der beiden großen Stadtpfarrkirchen Nürnbergs und die älteste (seit 1525) evangelisch-lutherische Pfarrkirche der Stadt.
de.wikipedia.org/wiki/St._Sebald_(Nürnberg)#
(Diese beeindruckende Kirche war zu groß für meine Objektiv um sie gut auf ein Foto zu bekommen.)
Nürnberg - Sebalduskirche, links der Petersaltar, in der Mitte das Sebaldusgrab