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Cathedral of Ani
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https://en.wikipedia.org/wiki/Cathedral_of_Ani
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Turkey
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Abandoned 11th century cathedral Cathedral of Ani The cathedral in 2009 The cathedral displayed in a red circle within Ani [ 1 ] Religion Affiliation Armenian Apostolic Church Location Location Ani , Kars Province , Turkey Shown within Turkey Geographic coordinates 40°30′22″N 43°34′23″E / 40.506206°N 43.572969°E / 40.506206; 43.572969 Architecture Architect(s) Trdat Type Domed basilica Style Armenian Founder Smbat II of Armenia Groundbreaking 989 Completed 1001 or 1010 Specifications Length 34.3 m (113 ft) [ a ] Width 21.9 m (72 ft) [ a ] Height (max) originally: 38 m (125 ft) [ 2 ] 24 m (79 ft) to the base of the dome [ 3 ] UNESCO World Heritage Site Official name: Archaeological Site of Ani Type Cultural Criteria ii, iii, iv Designated 2016 (40th session ) Reference no. 1518 Region Western Asia The Cathedral of Ani ( Armenian : Անիի մայր տաճար , Anii mayr tačar ; Turkish : Ani Katedrali ) is the largest standing building in Ani , the capital city of medieval Bagratid Armenia , located in present-day eastern Turkey , on the border with modern Armenia . Its construction was completed in the early 11th century by the architect Trdat and it was the seat of the Catholicos , the head of the Armenian Apostolic Church , for nearly half a century. In 1064, following the Seljuk conquest of Ani, the cathedral was converted into a mosque . It later returned to being used as an Armenian church. It eventually suffered damage in a 1319 earthquake when its conical dome collapsed. Subsequently, Ani was gradually abandoned and the church fell into disrepair. The north-western corner of the church was heavily damaged by a 1988 earthquake . The cathedral is considered the largest and most impressive structure in Ani. It is a domed basilica with a rectangular plan, though the dome and most of its supporting drum are now missing. Its use of pointed arches and cluster piers has been widely cited by scholars to have possibly influenced, or at least preceded, Gothic architecture . The cathedral, along with the entire site of Ani, was declared a World Heritage Site by the UNESCO in 2016. Names [ edit ] In modern Armenian, the cathedral is usually referred to as Անիի մայր տաճար, Anii mayr tačar and in Turkish as Ani Katedrali , [ 4 ] both meaning "cathedral of Ani". Historically, however, it was known in Armenian as Անիի Կաթողիկե, Anii Kat'oghike . [ 5 ] [ 6 ] [ b ] The cathedral is also known as Holy Mother of God Church of Ani ( Armenian : Անիի Սուրբ Աստվածածնի եկեղեցի , Anii Surb Astvatsatsni yekeghetsi ; [ 9 ] [ 10 ] Turkish : Meryem Ana Katedral ) [ 11 ] and the Great/Grand Cathedral of Ani (Մեծ Կաթողիկե, Mets Kat'oghike ; [ 12 ] Büyük Katedral ). [ 16 ] History [ edit ] Foundation and early history [ edit ] Following more than two centuries of Arab rule , Armenia gained independence under the Bagratid (Bagratuni) dynasty around 885. King Ashot III made Ani capital in 961, after which the city emerged as a prosperous urban center with 100,000 residents at its height. [ 17 ] [ 18 ] [ 19 ] The construction of the cathedral began in 989. [ 20 ] The architect Trdat was commissioned by Bagratid King Smbat II to build a cathedral in the new capital of the Armenian kingdom . [ 21 ] [ 22 ] The construction was halted when Smbat died in 989, according to an inscription on the south wall. [ 23 ] [ 9 ] Meanwhile, Trdat was hired to direct the repairs of the dome of the Hagia Sophia in Constantinople , which had collapsed in an earthquake. [ 24 ] [ 20 ] Trdat returned from Constantinople in 993. [ 25 ] The construction was continued and completed by Queen Katranide [ 28 ] (Katramide), [ 31 ] the wife of King Gagik I , Smbat's brother and successor. [ 23 ] It was completed either in 1001 or 1010. [ 42 ] According to Christina Maranci the generally accepted date of completion is 1001, but it may have extended until 1010. [ 21 ] The contradiction is based on the reading of the inscription of the cathedral's northern wall. [ 43 ] [ 44 ] The cathedral served as the seat of the catholicos, [ 29 ] the head of the Armenian Apostolic Church from its foundation in 1001 [ 45 ] until the mid-11th century (1046 or 1051). [ 46 ] [ 47 ] Thus, for around half a century Ani was both the religious and secular (political) center of Armenia. [ 45 ] A silver cross originally stood on its conical dome and a crystal chandelier, bought by King Smbat II from India, hang in the cathedral. In the 1010s, during the reign of Catholicos Sarkis I , a mausoleum dedicated to the Hripsimean virgins was erected next to the cathedral. The mausoleum was built on some of the remnants of the virgins brought from Vagharshapat (Etchmiadzin). [ 29 ] In the 1040s–1050s inscriptions were left on the cathedral's eastern and western walls about urban projects, such as restoration of defensive walls , installation of water pipes and easing of the tax burden on the residents of Ani. [ 9 ] Charles Texier (1842) Reconstruction by Texier (1842) Cross section of the church per Toros Toramanian [ 48 ] Reconstruction by Toramanian [ c ] Reconstruction by Wilhelm Lübke (1881) [ 49 ] ground plan [ 50 ] [ 20 ] Later history [ edit ] See also: Conversion of non-Islamic places of worship into mosques Ani surrendered to the Byzantine Empire in 1045, who held it until 1064, when the city was captured by the Seljuks , led by Alp Arslan . [ 51 ] Alp Arslan and his soldiers performed their first prayer in Ani at the cathedral. [ 13 ] Consequently, the cathedral was converted into a mosque [ 9 ] [ 11 ] and called Fethiye Mosque [ 52 ] [ 53 ] ( Turkish : Fethiye Camii ). [ 55 ] [ d ] Official Turkish sources often refer to it by that name. [ 59 ] According to Matthew of Edessa , its silver cross was removed by the Seljuks and transferred to a mosque in Nakhchivan, where it was placed under the threshold, destined to be trodden upon. A crescent was placed on its dome according to Vardan Areveltsi . [ 60 ] In 1124 a crescent was placed on the cathedral's dome by the Shaddadid amir of Ani. In response, Ani's Armenians appealed to King David IV of Georgia to capture Ani , after which the cathedral returned to Christian usage. [ 9 ] [ 44 ] Vardan Areveltsi celebrated the brief reversal. [ 60 ] Only two years later, in 1126, Ani came under the control of the Shaddadids . [ 9 ] During the 12th century historians Mkhitar Anetsi , Samuel Anetsi and philosopher Hovhannes Sarkavag served at the cathedral in various capacities. [ 9 ] Mkhitar was an elder priest at the cathedral in the second half of the century. [ 61 ] In 1198 Ani was conquered by the Armenian Zakarids princes, under whose control the cathedral prospered. In 1213 the wealthy merchant Tigran Honents restored the cathedral's steps. [ 9 ] Damage caused by the 1988 earthquake . Decay [ edit ] Ani's long-term decline began in 1239 when Mongols sacked the city and massacred its population. [ 62 ] In 1319 a devastating earthquake struck Ani. It resulted in the collapse of the cathedral's conical roof. [ 9 ] [ 26 ] [ 44 ] Ani was completely deserted by the 18th century. [ 63 ] The drum reportedly collapsed during an 1832 [ 44 ] or 1840 [ 64 ] earthquake. Varazdat Harutyunyan insists that the entire dome had collapsed in 1319. [ 30 ] The north-western corner of the cathedral was heavily damaged by a 1988 earthquake with its epicenter in modern Armenia's north. [ 9 ] It resulted in a large gaping hole. According to VirtualAni it also caused "a serious rent in the south-west corner; by 1998 parts of the roof here had started to fall." [ 44 ] Lavrenti Barseghian wrote in 2003 that the damage from the earthquake was so great that the entire building would collapse unless strengthened and restored. [ 65 ] Explosions in a quarry on the Armenian side of the border, across the Akhurian River , reportedly caused some damage to the cathedral in the early 2000s. [ 66 ] [ 44 ] In mid-June 2001 an "ear-splitting explosion rocked the site just as a group of Armenian Americans had gathered to pray at the cathedral." [ 67 ] Samvel Karapetyan , who witnessed the explosions on the Armenian side during his visit to Ani in July 2000, stated that the explosions continued until 2004/2005. [ 68 ] However, Turkish accusations continued until 2008. [ 11 ] Vercihan Ziflioğlu wrote for Hürriyet that it was only in 2009 that Armenia halted blasting activities, reportedly, after Turkey's complaint at the International Council on Monuments and Sites (ICOMOS). [ 69 ] In the mid-2000s, Turkish guards had dug a large hole in their quest for treasure on the floor of the apse of the cathedral. Moreover, treasure hunters dug out the grave of what may have been that of Queen Katranide beside the west façade of the cathedral. It had been uncovered by French archaeologists in 2002–03. Additional gravestones with Armenian inscriptions nearby were upturned. [ 70 ] Preservation efforts [ edit ] View of Ani from Armenia. The cathedral is seen near the left edge, while the Church of the Redeemer on the right side. The cathedral undergoing restoration in 2018 Ani has been listed on the World Monuments Watch by World Monuments Fund (WMF) since 1996. [ 71 ] In May 2011 the WMF and the Turkish Ministry of Culture launched a conservation project focusing on the cathedral and the nearby Church of the Redeemer. [ 72 ] The project is funded by the Ambassadors Fund for Cultural Preservation of the U.S. State Department . [ 73 ] Before the project, a steel structure was installed around the cathedral, in order to prevent its cracked sandstone walls from collapsing. [ 71 ] The WMF and its Turkish partner, Anadolu Kültür, said they will work on "stabilization and protection" of the cathedral. [ 74 ] Turkey's Minister of Culture Ertuğrul Günay stated "We hope that giving new life to the remains of once-splendid buildings, such as the Ani Cathedral and church, will bring new economic opportunities to the region." [ 72 ] [ 75 ] Armenian officials responded with skepticism. [ 76 ] According to Gagik Gyurjyan, president of ICOMOS -Armenia, the Turkish Culture Ministry rejected the preliminary agreement between Anadolu Kültür and the Armenian side to engage Armenian experts in restoration works. Osman Kavala , president of Anadolu Kültür, stated that the lack of formal bilateral relations between Armenia and Turkey may have prevented Armenian experts from being included in the project. Kavala stated in a 2011 interview that an estimated $1 million would be spent on the project, which was scheduled to start in 2012 and end in 4 years. [ 77 ] Yavuz Özkaya, an architect who participated in the projects carried out in Ani, stated in March 2014 that studies on preservation and restoration of the cathedral were completed and they had begun to be implemented. These works included clearing the roofs, installing a temporary structure at the separation point between the western and southern walls, strengthening, proper completion of roof tiles and taking preventative measures. [ 78 ] The archaeological site of Ani was inscribed as a UNESCO World Heritage Site on July 15, 2016. [ 79 ] According to art historian Heghnar Zeitlian Watenpaugh the addition "would secure significant benefits in protection, research expertise, and funding." [ 80 ] In April 2018 Necmettin Alp, director of the Kars Museum , stated that restoration works on the cathedral would start later that month. [ 81 ] [ 82 ] In 2019 World Monuments Fund (WMF) and Anadolu Kültür began an "emergency temporary intervention" for the preservation of the cathedral. In 2021 WMF, with the support of the International alliance for the protection of heritage in conflict areas (ALIPH Foundation), began a second phase "focusing on the implementation of a long-term intervention plan for the restoration of the entire cathedral." [ 83 ] Architecture [ edit ] The interior of the cathedral. (For a sense of its scale, note the two people sitting on the bottom right of the image.) Overview [ edit ] The cathedral is a domed, centrally-planned basilica . [ e ] Varazdat Harutyunyan argues that in its plan and dimensions, it reproduces two 7th century domed basilicas— Cathedral of Mren and Saint Gayane Church . [ 30 ] The dome was supported on pendentives and stood atop the "intersection of four barrel vaults elevated to a cruciform design and topped with gabled roofs." In the interior, "freestanding piers divide the space into three aisles, the nave of which terminates in an eastern apse flanked by two story side chapels." [ 85 ] Sirarpie Der Nersessian noted that its interior is imposing "through the harmony of the proportions." She added, "The blind arcade with slender columns and ornate arches, the delicate interlaces carved around the door and windows add to the beauty of the exterior." [ 86 ] The cathedral is built, primarily, of yellow, but also black and red polished tuff . [ 87 ] It has three entrances. The main one is on the western side. The entrances on the northern and southern sides, though secondary, are richly decorated. Its windows are narrow and long, with ornamented frames. [ 87 ] Grigoris Balakian opined that its interior, built of large polished stones, "appears to be more impressive than the outside." [ 88 ] Dimensions [ edit ] The cathedral is 34.3 m (113 ft) long and 21.9 m (72 ft) wide. [ a ] Originally standing around 38 m (125 ft) high, [ 2 ] [ f ] it was Ani's tallest structure, [ 5 ] and its conical dome dominated the city's skyline. [ 89 ] It is very large by the standards of Armenian architecture. [ 10 ] Murad Hasratyan argues that its large size and rich ornaments symbolize the revived Armenian statehood under the Bagratids . [ 9 ] Christina Maranci suggested what she describes as an "extremely tentative" hypothesis that the relatively large proportion of the cathedral may have reflected architect Trdat 's memory of the "vast continuous spaces" of Hagia Sophia in Constantinople, the dome of which he had repaired. [ 90 ] Westerners have found it small. Karl Schnaase disparagingly described it as "hardly the size of a village church", [ 91 ] while H. F. B. Lynch argued that it is small if judged by European standards, but is "nevertheless a stately building." [ 92 ] Luigi Villari wrote in his 1906 book on travels in the Caucasus: "From a distance it seems to be merely a plain rectangular structure with no architectural pretensions. But on closer inspection it proves to be a building of really great beauty and of the most perfect proportions." [ 93 ] Scholarly assessment [ edit ] The cathedral is widely regarded as a masterpiece of Armenian architecture . [ g ] It is the largest and most impressive structure of Ani. [ 56 ] [ 95 ] Armen Kazaryan describes it as the most significant structure of the entire Bagratid period. [ 96 ] Recognized for its innovative design elements, [ 10 ] it has garnered high praise from several scholars. The authors of Global History of Architecture (2010) wrote that it "deserves to be listed among the principal monuments of the time because of its pointed arches and clustered columns and piers." [ 33 ] Similarly, Sirarpie Der Nersessian argued that it "deserves to be listed among the important examples of medieval architecture", [ 86 ] while David Roden Buxton suggested that it "is worthy ... of far greater renown that actually surrounds it." [ 97 ] H. F. B. Lynch described it as a "monument of the highest artistic merit, denoting a standard of culture which was far in advance of the contemporary standards in the West." [ 98 ] Josef Strzygowski argued that the cathedral is the most valuable achievement of Armenian architecture from the European viewpoint. [ 99 ] David Marshall Lang wrote that the cathedral's building techniques are "far ahead of the contemporary Anglo-Saxon and Norman architecture of western Europe." [ 100 ] Richard Phené Spiers wrote in the 11th century of Encyclopædia Britannica (1911): The most important example of the Armenian style is found in the cathedral at Ani, the capital of Armenia, dating from A.D. 1010. In this church pointed arches and coupled piers are found, with all the characteristics of a complete pointed-arch style, which, as Fergusson remarks, "might be found in Italy or Sicily in the 12th or 14th century." Externally the walls are decorated with lofty blind arcades similar to those in the cathedral at Pisa and other churches in the same town, which are probably fifty years later. The elaborate fret carving of the window dressings and hood moulds are probably borrowed from the tile decoration found in Persia. [ 41 ] Imitations in Armenian architecture [ edit ] Holy Saviour's Church in Gyumri , completed in 1873, is an imitation of the cathedral of Ani The main church of Marmashen monastery (dated 988–1029), believed to have been built by the same architect, Trdat , [ 101 ] is considered a miniature of Ani Cathedral. [ 102 ] Richard Krautheimer wrote that the exterior walls of both the church of Marmashen and the cathedral of Ani are "articulated by blind arcades resting on slender colonnettes, single or in pairs." [ 103 ] There are significant structural differences between the two. [ 104 ] Stepan Mnatsakanian noted that the similarities are limited to the exterior decorations because there are significant differences in their floor plans. [ 105 ] The ground plan of Holy Saviour's Church in Gyumri , completed in 1873, is based on that of Ani Cathedral. [ 106 ] However, the church is significantly larger than the cathedral and is not an exact replica of the latter. [ 107 ] The blind arcades on the three apses of the Armenian Cathedral of Lviv —added sometime before 1902—are a "surprisingly faithful reproduction of an analogous decoration" on the external walls of cathedral of Ani. [ 108 ] Association with Gothic architecture [ edit ] Some European scholars, especially scholars of the Near East , [ 109 ] have suggested that the use of pointed arches and clustered piers in the cathedral influenced the development of Gothic architecture . The theory was popularized by Josef Strzygowski , who was the first European to thoroughly study Armenian architecture and placed Armenia in the center of European architecture. [ 110 ] Strzygowski wrote in the Origin of Christian Church Art (1920): "It is a delight, in a church earlier than AD 1000, to see the builder, the court architect Trdat, carrying Armenian art so logically and so successfully past ' Romanesque ' to 'Gothic'." [ 111 ] [ 109 ] Several others had proposed this view before him, including H. F. B. Lynch (1901), William Lethaby (1912), and others. [ 112 ] Lynch suggested that the cathedral has "many of the characteristics of the Gothic style, of which it establishes the Oriental origin." [ 98 ] Lethaby found the cathedral "strangely western." [ 113 ] [ 109 ] In examining the possible influence of Caucasian architecture in the West, David Roden Buxton wrote on the cathedral of Ani in 1934: [ 97 ] ... inside it bears the semblance of a Gothic cathedral such as Western Europe might have seen two centuries later. Pairs of clustered columns support a high pointed vault, and on either side is an aisle with narrow pointed arches like those of the "Early English" style . It is assuredly a striking example of parallel evolution, even if all idea of a connection with the Gothic must be dismissed. Arthur Upham Pope suggested that the Ani Cathedral "antedate[s] any comparable construction in Europe" and argued that its interior is "so completely in the Gothic manner and mood that the relation between Ani and the French Gothic lacks but little of proof." [ 114 ] Cecil Stewart noted that the most interesting features of the cathedral are its "pointed arches and vaults and the clustering or coupling of the columns in the Gothic manner." [ 115 ] For David Talbot Rice the cathedral is "astonishingly Gothic in every detail." [ 36 ] David Marshall Lang argued that the appearance of pointed arches and clustered piers together is "considered one of the hallmarks of mature Gothic architecture." [ 100 ] Christina Maranci argues that the cathedral, with it "profiled piers and arches ... anticipate, in their linear elegance, the Gothic styles of buildings like Notre-Dame ." [ 116 ] Rouben Paul Adalian wrote, "the interior with its pointed arches and clustered piers rising to the ribbed ceiling vaults, included innovations whose parallels would appear in Gothic architecture in Western Europe a century later." [ 10 ] The theory has found support among Armenian architecture historians, such as Toros Toramanian , [ 26 ] Tiran Marutian , [ 117 ] Murad Hasratyan . [ h ] The hypothesized influence on the Gothic has also been noted by World Monuments Fund [ 74 ] and the Ambassadors Fund for Cultural Preservation . [ 73 ] James Stevens Curl noted that the influence of Armenian architecture on Western European buildings remains "unclear", but "certainly by the early 11th century domed basilicas, such as the Ani Cathedral, "began to acquire bundle-like piers, vaulting systems, and architectural features reminiscent of Western Romanesque and Gothic forms." [ 118 ] Criticism and response Art historian Sirarpie Der Nersessian rejected the postulated "proto-Gothic" character of the ogival arches of the cathedral of Ani which, she argued, "do not serve the same function in supporting the vault." [ 119 ] Although Adrian Stokes saw the cathedral as holding "some balance between wall architecture and the linear Gothic to come," he did not find "the feeling for mass and space that transfixes him at Rimini or Luciano Laurana's Quattro Cento courtyard in the Palace of Urbino." [ 109 ] The website Virtual Ani writes that there is "no evidence to indicate that there was a connection between Armenian architecture and the development of the Gothic style in Western Europe." [ 44 ] Lucy Der Manuelian argues that there is a documented evidence of the presence of Armenians in Western Europe during the Middle Ages, who could have carried this information to the West. [ 120 ] Symbolism and significance for Armenians [ edit ] In 1989 a series of events under the title "The Glory of Ani" commemorating the millennium of the Cathedral of Ani took place in the United States, sponsored by the Eastern Prelacy of the Armenian Apostolic Church of America. A symposium took place at the New-York Historical Society on October 21, 1989. [ 121 ] [ 122 ] In intendent Armenia, it has been depicted on a 2002 stamp and, in 2011, on an uncirculated silver commemorative coin issued by the Central Bank of Armenia dedicated to Ani. [ 123 ] In June 2011 the graduation ceremony of history students of the Yerevan State University (YSU) was held at the cathedral. [ 124 ] Since then graduation ceremonies of some departments of the YSU have taken place at the cathedral. [ 125 ] Folk dance director Gagik Ginosyan and his wife, along with their friends, staged a wedding ceremony at the cathedral. [ 125 ] In September 2011 researchers of the Shirak Armenology Research Center of the National Academy of Sciences of Armenia made a pilgrimage to the cathedral, where they performed scientific readings on the history of Ani. [ 126 ] The cathedral on a 2002 Armenian stamp A model of the cathedral at the Mekhitarist Monastery, Vienna Street art in Yerevan depicting the cathedral In Turkish politics [ edit ] Turkish President Abdullah Gül visited the cathedral on July 23, 2008 during his visit to Ani. [ 127 ] 2010 Muslim prayer [ edit ] On October 1, 2010 a Muslim prayer was performed at the cathedral by members and supporters of the far-right Nationalist Movement Party (MHP). The formal occasion was to commemorate the 1064 Seljuk conquest of Ani, but it was widely seen as a nationalist retaliation for the Christian mass—the first since the Armenian Genocide of 1915—at the Cathedral of Aghtamar at Lake Van on September 19. [ 128 ] [ 58 ] [ 129 ] Some two thousand people, including senior members of the MHP, such as party leader Devlet Bahçeli , participated in the prayer. [ 54 ] The crowd waved Turkish flags and chanted Allahu Akbar before saying prayers in and around the cathedral. They were accompanied by an Ottoman-style military marching band . [ 20 ] [ 59 ] The prayer was authorized by the Turkish Ministry of Culture , [ 58 ] and was attended by believers from Azerbaijan and broadcast live by three Azerbaijani TV channels. [ 130 ] The prayer was widely denounced for its political nature. An MP from the ruling AKP called it an illegal "political show" connected with the Aghtamar mass, [ 53 ] while art historian Heghnar Watenpaugh described the event as an example of "political stagecraft." [ 129 ] According to Aris Nalcı of the Turkish-Armenian daily Agos it was "addressed to Turks, rather than Armenians." [ 131 ] According to commentary prepared by the Yapı Kredi Bank Economic Research, "the scene looked awkward to a large majority of Turks." [ 132 ] Hürriyet Daily News columnist Yusuf Kanlı described it as an "attempt [by Bahçeli] to woo and win back the lost nationalist-conservative vote." [ 133 ] Turkish-Armenian journalist Markar Esayan wrote in Taraf that what Bahçeli did at Ani was "in fact exploitation of religion ." [ 134 ] The Armenian Apostolic Church accused the Turkish authorities in "destroying Armenian monuments and misappropriating historical Armenian holy sites and cultural treasures." [ 135 ] [ 136 ] [ 137 ] Architecture scholar Samvel Karapetyan commented sarcastically: "We now have reason to be happy. For centuries, our churches were desecrated and turned into toilets, whereas now they are only doing a namaz [ sic ]." [ 59 ] 2020 incident [ edit ] In February 2020 a video appeared online in which a woman sang meyhane music on the bema of the cathedral while Pervin Ersoy, the wife of Mehmet Ersoy , Turkey's Minister of Culture and Tourism, was shown standing in the crowd and clapping. [ 138 ] [ 139 ] [ 140 ] Gallery [ edit ] The cathedral with the Church of the Redeemer in the background Western façade Detail on the south façade Interior view Interior Historic and artistic depictions A stereoscopic photograph from the southwest, by Ohannes Kurkdjian , between 1875 and 1880 A photo of the cathedral published in a 1901 book by H. F. B. Lynch [ 141 ] A 1900 painting of the cathedral by Gevorg Bashinjaghian , National Gallery of Armenia [ 142 ] Watercolour by Arshak Fetvadjian , 1905 by Peshdimaldjian, published in 1912 [ 112 ] References [ edit ] Notes
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San Giovenale, Orvieto
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https://en.wikipedia.org/wiki/San_Giovenale,_Orvieto
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Italy
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Church in Orvieto, Umbria, Italy Chiesa di San Giovenale Chiesa di San Giovenale is a church in Orvieto , Umbria , Italy. Initially constructed in 1004, it contains frescos and artworks from the 12th and 13th centuries. [ 1 ] It belongs to the Roman Catholic Diocese of Orvieto-Todi . History [ edit ] The church was built in 1004, possibly on the site of an Etruscan temple dedicated to Jupiter . There was an early Christian church on the site, probably from the 6th century, also dedicated to San Giovenale . [ 2 ] It stood next to another religious building dedicated to San Savino , the only record of which is contained in a fresco by Ugolino di Prete Ilario now in Orvieto Cathedral . [ 3 ] Construction of the 11th-century church was patronized by several rich families in the area and was documented as a parish church in 1028. An inscription on the high altar (GUIDO ABAS MCLXX) indicates that by 1170 it belonged to the order of monks known as Ordine Guglielmino. Circa 1248, when the monks left, the structure returned to being a parish church. Refurbished and reconsecrated by Bishop Giuseppe Marsciano in 1739, it fell under the care of the church of Sant'Agostino until 1810 when it came under the Franciscans . After the Franciscan community was suppressed in 1860, the church was returned to the diocese. [ 2 ] Architecture [ edit ] Interior The church was initially constructed in the Romanesque style. A tall bell tower stands on the side of the bare facade. [ 4 ] The semi-circular apse was removed when, in the 14th century, extensions at the eastern end in the Gothic style terminated in a rectangular apse. There are still traces of the Romanesque porch and the blind arches of the period. [ 3 ] An inscription on the lateral door gives its date of construction as 1497. While the lower part of the building is original, the upper part was rebuilt in 1825. [ 2 ] Interior and furnishings [ edit ] The interior is rich in paintings from the 12th and 13th centuries including votive frescos by the Orvieto school which were recently recovered after being hidden by the Baroque remodeling of the interior in 1632. [ 2 ] The most notable work is the 15th-century Maestà known as the Madonna del Soccorso which was donated by the Ghezzi family in the 16th century. It was rediscovered behind a silver screen in the 20th century. In view of the gold ground and the blue mantle, it seems to be late Italo-Byzantine in style. The marble altar, a fine example of Byzantine sculpture, bears the date 1170. [ 3 ] It is flanked by late 13th-century marble lecterns bearing symbols of the Evangelists . [ 2 ] In the baptistry, there is a 14th-century fresco of the Ascension of Christ . The entrance is adorned with carved pavement slabs from the 9th century while the font is 15th century. [ 2 ] References [ edit ]
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Basilica di San Vincenzo
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https://en.wikipedia.org/wiki/Basilica_di_San_Vincenzo
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Italy
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The Basilica of San Vincenzo. The Basilica di San Vincenzo is a church in Galliano, a frazione of Cantù , in Lombardy , northern Italy . An example of local Romanesque architecture , it was founded in 1007. The complex includes also a baptistry, dedicated to St. John the Baptist . History [ edit ] Aribert of Milan offering the model of the church. Fresco in the apse. The church is located in Galliano, a small hamlet included within the comune of Cantù. The toponym derives from the ancient people of the Gallianates , whose name is mentioned in a Roman altar dedicated to Matronis Braecorium Gallianatium [ 1 ] Starting from the 2nd century, the worship of ancient gods such as Jupiter, Minerva and the Capitoline Triad was replaced by the Christian religion, in particular during the evangelization effort of Ambrose in the late 4th century. In the 5th century a Palaeo-Christian basilica, acting as the pieve of Cantù, existed in the site, perhaps with a baptistry. Of this structure, the black and white marble pavement remains in the current edifice's presbytery. The current church was begun in the 10th century. The basilica was re-consecrated by Aribert, archbishop of Milan , who at the time was likely the hereditary tenant of the edifice: this is testified by the presence of graffiti under the apse's frescoes, which mention the death of his father, brother and nephew. [ 1 ] The church was nearly ruined at the time of archbishop Charles Borromeo (1560–1584). Later it was abandoned and used as peasants' store and lost the small right aisle in a fire. Other sections went lost during the French occupation in the early 19th century, when they were considered of no artistic interest and sold to private collectors. The basilica was acquired by the comune of Cantù in 1909 and restored in 1933–1934. Plan of the basilica in its current state. Description [ edit ] The church has a simple and undecorated façade, in rough cobblestones. In the center is a portal with an architrave and an ogival lunette . The apse protrudes substantially from the main body. It features an archaic type of Lombard bands , with isolated arches characterized by pilasters that connect them to the ground. There are three windows which give light to the crypt : these are slightly different from those of the nave, due to the presence of a slight internal slope. The only remaining side apse is partly visible at the right. The crypt, and subsequently the presbytery, are more elevated than in other Romanesque buildings. The crypt has two halls with cross vaults , above which, originally, were two ambons : today only part of the left one remains, with a marble eagle which once supported the lectern. The church is known for the frescoes which cover the nave's walls and the apse. The latter are likely earlier than the former, as testified by the different style. [ 2 ] The apse frescoes show two bands of pictures with animals and vegetable motifs. They are surmounted by a praying Jesus within an almond frame. Jesus is wearing sandals, an uncommon feature of such depictions. He is flanked by two old men, the prophets Jeremiah and Ezekiel , behind whom are the two archangels Michael and Gabriel and two crowds. The lower walls of the apse show a short cycle of stories of St Vincent of Saragossa . The fourth panel features St Aribert offering a model of the church to God: the upper part of this scene is now at the Pinacoteca Ambrosiana of Milan . The Baptistry of St. John. Next to the church is the contemporary Baptistry of St John, which was built at the same time. Its plan is inspired by that of the 9th century Santa Maria presso San Satiro in Milan, although in a simplified form: a cruciform shape with a square hall limited by four isolated columns and four perpendicular arches, and four semicircular niches. The western niche opens to the interior, from which stairs lead to the matronei (tribunes in the upper floor), which are not present in San Satiro. The interior ends with a dome, externally covered by an octagonal drum with four windows and small arches. References [ edit ]
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118.590944°E
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24.902722°N
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Qingjing Mosque
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https://en.wikipedia.org/wiki/Qingjing_Mosque
| 4,341
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China
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Mosque in Quanzhou, Fujian, China Qingjing Mosque 清净寺 Religion Affiliation Islam Branch/tradition Sunni Location Location Quanzhou , Fujian , China Fujian Geographic coordinates 24°54′09.8″N 118°35′27.4″E / 24.902722°N 118.590944°E / 24.902722; 118.590944 Architecture Type mosque Style Arabic Completed 1009 Capacity 300 worshipers UNESCO World Heritage Site Location China Part of Quanzhou: Emporium of the World in Song-Yuan China Criteria Cultural: (iv) Reference 1561 Inscription 2021 (44th Session ) Qingjing Mosque Traditional Chinese 清淨 寺 Simplified Chinese 清净寺 Literal meaning Tranquil Mosque Transcriptions Standard Mandarin Hanyu Pinyin Qīngjìng Sì Southern Min Hokkien POJ Chheng-chēng-sī The Qingjing Mosque [ 1 ] ( Chinese : 清净寺 ; Arabic : مسجد الأصحاب , romanized : Masjid al-Aṣḥāb ), also known as the Ashab Mosque , is a mosque located in the city of Quanzhou , Fujian , China . It is found on Tumen Street . In 2021, the mosque was inscribed on the UNESCO World Heritage List along with other sites in and around Quanzhou because of its religious significance in the Song and Yuan dynasties, its importance to the medieval maritime trade of China, and its testimony to the global exchange of ideas and cultures during that time. [ 2 ] History [ edit ] Constructed in 1009, the Arab style mosque is the oldest of its kind in China. [ citation needed ] Architecture [ edit ] The old prayer area Its area is 2,500 square metres. [ 3 ] Many Song dynasty mosques were built in this Arabian style in coastal cities, due to communities of Arab merchants living in them. [ 4 ] the entrance of Quanzhou Qingjingsi Mosque ( Chinese : 泉州清净寺 ; pinyin : Quán Zhōu Qīng Jìng Sì ) is the only example of stone entrances in mainland China. [ 5 ] The inscriptions of the Quanzhou Qingjingsi mosque was dominated by the Arabic language. [ 5 ] See also [ edit ] Islam in China List of mosques in China References [ edit ]
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1,010
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21.5263°E
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43.6239°N
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Monastery of St. Roman
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https://en.wikipedia.org/wiki/Monastery_of_St._Roman
| 1,681
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Republic of Serbia
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Monastery of the Serbian Orthodox Church Monastery of St. Roman Манастир Свети Роман Religion Affiliation Serbian Orthodox Church Ecclesiastical or organizational status Eparchy of Niš Location Location Praskovče , Serbia Architecture Completed 1010 Cultural Heritage of Serbia Official name: Manastir Sv. Roman Type Cultural monument of Great Importance Designated 31 May 1967 Reference no. SK 232 The Monastery of Saint Roman ( Serbian : Манасир Свети Pоман , romanized : Manastir Sveti Roman ) is a monastery of the Serbian Orthodox Church , Eparchy of Niš , in the village of Praskovče . According to some research, the monastery of Saint Roman is considered to be one of the oldest monasteries in the territory of Serbia, established in 1010. It represents an immovable cultural property as a cultural monument of great importance. [ 1 ] The monastery is located in Razanj municipality, on the right bank of the South Morava . Next to the monastery is the road that connects Razanj and Kruševac . The nearest larger settlement is the village of Praskovce . [ 2 ] History [ edit ] The monastery belongs to a small group of monasteries erected before the Nemanjić dynasty came into power. St. Roman came in 888 in this region. In the Chrysovul (endowment diploma) of Emperor Basil II in 1011, the monastery is mentioned for the first time. The second official mention is from 1498. The monastery is known for being the residence of a monk by the name of Roman Sinait (or Roman of Sinai), who was later declared a saint, so the monastery, in fact, carries his name. The tomb of Saint Roman Sinait with relics rests in the monastery to this day. He is revered by the people there as a miracle worker and healer. [ 3 ] The Sinai monks, followers of Thessaloniki miracle worker Gregory Palamas , accepted his teachings and came to Serbia during Prince Lazar 's reign. The present-day monastery church was erected by the warden of the Prince Lazar's Stud Farm on an old foundation. It was rebuilt by Đorđe Pile in 1795 in gratitude for having been healed. He accomplished the task only after securing a firman (restoration decree) from the Sultan for the payment of 300 golden ducats . [ 4 ] The painting is from 1795 and is preserved in the choirs and domes. It is believed that there are even older murals below the lime layer. A new painting was made in 1831. Also, there was the Hospital of Saint Roman Monastery during the time of wars. References [ edit ]
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1,014
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11.13608°E
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51.72437°N
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Saint Cyriakus, Gernrode
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https://en.wikipedia.org/wiki/Saint_Cyriakus,_Gernrode
| 2,474
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Germany
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Church Saint Cyriakus Stiftskirche St. Cyriakus Saint Cyriakus Saint Cyriakus Show map of Saxony-Anhalt Saint Cyriakus Show map of Germany 51°43′28″N 11°08′10″E / 51.72437°N 11.13608°E / 51.72437; 11.13608 Denomination Lutheran Website stiftskirche-gernrode.de History Dedication Cyriacus Architecture Style Ottonian / Romanesque Groundbreaking c. 959/960 Completed 1014 Administration Province Evangelical Church in Central Germany Saint Cyriakus ( German : Stiftskirche St. Cyriakus , pronounced [ˈʃtɪftsˌkɪʁçə zaŋkt tsyˈʁi̯aːkʊs] ) is a medieval church in Gernrode , Saxony-Anhalt , Germany. It is one of the few surviving examples of Ottonian architecture , built in 959/960–965 by Margrave Gero , although it was restored in the 19th century. From its foundation until 1614, Saint Cyriakus was the collegiate church of the Abbey of Gernrode , also founded by Margrave Gero. The church and the abbey became Protestant in the mid-sixteenth century, and the church is now used by the Protestant community of Gernrode. The church is part of the tourist route " Romanesque Road ", as it is an important example of an Ottonian church which inspired later, fully Romanesque, churches and cathedrals. [ 1 ] : 92 History [ edit ] Gero (d. 965) was a follower of Otto I from one of the most powerful families of eastern Saxony. In 937, Otto made Gero Margrave of the Eastern March . Gero, who owned a castle at Gernrode, decided to found a collegiate church and female (lay) convent ( Stift ) here, in cooperation with his son Siegfried. Construction on the crypt, the eastern apse and the convent started in 959. In 961, the foundation was awarded royal protection. In 963, Pope John XII issued a privilege, which removed the convent from the influence of the Bishop of Halberstadt . Siegfried had died heirless in 959. After Siegfried's death, his widow Hathui had become abbess of the convent. Gero returned from a trip to Rome with a valuable relic of Saint Cyriacus and the church was dedicated to this saint in 963. In 965, Gero died and was buried in front of the already finished eastern choir. A hiatus in construction followed Gero's death and is seen as the likely source of the shift in the church's axis (see map). Hathui ruled the convent for 55 years until her death in 1014. [ 2 ] : 3 [ 1 ] : 92 Plan of the church showing the shift in axis between the eastern and western parts View of the interior In 999, Emperor Otto III granted the convent Imperial status and in 1004, Empress Kunigunde , wife of Emperor Heinrich II visited the convent. The first stage of construction ended in 1014. That same year, on Hathui's death, Adelheid , daughter of Emperor Otto II succeeded her as abbess. Adelheid held that position until 1044. [ 2 ] : 4 [ 1 ] : 92 Additions to the church in the 11th and 12th centuries include the west crypt (first mentioned in 1149), side galleries , the enlargement of the westwork (1127–1150) and the towers and the two-storey cloisters (1170). In 1188, Emperor Friedrich I Barbarossa held court at Gernrode and gifted the "Barbarossa Bell." [ 2 ] : 4 The vaults of the transept were added in the Gothic period. The last Catholic abbess was Scholastika von Anhalt Dessau (1469–1504). Her successor, Elisabeth von Weida (1504–1576) introduced Reformation in 1521. In 1525, Elisabeth managed to prevent damage to the convent during the German Peasants' War . With its introduction into the Landeskirche , the convent lost its independence and fell under the influence of the local princes . [ 2 ] : 5, 8 Abbess Anna von Plauen (1532–1549) founded the first school and supported the convent's role in providing medical care. From 1533, the collegiate church was shared with the parish. When Gernrode was awarded the status of town in 1539, the abbess donated a coat of arms. [ 2 ] : 8 The last Stiftsdame (and by default abbess), Sophie Elisabeth , left the abbey in 1614. In 1619, the abbey became a secular domain of the prince. Medieval works of art were removed, the buildings fell into disrepair and parts of the church were used for agriculture. [ 2 ] : 8, 10 In 1669, Friedrich von Harzgerode purchased the town and the church. Renovations were carried out in 1754–1756. In 1806, with the end of the Holy Roman Empire , the convent finally lost its Imperial status and immunity and was subsumed by the Duchy of Anhalt-Bernburg . Over the following decades, the convent fell into ruin, the inventory was auctioned off until the purchase, in 1832, by Amtmann Henneberg. He secularized the church and converted the convent into a farming estate. [ 2 ] : 10 In the late 1830s, interest in the church and convent resurfaced, with art historian Franz Theodor Kugler publishing a description in 1838 and Ludwig Puttrich [ de ] calling for its renovation in 1839. At the request of Duke Alexander Carl von Anhalt-Bernburg , architect Ferdinand von Quast [ arz ; de ; fr ; nl ; pl ; ru ; sv ] then restored the church in 1859–1873. [ 2 ] : 10–11 Further work followed in 1907–1910, when the two towers of the west works were first removed and then rebuilt with strengthened foundations. Between 1960 and 1984, communist East Germany had the court and convent buildings restored. In 1984–1987, the church interior was renovated. Post reunification , in 1992, the roof was sheathed in copper. More work was done in 2003–2004 on the western apse and the Holy Sepulchre. [ 2 ] : 11 Description [ edit ] The central body of the church has a nave and two aisles, surrounded by the eastern transept and the westwork, which is sided by two towers. These elements, typical of the Carolingian architecture , were paired by novelties anticipating the Romanesque style : as the alternation of pillars and columns (a hallmark of numerous later churches in Saxony ), the thick walls, the semi-blind arcades in galleries on the nave (similar to a triforium ). The capitals of the columns show a variety of elements, with stylized leaves of acanthus and, in one case, human heads. Tomb of Margrave Gero The tomb of Margrave Gero sits in the crossing before the steps to the choir. It is covered by a sandstone slab, carved into Gero's likeness, showing him in armor with sword and a flag. A lion is at his feet. [ 2 ] : 29–30 Relief on the western wall of the Holy Sepulchre with a figure of Mary Magdalene The southern aisle houses a copy of the grave of Christ (a representation of the Holy Sepulchre in Jerusalem ), most likely dating to the period 1080 to 1130. It is the oldest of its kind in Germany and also one of the most original, having little in common with the Holy Grave in Jerusalem. The entrance to the structure was moved from the usual east to the north side when the galleries were added in the 12th century. Parts of the outer decorations of the tomb were intentionally destroyed, but it is unclear whether this happened during the 12th-century reconstruction or in the final introduction of Reformation in 1616. The interior and exterior sculptures of the tomb are considered a masterwork of early Romanesque statuary art. [ 1 ] : 32–5 The baptismal font from around 1150 came from a demolished Romanesque church in Alsleben . [ 1 ] : 94 The painted ceilings were added during the 19th-century renovation which also lined most of the walls with cut stone panels - the original Ottonian walls featured rough quarry stone masonry. [ 1 ] : 94, 96 References [ edit ]
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1,017
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43.62528°N
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Ancona Cathedral
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https://en.wikipedia.org/wiki/Ancona_Cathedral
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Unknown
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Cathedral dedicated to St. Cyriacus, seat of the Archdiocese of Ancona-Osimo Ancona Cathedral (Metropolitan Cathedral-Basilica of Saint Cyriacus) Basilica Cattedrale Metropolitana di San Ciriaco Religion Affiliation Roman Catholic Province Archdiocese of Ancona-Osimo Ecclesiastical or organizational status Cathedral Location Location Ancona , Italy Geographic coordinates 43°37′31″N 13°30′37″E / 43.62528°N 13.51028°E / 43.62528; 13.51028 Architecture Type Church Style Romanesque Groundbreaking 996 Completed 1017 Ancona Cathedral ( Italian : Duomo di Ancona , Basilica Cattedrale Metropolitana di San Ciriaco ) is a Roman Catholic cathedral in Ancona , central Italy , dedicated to Saint Cyriacus . It is the seat of the Archbishop of Ancona . The building is an example of mixed Romanesque -Byzantine and Gothic elements, and stands on the site of the former acropolis of the Greek city, the Guasco hill which overlooks Ancona and its gulf. Vittore Carpaccio represented the Ancona Catheral in his 1502 painting, St. George and the Dragon . [ 1 ] History [ edit ] Excavations carried on in 2016 proved that an Italic temple , perhaps dedicated to Aphrodite , existed on the site as early as the 3rd century BC. On top of it, in the 6th century AD, a Palaeo-Christian church was built: this had a nave and three aisles with the entrance facing south-east (where the current Chapel of the Crucifix is). Some remains of it still in existence include a mosaic pavement and perimeter walls. In 995–1015 a new church was built, which kept the original walls. In 1017 the renovated basilica received the relics of Saint Marcellinus of Ancona and Saint Cyriacus. Further enlargement works occurred between the late 12th and the early 13th centuries, with the addition of a transept to obtain a Greek cross plan, and an entrance towards the south-west, resulting in the church now facing the port and the new road entering the city. The transepts were at a higher level than the previous nave, and had apses. The church, previously dedicated to Saint Lawrence , was re-dedicated to Saint Cyriacus the Martyr, the patron saint and (possibly) bishop of Ancona. One of the red marble lions in the portal In 1883 the basilica underwent a very impressive restoration by Giuseppe Sacconi , future superintendent of the monuments of the Marches and Umbria from 1891 to 1902 and author of the project of the Vittoriano . He restored it to its original austere medieval appearance, eliminating the decorations and overlapping plasters, which over the centuries had altered the original appearance of the church. During World War I , on 24 May 1915, the basilica was damaged by a bombardment of the Austro-Hungarian fleet. The damage was restored in 1920, but in World War II Anglo-American aerial bombings destroyed the south transept and the Crypt of Tears under it, along with the art objects housed there. Once the transept was rebuilt, the church was officially reopened in 1951. Further damage was caused by an earthquake in 1972, followed by a new restoration and another official opening in 1977. In 1926 the cathedral was declared a minor basilica . Description [ edit ] Exterior [ edit ] The edifice is built in white stone from Mount Conero , with apses protruding from the transept's ends and an elevated body, with a dome at the crossing, in correspondence to the nave. All the external surfaces feature a decoration of Lombard bands . The bell tower is in an isolated position. It is mentioned from 1314 and was built above a pre-existing late 13th-century tower. Interior view The 1189 balustrade tiles The façade, divided into three section, is preceded by a wide staircase; above it is a 13th-century Romanesque portal formed by a round arch supported by four columns. The anterior ones stand on lions in Veronese red marble, while the rear ones, added later by Luigi Vanvitelli , are on a simple pedestal. Under the arches are four reliefs depicting the symbols of the Evangelists . The portal is attributed to Giorgio da Como (c. 1228), and is in Romanesque-Gothic style, built in Conero white stone from Mount Conero and Veronese red marble. It is decorated by a series of columns holding ogival arches with reliefs of saints' busts, animal figures and vegetable motifs. Above the portal is a large oculus with a Romanesque frame between two single mullioned windows . The dome is one of the most ancient in Italy. It has an ogival shape with a dodecagonal drum, standing on a square base with small decorative arches. It was built over the crossing in the 13th century, and is attributed to Margaritone d'Arezzo (1270). Together with the church of Sant'Antonio at Padua and St. Mark's Basilica in Venice , it was one of the few contemporary examples of domes built in churches, instead than in separate baptisteries. The copper cover was added in the 16th century. Interior [ edit ] The interior is on the Greek cross plan. All the arms are divided into a nave and two aisles, with re-used antique Roman columns with Byzantine capitals. At the crossing is the internal part of the dome, which has pendentives with Byzantine-style figures of praying angels. The dome is supported by cruciform cluster piers. The side arms of the transept end in elevated apses, while the central arm of the presbytery lost the original apse during the enlargement works of the 18th century. All the naves have hull-shaped, painted wooden vaults dating from the 15th century. At the beginning of the northern nave is the monument to a Fermo warrior from 1530. The south transept is home to the Chapel of the Crucifix. Its screens ( transennae ) are formed by tiles with sgraffito decoration from a balustrade of 1189. They depict, on the left, Jeremiah and Habakkuk ; the Eternal Father and the Blessed Virgin; an angel and Saint John the Evangelist ; and Saint Cyriacus; and, on the right, figures of animals: two cranes on a pomegranate tree, an eagle, two peacocks on a tree and two gryphons. In the Crypt of Tears below, rebuilt after the devastation of World War II, are remains of ancient structures. The presbytery's arms house, in the northern aisles, the sepulchre of Blessed Girolamo Ginelli (d. 1506), made in 1509 by Giovanni Dalmata . The northern transept houses the Madonna Chapel, with a lavishly decorated niche designed by Luigi Vanvitelli in 1739, which is the site of a venerated 17th century image of the Madonna. Under the chapel is a crypt with the remains of Saint Cyriacus (in a marble case), Saints Liberius and Marcellinus (in Sicilian jasper) and the ashes of Saint Palatia . The urns with bronze festoons were designed and executed between 1757 and 1760 by Gioacchino Varlè . Photos [ edit ] Main entrance Main entrance Lion to the left of the entrance The same Both lions at the entrance Side entrance Campanile Portico from the south East end The Nappi stairs Museum entrance Museum courtyard The miraculous painting of the Madonna also known as Regina Sanctorum Omnium See also [ edit ] Roman Catholic Archdiocese of Ancona-Osimo Wikimedia Commons has media related to San Ciriaco (Ancona) . Sources [ edit ] Polichetti, M. Luisa (2003). San Ciriaco. La Cattedrale di Ancona. Genesi e sviluppo . Federico Motta. ISBN 88-7179-353-6 . External links [ edit ] Page at Medioevo.org art website (in Italian) Authority control databases International VIAF National Germany United States Geographic Structurae ^ Humfrey, Peter (2022). Vittore Carpaccio: Master Storyteller of Renaissance Venice . National Gallery of Art, Fondazione Musei civici di Venezia. New Haven. ISBN 978-0-300-25447-1 . OCLC 1244273776 . {{ cite book }} : CS1 maint: location missing publisher ( link )
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1,018
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0.33944°E
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51.22333°N
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St Mary's Church, Hadlow
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https://en.wikipedia.org/wiki/St_Mary%27s_Church,_Hadlow
| 18
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United Kingdom
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Church in Kent, England St Mary's, Hadlow St Mary's, Hadlow St Mary's, Hadlow St Mary's, Hadlow 51°13′24″N 0°20′22″E / 51.22333°N 0.33944°E / 51.22333; 0.33944 OS grid reference TQ 6343 4971 Location Hadlow , Kent Country England Denomination Church of England Churchmanship Liberal Catholic Website www.stmaryshadlow.org.uk History Status Church Founded 975 Dedication St Mary Architecture Functional status Active Heritage designation Grade II* listed Designated 20 October 1954 Architectural type Church Style Early English Decorated Specifications Number of spires 1 Administration Province Canterbury Diocese Rochester Archdeaconry Tonbridge Deanery Paddock Wood Parish Hadlow Clergy Vicar(s) The Revd Paul White SMMS LLM MA [ 1 ] Laity Churchwarden(s) Michael Payne, John Speed [ 1 ] Parish administrator Janice Massy [ 1 ] St Mary ' s Church is the parish church in Hadlow , Kent , United Kingdom . The church is a Grade II* listed building. History [ edit ] The first record of a church in Hadlow was in 975. [ 2 ] This church would probably have been a wooden building. In 1018, the early church was replaced by a building of stone. In the 12th century, the church was rebuilt and extended by Richard de Clare , then lord of the Manor of Hadlow. De Clare granted the church to the Knights Hospitallers in 1166. The Knights Hospitallers later had a preceptory at nearby West Peckham , which was their local administrative base. From the Norman Conquest until the 18th century, Hadlow did not have a resident Lord of the Manor, being held under Tonbridge Castle . [ 3 ] It is thought that the tower was raised and the spire added in the 15th century. [ 4 ] Little money was spent on the maintenance of the church, although some 15th- and 16th-century bequests are recorded. Thomas Walter, Yeoman bequeathed 20s in 1448 "To make a window on the north side of the church by the altar of Our Lady". John Tatlyngbery bequeathed 10 marks "For repair of the great door of the church". In 1456, Richard Bealde bequeathed 13s 4d "For repair of the tower of Hadlow church". [ 5 ] In 1461, Dionysia Ippenbury left 3d for masses to be said each year for 12 years. [ 6 ] In 1465, William Palle, yeoman left a cow to the church. It was to be sold and "the profits therefrom to be devoted to the maintenance of a lamp in the chancel." [ 5 ] In 1509, Thomas Fisher, yeoman bequeathed £20 "for making a new rood loft". The rood screen may not have been in existence long, although it was mentioned in bequests dated 1510 and 1513. [ 7 ] The church remained under the ownership of the Knights Hospitallers until 1540, when the order was dissolved by Henry VIII . [ 3 ] In 1533, Henry Fane left two chalices valued at £4. [ 6 ] The west door is inscribed "WB 1637 ES". The tower and steeple were repaired in that year. The churchwardens were Walter Barton and Essau Simmons. [ 7 ] In 1791, the clock was installed in the tower. It was made by John Thwaites of Clerkenwell . [ 8 ] At the beginning of the 19th century, the church was in disrepair. In 1847, the chancel was rebuilt and the vestry added. In 1853, the south porch was blocked up. The north aisle was added in this year at a cost of £470 , which was raised by public subscription. A private gallery was erected by Walter Barton May, owner of Hadlow Castle . This had its own private access and was located at the west end of the nave. In 1885, an altar reredos was erected to the memory of Sir William Yardley and his wife Amelia. Yardley was a former judge in the High Court of Bombay , India . In 1936, the gallery was removed. [ 5 ] Work on the doorway at the west of the church in 1936 exposed some small crosses carved in the stonework. These are attributed to Nicholas de Hadloe and his son, who lived at Hadlow Place. They were carved to commemorate their safe return from the Third Crusade in 1189. [ 4 ] St Mary's was listed on 20 October 1954. It is currently Grade II* listed. [ 9 ] Construction [ edit ] St Mary's is mostly constructed from ragstone , with some ashlar detail and quoins of Tunbridge Wells sandstone . The church is built in the Early English and Decorated style. The chancel roof is of slate , while the nave and aisle roofs are tiled . The spire is covered in shingles . The stained glass windows date from the 19th and 20th centuries, [ 9 ] the most recent of which is "The Visitation" created by Francis Skeat in 1956. [ 10 ] The Coverdale Chair [ edit ] In 1919, the Coverdale Chair was presented to St Mary's by T E Foster MacGeagh of Hadlow Castle. The chair is so-named because it was owned by Miles Coverdale , Bishop of Exeter , who made the first translation of the Bible into English. In 1954, the chair was transferred to Rochester Cathedral , but it was returned to St Mary's in 1967. [ 11 ] Bells [ edit ] St Mary's has a ring of eight bells , hung for change ringing . The treble and 2nd were inscribed "Pack & Chapman of London Fecit 1775". [ 7 ] They were recast in 1994 by the Whitechapel Bell Foundry , London . At this time, the third was welded and the frame renewed. [ 12 ] The third is inscribed "Iames Bartlett Me Fecit 1696". [ 7 ] The fourth, fifth, sixth and seventh are inscribed "Iames Bartlett Me Fecit 1695", [ 12 ] and the tenor is inscribed "Henry Barton Edmond Norman Ch Wardens Andrew Reany Vicar 1695 Iames Bartlett Me Fecit". [ 7 ] Organ [ edit ] The organ at the church was presented as a gift by Ernest Hargreaves (who married the then vicar's daughter) and was built by Alfred Monk of Camden in 1880. It has a brass plate that includes a quotation from verse 6 of Psalm 150 : [ 13 ] Presented to St Mary's Church, Hadlow THROUGH THE REV D PHILLIP HOWARD MONEYPENNY, Vicar of the Parish, BY ERNEST HARGREAVES ESQ R August 1880. Let everything that has breath praise the Lord. [ 14 ] It has 35 speaking stops on three manuals and pedal including principal stops, reed stops, flute stops, string stops and a 32 ft contrabass stop. The organ underwent major restoration in 1975 that was carried out by Hill, Norman and Beard . Prior to the restoration, it was suggested that the instrument should be replaced by an electric or electronic organ; this advice was not followed. The Victorian background of the organ is clearly displayed by the (later added) chamber surrounding it. The instrument is one of the largest village church organs in the south-east. Organ specification [ edit ] Great Swell Choir Pedal Clarion 4 Vox humana 8 Clarionet 8 Violoncello 8 Cornopean 8 Clarion 4 Piccolo 2 Quint 10⅔ Sesquialtra (17.19.22) Oboe 8 Wald flute 4 Bourdon 16 Fifteenth 2 Trombone 8 Gemshorn 4 Open diapason 16 Twelfth 3 Mixture (15.19.22) Viol d'amour 8 Contra bass 32 Principal 4 Fifteenth 2 Lieblich gedact 8 Harmonic flute 4 Principal 4 Keraulophon 8 Gamba 8 Voix celeste 8 Clarabella 8 Dulciana 8 Open diapason 8 Gedact 8 Double open diapason 16 Open diapason 8 Bourdon 16 Tremulant Swell to Great Choir to Great Choir to Pedals Great to Pedals Swell to Pedals 3 composition pedals each to Great and Swell; balanced swell pedal. [ 14 ] [ 13 ] Memorials [ edit ] Interior, c. 1920 Many memorials in St Mary's were destroyed in the rebuilding of the church between 1847 and 1853. A brass commemorating John Stoke, vicar (d. 1370) was in existence in 1900, but has since disappeared. Other memorials were to Sir Ralph Colcoff, vicar (d. 1514) and Dame Elizabeth Gossand, wife of Henry Fane. [ 15 ] Surviving memorials are to Thomas Barton of Goldhill (d. 1662) and Thomas May (d. 1714), both ancestors of the builders of Hadlow Castle . Several tablets in St Mary's are to various members of the Moneypenny family. Four generations of this family served as vicars between 1797 and 1952. There is a memorial to Sir John Rivers , former Lord Mayor and Sheriff of London , who was a lay rector at St Mary's, [ 15 ] and his wife Joan. Rivers died in 1584, his wife in 1618. [ 16 ] In the churchyard, there is a memorial in the shape of an oast house to 30 hop-pickers who were killed in the Hartlake disaster , an accident that occurred while a wagon, taking around 40 hop-pickers and their families back to their camp site, was crossing the flood-swollen River Medway at the poorly maintained Hartlake Bridge on 20 October 1853. [ 17 ] The monument is a Grade II listed building. [ 18 ] See also [ edit ] List of places of worship in Tonbridge and Malling References [ edit ]
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Hildesheim Cathedral
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https://en.wikipedia.org/wiki/Hildesheim_Cathedral
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Church in Hildesheim, Germany Hildesheim Cathedral The Cathedral of the Assumption of Mary Hildesheimer Dom Northwest view of Hildesheim Cathedral 52°08′56″N 9°56′50″E / 52.14889°N 9.94722°E / 52.14889; 9.94722 Location Hildesheim Country Germany Denomination Roman Catholic Website www .dom-hildesheim .de History Status Active Dedication Assumption of Mary Architecture Functional status Cathedral Architectural type basilica Style Romanesque (original) Gothic (side chapels and northern paradise) Baroque (crossing tower) Groundbreaking 815 (Chapel of St. Mary) ( 815 (Chapel of St. Mary) ) 872 (St. Mary's Cathedral) ( 872 (St. Mary's Cathedral) ) Specifications Length 80 m (262 ft 6 in) Width 44 m (144 ft 4 in) Height 20 m (65 ft 7 in) Number of spires 1 Spire height 41 m (134 ft 6 in) Bells 12 Tenor bell weight 8686kg Administration Diocese Diocese of Hildesheim UNESCO World Heritage Site UNESCO World Heritage Site Official name St Mary's Cathedral Part of St Mary's Cathedral and St Michael's Church at Hildesheim Criteria Cultural: (i), (ii), (iii) Reference 187bis-001 Inscription 1985 (9th Session ) Extensions 2008 Area 0.58 ha (1.4 acres) Buffer zone 157.68 ha (389.6 acres) Hildesheim Cathedral (German: Hildesheimer Dom ), officially the Cathedral of the Assumption of Mary (German: Hohe Domkirche St. Mariä Himmelfahrt ) or simply St. Mary's Cathedral (German: Mariendom ), is a medieval Roman Catholic cathedral in the city centre of Hildesheim in Lower Saxony, Germany, that serves as the seat of the Diocese of Hildesheim . The cathedral has been on the UNESCO World Cultural Heritage list since 1985, together with the nearby St. Michael's Church because of its unique art and outstanding Romanesque architecture. [ 1 ] The cathedral church was built between 1010 and 1020 in the Romanesque style. It follows a symmetrical plan with two apses, that is characteristic of Ottonian Romanesque architecture in Old Saxony . The cathedral's treasures include world-famous artworks, bronze works from the time of Bishop Bernward , Bernward Doors and Bernward Column , as well as two of the four notable Romanesque wheel chandeliers : the Hezilo chandelier and the Azelin chandelier . After renovations and extensions in the 11th, 12th and 14th centuries, the cathedral was completely destroyed during an air raid on 22 March 1945 and rebuilt from 1950 to 1960. A thorough renovation of the cathedral began in 2010, including technical and conservation measures. Some of the cathedral's treasures have been shown further afield, including at an exhibition at New York's Metropolitan Museum of Art . The cathedral was reopened on 15 August 2014. History [ edit ] Construction [ edit ] Groundplan Aerial view from the tower of St. Andreas Interior After the establishment of the Diocese of Hildesheim in 815 by Louis the Pious , [ 2 ] a Chapel of St. Mary was built on the locations of the modern apse. [ 3 ] Bishop Gunthar of Hildesheim , who was in office from 815 to 834, [ 3 ] had a small basilica with two round towers built immediately to the south of the chapel, which he dedicated to Saint Cecilia . This served as the original cathedral and Stift church. [ 2 ] The first four bishops were buried there. Only traces of the foundations of these two buildings remain. An older Hildesheim parish church probably once stood on the site of the Chapel of Saint Stephen next to the gatehouse at the eastern entrance to the chapel of St. Hellweg, which might date back to Hildegrim of Châlons and his expedition to East Saxony. [ 4 ] The cathedral was built in 872 under Bishop Altfrid as a cruciform three-aisled basilica with a two-story westwork . [ 2 ] It is an example of Ottonian architecture , with alternating column support and semi circular apses completing the naves. [ 5 ] The building suffered severe fire damage in 1046. [ 3 ] Bishop Azelin planned to erect a new, larger building further to the west and to extend the nave. His successor, Hezilo of Hildesheim , abandoned this plan and instead built on the old foundations, incorporating the surviving walls into the new building. Further important renovations occurred up to the end of the fourteenth century but did not deviate from the ground plan of Bishop Altfrid's basilica. The northern paradise and the north and south side chapels date from the gothic period and the tower above the crossing from the baroque period . In the nineteenth century, the original westwork was replaced by a Neo-Romanesque two-tower facade, which stood until 1945. [ 2 ] School and library [ edit ] Hildesheim Cathedral School [ de ] ( Hildesheimer Domschule ), which had rooms in the cloisters, was one of the most significant educational institutions of the Ottonian and Salian periods. Its library has served as the cathedral's library ( German : Dombibliothek Hildesheim ) since 815; it is the oldest library in Northern Germany. [ 6 ] Foundation of the first cathedral under the crypt dating from 815 Crossing and northern side chapels Cloister, built from 1060 to 1070 Cloister with St. Anne's Chapel, c. 1845 Westwork before 1840 Neo-Romanesque westwork, 1890 Anne's chapel Hezilo chandelier in the crossing, 2009 Destruction in the Second World War [ edit ] During the aerial bombardment of Hildesheim by the RAF and RCAF in World War II , the main building was almost entirely destroyed; only the westwork and the outer walls survived. [ 2 ] Of the ancillary buildings, only the Gothic Anne's chapel ( Annenkapelle ), erected in 1321 in the middle of the cathedral's courtyard, [ 2 ] was mostly undamaged. It was the only cathedral in Germany that had to be newly consecrated after its reconstruction, on 27 March 1960 by Bishop Heinrich Maria Janssen. [ 2 ] Westwork The building was rebuilt between 1950 and 1960 in a simplified form. The baroque elements were abandoned in favour of a form which took its cue from the early Romanesque style. [ 3 ] The most visible aspect of this on the exterior was that upper stories, and side towers added to the westwork in 1840, were not restored. The westwork was reconstructed closer to its earlier state [ 7 ] based on the model of the westwork of Minden Cathedral , which had also been severely damaged by wartime bombing. [ 8 ] In addition, the gatehouse in front of the westwork was reduced by about half. Otherwise, the exterior appeared as it had done before the destruction – in particular, the baroque crossing-tower was rebuilt. [ 8 ] The reconstruction was carried out under tight constraints. Because of the lack of sandstone tiles, the floor was relaid in marble . The roofs of the nave, transept, and cloisters were cast in concrete and covered with wooden boards on the inside to recall the appearance of ceiling beams. The interior walls, as well as the walls of the nave, were rebuilt in brick and limestone , hidden from view by a dimension stone coating on the outside and by a coat of smooth plaster on the inside. The ground level was raised by 60 cm, which resulted in the rooms having a squat appearance, especially in the transepts. The columns of the nave were cast in concrete, and the pilasters were coated in sandstone. [ 8 ] The reconsecration took until 1960 to complete because of various problems, chiefly the "Hildesheim Cathedral construction dispute" ( Hildesheimer Dombaustreit ), an argument between the Diocese of Hildesheim and the Land of Lower Saxony about the cost of the reconstruction and particularly about whether Lower Saxony was one of the legal successors of the Free State of Prussia which had undertaken to cover the cathedral's building expenses in 1803 (when it was still the Kingdom of Prussia ) during the process of German mediatization . The parties reached a settlement in 1957. [ 8 ] Renovations 2010–2014 [ edit ] The Inkpot Madonna After many years of planning, a thorough renovation of the cathedral began in January 2010, the first since 1960. Along with technical and conservation measures, there were alterations to the design. The floor was lowered to the original level, the Hezilo and Azelin chandeliers were restored to their places in the nave and the high choir, and Bernward Doors were again mounted facing outwards, behind an antechamber, as originally intended. In addition, a bishop's crypt was created. [ 9 ] On 10 January 2010, the cathedral was closed for the work to begin. During the reconstruction, the basilica of St. Godehard served as the bishop's church ( cathedra ), as it had in the postwar years . The cathedral renovation was the largest church construction project in Germany. The solemn reopening of the cathedral was on 15 August 2014, coinciding with the beginning of the Diocese's 1200 year jubilee. [ 9 ] Thousand-year Rose [ edit ] Main article: Thousand-year Rose The rosebush with a legend dating back to 815 The cathedral building is widely known for the " Thousand-year Rose " ( Tausendjähriger Rosenstock ) which grows outside the building on the outer wall of the apse in the courtyard of the cloisters. The exact age of the rose is no longer precisely known, but the legend of the rose bush claims that it dates to 815. It is an important symbol of Hildesheim – according to folklore, as long as the bush flourishes, Hildesheim will prosper. [ 10 ] According to the story, Emperor Louis the Pious had to hold a Mass while out hunting in the middle of the forest. For this purpose, a reliquary of St. Mary which he had with him was hung from the branch of a wild rose. After the mass, the reliquary could not be removed from the branch. The Emperor considered this a sign that the new bishopric should be established here (not in Elze as he had planned) and he should dedicate it to St. Mary, whose symbol is the rose. [ 10 ] The existence of the rose bush has been attested for at least four hundred years. The aerial bombardment of 22 March 1945 which damaged the cathedral and the apse also killed the main growth of the rose bush above the ground; under the rubble, only the charred stump of the rose remained. It was thought that the end of the famous rose had come, but the roots were largely intact, and in the spring of 1945 it put out 25 new shoots. [ 10 ] The first sparse flowers bloomed in 1947, and by 1948 there were 122 flowers. Since then, the new branches of the "Thousand-year Rose" (as it was already known before the bombing) have been marked with little metal signs with the year in which they first appeared. It is believed to be the oldest living rose in the world. [ 11 ] Archaeological finds [ edit ] In excavations during the 2010–2014 renovations of the cathedral, ninth-century foundations of the St. Mary's chapel were found. [ 12 ] The first cathedral building was a small church measuring 6 × 6 m with an apse to the east. The remains of the first altar were found in the apse. The foundations of this first cathedral building consist of sandstone and are extraordinarily thick. [ 13 ] An even older cemetery was found to the west and south. Twenty graves were uncovered, including, in August 2012, the skeleton of a young woman who died around 800, with glass beads (the remnants of a necklace) and a little knife as grave goods. This is the oldest complete burial ever found in Hildesheim cathedral. [ 14 ] Excavations in the westwork Grave from around 800 Interior decoration, art, and treasures [ edit ] Detail of Bernward Doors Romanesque Hezilo chandelier Detail of the baptismal font : Baptism of Christ in the Jordan The sanctuary with the Azelin chandelier and the irminsul as apse cross The cathedral houses numerous works of art. These include the world-famous cast-bronze doors , depicting scenes from the Gospels and the Book of Genesis; and a cast-bronze column depicting scenes from the life of Christ. These bronzeworks date from the early 11th century and were commissioned by Bishop Bernward of Hildesheim . [ 3 ] (The column was originally in St Michael's, where Bernward was buried, and has been moved there again during the restoration of the cathedral, possibly to stay.) [ 15 ] There are also four notable Romanesque wheel chandeliers , also called corona or circular chandeliers, [ 16 ] [ 17 ] the larger Hezilo chandelier ( Heziloleuchter ), [ 13 ] [ 17 ] and the older Azelin chandelier ( Azelinleuchter ). [ 17 ] The Ringelheim Crucifix was made c. 1000 from linden wood for the body and oak for the arms. [ 18 ] Other treasures include: [ 3 ] The shrine of St. Epiphanius of Pavia and Cathedral patrons over a chapel in the northeast, first half of the twelfth century The shrine of St. Godehard in the crypt, around 1140 The Reliquary of Mary , the Crosses of Bernward and further magnificent reliquaries and liturgical implements displayed in Hildesheim Cathedral Museum ( Dommuseum Hildesheim ) in the south transept The eagle lectern , c. 1220, in liturgical use up until the recent renovations The late Romanesque bronze baptismal font ( Bronzetaufe ), 1225 The gothic Inkpot Madonna ( Tintenfassmadonna ) The central table of the Wrisberg epitaph (in the south transept until the recent renovations)) An apse cross standing in the apse, the pedestal of which, legend has it, was made from the core of the Irminsul . the Tomb of Priest Bruno ( de ) on the southern exterior wall of the choir The Bernward Monument ( de ) of Carl Ferdinand Hartzer [ de ] from 1893 stands in front of the north paradise entrance Hildesheim rood screen ( Hildesheimer Domlettner , de ) in the Cathedral Museum During the 2010–2014 renovations, many religious items from the cathedral were displayed at the Metropolitan Museum of Art in New York City, until 5 January 2014. [ 19 ] [ 20 ] Bernward Column Bronze baptismal font Shrine of St. Epiphanius Statue of Bishop Godehard Bernward Doors Organs [ edit ] The history of the organ at Hildesheim Cathedral dates back to the fourteenth century. In 1378, there was an organ in the north aisle, above the chapel of the Three Kings. This instrument was relocated to the Godehard choir during the fifteenth century and eventually sold in 1713. The first large organ was built by Conrad Abtt (Minden) c. 1616/17. The instrument had 31 stops on two manuals and pedal. During the 17th and 18th century, the instrument was rebuilt and expanded. In 1909, Furtwängler & Hammer (Hannover) built a new organ with 54 stops (three manuals and pedal), re-using the organ case from 1617. On March 22, 1945, the organ was destroyed during an air raid. Main Organ by Seifert (2014) Organ 1960–2010 [ edit ] In 1960, Franz Breil (Dorsten) built a new organ with 52 stops on four manuals and pedal. [ 21 ] In 1989, it was partially rebuilt and expanded to 66 stops by Klais (Bonn). [ 21 ] Seifert Organs (2014) [ edit ] In 2014, Orgelbau Romanus Seifert & Sohn (Kevelaer) built a new organ with 77 stops on four manuals and pedal, re-using windchests and 56 stops from the previous instrument. [ 22 ] In addition, a new antiphonal organ (Chororgel) with 16 stops was built. It is located in the left isle of the cathedral. Both organs can be played from two identical four-manual consoles: the console of the great organ, and a movable console in the nave. [ 22 ] Bells [ edit ] The Nikolaus bell, 1766 Until the Second World War, the cathedral contained over sixteen ringing and quarter bells. The basis of the pre-war peal was five great bells with the tones F-sharp 0 , A 0 , C-sharp 1 , F-sharp 1 , G-sharp 1 . Nine bells of the pre-war peal survived the war; the great Godehard bell in the west tower was so severely damaged in an air raid that it could no longer be rung. The Bernard bell is in the Bell cemetery in Hamburg and was irreparably damaged during transport there. Two bells were capable of being reused: the historical Apostolica bell of bellfounder Johann Martin Roth of Mainz (1765), which could be integrated into the new peal, and another historic bell of Johann Martin Roth, the Nikolaus bell, which was originally hung in the crossing tower and was moved to the Nordparadies in 2010. [ 23 ] Refounding of 1960 [ edit ] After the Second World War it was planned to create a 12-toned peal, with six great bells in the west tower and six smaller bells in the crossing tower (the planned tones: G 1 , B ♭ 1 , C 2 , E ♭ 2 , F 2 and G 2 ). At first only a six tone peal was produced. In 1960 the bellfounder Friedrich Wilhelm Schilling [ de ] (Heidelberg) cast five new bells, which were installed in the west tower together with the Apostolica bell. In the lower belfry of the tower hung the three deepest bells (1–3), while the three smaller bells (4–6) were in the upper belfry. The new peal (co-ordinated with the bells of the surrounding churches) was a semitone deeper than the original, so the Apostolica bell had to be tuned a semitone lower to fit with the new bells. [ 23 ] Since the quarter bells had also been destroyed in the Second World War, the quarter-hour chimes were now struck by bell No. 5, the chime on the hour by bell No.4 and the chime at noon by bell No. 1. Bell No. 6 was used for the call to worship (the Angelusglocke ). [ 23 ] Renovation 2013/2014 [ edit ] In the course of the 2010–14 renovation, the peal is being expanded by six bells to the 12-tone peal which had originally been planned in the 1960s, though, the tone sequence will be slightly different. [ 24 ] The new cathedral bells will be named after witnesses of the faith, who enjoy particular veneration in the Diocese of Hildesheim. Thus bell No. 8 will be named for Bishop Altfrid, one of the most important bishops of Hildesheim, who secured large contributions for the construction of the cathedral. Bell No. 9 will be named after Hedwig of Schlesien (or of Andechs), patron of refugees – since many refugees came to Hildesheim after the Second World War and were crucial in shaping it. [ 24 ] In 2013 the old yoke in the upper belfry was taken apart and replaced by a new yoke of oak. It will hold the six new bells and some of the old ones. In the lower belfry the deepest bells will remain in place. [ 25 ] On 16 November 2013 the new bells were cast by Glockengießerei Bachert [ de ] (Karlsruhe). [ 26 ] The Cantabona bell is the second biggest of Lower-Saxony after the Christus- und Friedensglocke (Bell of Christ and Peace) in the Marktkirche, Hanover . Technical information and inscriptions of the bells No. Name Year of casting Caster, casting location Ø (mm) Weight (kg) Strike tone ( ST - 1 / 16 ) Inscription Belfry 1 Cantabona ( Mary ) 1960 Friedrich Wilhelm Schilling , Heidelberg 2315 8686 F 0 +5 CANTATE DOMINO CANTICUM NOVUM QUIA MIRABILIA FECIT SANCTA MARIA CANTA BONA NOBIS! – Auxilio Matris D.N.J.Ch. confidens me fudit F.W. Schilling Heidelbergensis Anno Domini MCMLIX ("Sing for the Lord a new song since he has made miracles. Holy Mary sing good things for us! – trusting in the aid of the mother of our Lord Jesus Christ, F.W. Schillung of Heidelberg cast me in the year of our Lord 1959.") Lower westwork 2 Apostolica 1765 Johann Martin Roth, Mainz 1946 4895 A ♭ 0 +5 Johann Martin Koch von Maintz hat mich gegossen in Hildesheim Anno 1765, APOSTOLIS PETRO ET PAULO COMPATRONIS HILDESIENSIBUS ("Johann Martin Koch of Mainz cast me in Hildesheim in the year 1765, for the Apostles Peter and Paul, joint-patrons of Hildesheim.") 3 Bernward 1960 Friedrich Wilhelm Schilling, Heidelberg 1699 3366 B ♭ 0 +4 SIT PIA PAX ET VOS AMEN CANITE SANCTE BERNWARDE ORA PRO NOBIS 0 ("May there be holy peace. Sing "Amen"! Saint Bernward, plead for us") 4 Godehard 1502 2278 C 1 +4 STERNE RESISTENTES/STANTES REGE/TOLLE JACENTES. SANCTE GODEHARDE ORA PRO NOBIS ("Otherthrow the resisters/ rule the upstanding/ lift up the downcast. Saint Godehard plead for us") Upper westwork 5 Epiphanius 1258 1343 E ♭ 1 +6 EPIPHANIUS PACIFICATOR PATRONUS EPIPHANIAM DOMINI NUNTIAT. SANCTE EPIPHANI PRECARE PRO NOBIS ("Epiphanius the peacemaker and patron announces the epiphany of the Lord. Saint Epiphanius, pray for us") 6 Cäcilia 1156 1068 F 1 +4 CANTANTIBUS ORGANIS CAECILIA DOMINO DECANTABAT! SANCTA CAECILIA ADJUVA NOS ("while the organs sing, Caecilia sings to the Lord! Holy Caecilia, aid us") 7 Martin of Tours 2013 Bachert, Karlsruhe 1076 917 G 1 +3 HIC EST FRATRUM AMATOR + QUI MULTUM ORAT PRO POPULO SANCTE MARTINE + ORA PRO NOBIS ("He who pleads a lot for the people, loves his brothers Holy Martin, plead for us!") 8 Altfrid 1009 767 A ♭ 1 +6 INTERCESSIONE SANCTI EPISCOPI ALTFRIDI SUFFULTA + DIOECESIS NOSTRA FIRMA IN FIDE MANEAT ("Supported by the intercession of Holy Bishop Altfrid, may our diocese remain firm in its faith") 9 Hedwig 896 521 B ♭ 1 +6 BEATAE HEDVIGIS INTERCESSIO TRIBUAT POPULIS POLONIAE ET GERMANIAE CAELESTE SUBSIDIUM ("The intercession of blessed Hedwig grants the support of Heaven to the people of Poland and Germany") 10 Oliver Plunkett 792 357 C 2 +5 PROBASTI NOS + DEUS + ET EDUXISTI NOS IN REFRIGERIUM SANCTUS OLIVERUS PLUNKETT + RECONCILIATIONIS EXEMPLUM + EPISCOPUS ET MARTYR + ADIUVET NOS (You have tested us, God, and you have brought us to consolation. May holy Oliver Plunkett, example of reconciliation, Bishop and martyr, aid us") 11 Niels Stensen 733 294 E ♭ 2 +7 PULCHRA QUAE VIDENTUR + PULCHRIORA QUAE SCIUNTUR + LONGE PULCHERRIMA QUAE IGNORANTUR BEATE NICOLAE STENSEN + ORA PRO NOBIS ("What is seen is beautiful, what is known is more beautiful, what is unknown is most beautiful by far. Blessed Nicholas Stensen, plead for us") 12 Edith Stein 671 232 F 2 +6 CRUX EXALTATUR + UT CAELUM OSTENDAT SANCTA TERESIA BENEDICTA A CRUCE + ORA PRO NOBIS ("The cross is raised up to touch the heavens. Holy Teresa blessed by the cross, plead for us") – Nikolaus 1766 Johann Martin Roth, Mainz 950 550 A ♭ 1 +2 – World Heritage Site [ edit ] Hildesheim Cathedral was declared a World Heritage Site by UNESCO in 1985, along with St. Michael's Church . [ 1 ] Reopening [ edit ] On 15 August 2014, the cathedral was reopened after restoration. Bishop Norbert Trelle opened the Bernward doors and entered the cathedral, followed by 30 other bishops and guests including the Protestant bishop Christoph Meyns [ de ] , Robert Zollitsch , Stephan Weil and Christian Wulff . Trelle said in his sermon: "Die Kirche muss auf die Zukunft hin leben, so wie sie aus der Vergangenheit heraus lebt." (The church has to live towards a future, as it lives from by the past). He added, regarding the situation in Syria: "Während wir hier einen Dom wiedereröffnen, brennen dort die Kirchen." (While we reopen a cathedral here, churches are burnt there). The cathedral was restored to an appearance closer to the original building from the medieval age, for example a ceiling inserted after World War II was removed, and the original floor level restored. A new altar was created by Ulrich Rückriem . [ 27 ] [ 28 ] Location [ edit ] Aerial view of the Hildesheim Cathedral on the Domhügel Hildesheim Cathedral is situated at the southern middle of the city centre of Hildesheim, on the so-called Domhügel ("Cathedral's Hill"). The main entrances to the cathedral are on the south and north sides. The Roemer- and Pelizaeus-Museum , is very close to the cathedral in the west. Around the hill is the wall of the Domburg . From the north of the Hill is the Michaelishügel ("St. Michael's Hill"), from the northeast is the downtown of Hildesheim and to the west is the River Mühlengraben , a tributary of the Innerste River. On the north of the cathedral is the former government building of the city, on the west the Episcopal Vicariate General of the Diocese, in the south the Gymnasium Josephinum school and on the east the Labour Court of the city. Bibliography [ edit ] Brandt, Michael (2009), Bernwards Säule – Schätze aus dem Dom zu Hildesheim (in German), Regensburg: Schnell & Steiner, ISBN 978-3-7954-2046-8 . ——— (2010), Bernwards Tür – Schätze aus dem Dom zu Hildesheim (in German), Regensburg: Schnell & Steiner, ISBN 978-3-7954-2045-1 . Gallistl, Bernhard (2007–2008), "In Faciem Angelici Templi. Kultgeschichtliche Bemerkungen zu Inschrift und ursprünglicher Platzierung der Bernwardstür", Jahrbuch für Geschichte und Kunst im Bistum Hildesheim (in German), 75– 76: 59– 92, ISSN 0341-9975 . ——— (2000), Der Dom zu Hildesheim und sein Weltkulturerbe, Bernwardstür und Christussäule (in German), Hildesheim: Bernward Mediengesellschaft, ISBN 3-89366-500-5 . Heise, Karin (1998), Der Lettner des Hildesheimer Doms – Die Bildhauerkunst der Münsterschen Werkstätten 1535–1560 , Der Hildesheimer Dom – Studien und Quellen (in German), vol. 2, 1 + 2, 2, Hildesheim: Georg Olms Verlag , 2 volumes. Claudia Höhl. Das Taufbecken des Wilbernus – Schätze aus dem Dom zu Hildesheim , Verlag Schnell & Steiner GmbH, Regensburg 2009, ISBN 978-3-7954-2047-5 . Ulrich Knapp (ed.), EGO SUM HILDENSEMENSIS – Bischof, Domkapitel und Dom in Hildesheim 815 bis 1810 , (Kataloge des Dom-Museums Hildesheim; Bd. 3), Michael Imhof Verlag , Petersberg (2000), ISBN 3-932526-74-0 . Karl Bernhard Kruse (ed.), Der Hildesheimer Dom – Von der Kaiserkapelle und den Karolingischen Kathedralkirchen bis zur Zerstörung 1945 (Grabungen und Bauuntersuchungen auf dem Domhügel 1988 bis 1999) , Verlag Hahnsche Buchhandlung, Hannover (2000), ISBN 3-7752-5644-X . Annett Laube-Rosenpflanzer & Lutz Rosenpflanzer. Kirchen, Klöster, Königshöfe : vorromanische Architektur zwischen Weser und Elbe , Halle 2007, ISBN 3-89812-499-1 . References [ edit ]
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Lajim Tower
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https://en.wikipedia.org/wiki/Lajim_Tower
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Iran
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Tomb tower in Mazandaran, Iran Lajim Tower برج لاجیم Lajim Tower in Savadkuh County, Mazandaran Province, Iran Location of Lajim Tower in Iran General information Type Tomb tower Architectural style Islamic architecture Town or city Lajim , Mazandaran Country Iran Coordinates 36°15′20″N 53°06′21″E / 36.255667°N 53.105833°E / 36.255667; 53.105833 Completed c. 1022 AD Height 14 metres (46 ft) Dimensions Diameter 9 metres (30 ft) Technical details Floor count 2 Designations National Monument The Lajim Tower ( Persian : برج لاجیم , also known as Tomb Tower of Lajim ) is a tall cylindrical tower used as a tomb , and located in the village of Lajim near Savadkuh in Mazandaran Province , Iran . [ 1 ] The tower was built around 1022 CE during the Bavand dynasty that ruled over the region at the time. [ 2 ] Architecture [ edit ] The tower has a cylindrical burial chamber crowned by a double dome , though the outer dome has not survived. It is likely the outer dome was originally conical in shape, typical for tomb towers in the region from the same period. [ 3 ] The entrance to the burial chamber is on the eastern side. [ 1 ] Decorative features are concentrated below the dome surrounding the entrance. Directly below the dome is a row of shallow arched niches. Below this is a narrow band of geometric patterns, separating it from two inscriptive bands. The upper band is written in Pahlavi , the language of the pre-Islamic Sasanian Empire , and the lower band is in Arabic using the Kufic calligraphic style. The Pahlavi inscription is largely damaged and has not yet been deciphered. The Arabic inscription contains the name of the person buried in the tomb – Abu'l Favaris Shahriyar bin Abbas bin Shahriyar. [ 3 ] The entranceway is crowned by a pointed arch and set inside a shallow niche with a second pointed arch. Its tympanum features a brick honeycomb pattern. The plain cylindrical interior chamber is lit solely by the entrance. [ 3 ] The Lajim Tower inscriptions represent the first known use of the word " qubba " referring to the domed structure of the building, demonstrating the architectural influence of Islam in the region. [ 1 ] The tower was an important monument that drew the attention of North Iranian rulers who valued pre-Islamic art and script. [ 2 ] Current use [ edit ] After restorations, the tower is now a pilgrimage site for residents of the Lajim village and surrounding rural areas of Savadkuh. The ornately carved inscriptions under the dome make this brick structure an artistically significant example of ancient Iranian architecture and design. [ 1 ] References [ edit ]
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Golden Gate, Kyiv
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https://en.wikipedia.org/wiki/Golden_Gate,_Kyiv
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Ukraine
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Historic landmark in Kyiv, Ukraine For the metro station, see Zoloti Vorota (Kyiv Metro) . Golden Gate 1982 reconstruction of the Golden Gate, pictured in 2018 after major renovations General information Status Used as a museum Type Fortifications Address Volodymyrska St, 40А Town or city Kyiv Country Ukraine Current tenants Golden Gate Museum Construction started 1017 Completed 1024 Owner National Reserve "Sophia of Kyiv" Dimensions Other dimensions 10.5 m (34 ft) wide x 32 m (105 ft) high Immovable Monument of National Significance of Ukraine Official name Золоті Ворота (Руїни Золотих Воріт) ( Golden Gate (Ruins of the Golden Gate) ) Type Architecture, History Reference no. 260073-Н The Golden Gate of Kyiv ( Ukrainian : Золоті ворота , romanized : Zoloti vorota [zɔloˈti woˈrɔtɐ] ) was the main gate in the 11th century fortifications of Kyiv , the capital of Kievan Rus' . It was named in imitation of the Golden Gate of Constantinople . The structure was dismantled in the Middle Ages , leaving few vestiges of its existence. In 1982, it was rebuilt completely by the Soviet authorities, though no images of the original gates have survived. The decision has been immensely controversial because there were many competing reconstructions of what the original gate might have looked like. [ 1 ] The rebuilt structure on the corner of Volodymyr street and Yaroslaviv Val Street contains a branch of the National Reserve "Sophia of Kyiv" museum. The name Zoloti Vorota is also used for a nearby theater and the Zoloti Vorota station of the Kyiv Metro . History [ edit ] Bolesław I of Poland and Sviatopolk the Accursed at Kyiv, in a legendary moment of hitting the Golden Gate with the Szczerbiec sword. Painting by Jan Matejko Modern history accepts this gateway as one of three constructed by Yaroslav the Wise . The golden gates were built in 1017–1024 (6545 by the Byzantine calendar ) at about the same time the Saint Sophia Cathedral was erected. Mentions of an older construction, such as the one presented on a painting by Jan Matejko of king Bolesław I of Poland striking the Golden Gate with his sword during the intervention in the Kyivan succession crisis in 1018, it is now regarded a legend. Originally named simply the Southern Gate, it was one of the three main entrances to the walled city, along with the Ladski and Zhydivski ( Polish and Jewish) Gates. [ 2 ] The last two have not survived. The stone fortifications stretched for only 3.5 km. The fortification of the Old Kyiv (Upper City) stretched from the Southern Gates down to what is now Independence Square and where the Lechitic Gate [ 3 ] was located. From there, the moat followed what is now Kostyol Street, skirting St. Michael's Monastery and continuing along today's Zhytomyr Street toward the Jewish Gates (at Lviv Square ). From there, the fortification stretched what is now Yaroslaviv Val ("Yaroslav's Rampart") Street back to the Southern Gate. Remnants of the old Golden Gate in the 1970s, prior to its reconstruction. Later, the Southern Gate became known as the Great Gate of Kyiv. After the Blahovist Church (Church of the Annunciation) was built next to the gate, its golden domes became a prominent landmark easily visible from outside the city. Since then, the gateway has been referred to as the Golden Gate of Kyiv. The gate's passageway was about 12 metres (40 ft) high and 6 metres (20 ft) wide. For almost half a millennium, it served as the city's Triumphal Arch, a prominent symbol of Kyiv. Reputedly, it was modeled on the Golden Gate of Constantinople . Later, a similar name was given to the gates of Vladimir city where one of the Monomakh's descendants, Andrei I Bogolyubsky , established his own state, the Grand Duchy of Vladimir. In 1240, the gate was partially destroyed by Batu Khan 's Golden Horde . [ 4 ] It remained as a gate to the city (often used for ceremonies) through the eighteenth century, although it gradually fell into ruins. In 1832, Metropolitan Eugenius had the ruins excavated and an initial survey for their conservation was undertaken. Further works in the 1970s added an adjacent pavilion, housing a museum of the gate. In the museum, visitors can learn about the history of construction of the Golden gate as well as ancient Kyiv. The view of the gate from the "city side" In 1982, the gate was completely reconstructed for the 1500th anniversary of Kyiv , though this was challenged. Some art historians called for this reconstruction to be demolished and for the ruins of the original gate to be exposed to public view. [ citation needed ] In 1989, with the expansion of the Kyiv Metro , Zoloti Vorota station was opened nearby to the landmark. Its architectural assemble is based on the internal decorations of ancient Ruthenian churches . In 1997, the monument to Yaroslav the Wise was unveiled near the west end face of the Golden Gate. It is an enlarged bronze copy of an experimental figuring by Kavaleridze . Church above the passage [ edit ] In addition to mentioning the construction of the church above the passage of the Golden Gate in the chronicle, it is also mentioned in Metropolitan Ilarion's "Word of Law and Grace" of the Golden Gate. [ 5 ] Interior of Golden Gate Gate Church had to serve "the heavenly protection of the city", [ 6 ] but was also a regular church – people arrived to pray there. [ 7 ] The bell chapel is reproduced in the form of a three-nave four-pillar single-dome temple. In the architectural decoration of the facades used ornaments from the brick, typical for the ancient buildings of that period. The floor of the church is decorated with a mosaic, the picture of which is based on the ancient floor design of Saint Sophia's Cathedral in Kyiv . Reconstruction of the monument reproduces the segments of the shaft adjoining to the gate. On the outside they have suspended slopes. At the top of the shaft there are wooden bunks. On the ends conventionally shown internal structures. From the city side on the facade there are warehouses. Inside the restored shaft segments there is an exposition of the Museum of the Golden Gate and the stairs leading to the balcony, from which a magnificent panorama of the city is visible. Square [ edit ] The square around the Golden Gate [ uk ] was created in the second half of the 19th century. Botanical natural monument was created by the decision of the Kyiv executive committee No. 363 20 March 1972. See also [ edit ] Golden Gates in Vladimir , the only extant example of a gateway of medieval Rus' . Pictures at an Exhibition , by composer Modest Mussorgsky , is a musical suite, one part of which was inspired by Viktor Hartmann 's project for another gate in Kyiv. References [ edit ]
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44.228625°E
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40.387492°N
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Vahramashen Church
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https://en.wikipedia.org/wiki/Vahramashen_Church
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Armenia
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Cultural heritage monument of Armenia Vahramashen Church of Surp Astvatsatsin General view of Vahramashen Church and the southern slope of Mount Aragats Religion Affiliation Armenian Apostolic Church Location Location Southern slope of Mount Aragats , Aragatsotn Province , Armenia Shown within Armenia Show map of Armenia Vahramashen Church (Aragatsotn) Show map of Aragatsotn Geographic coordinates 40°23′15″N 44°13′43″E / 40.387492°N 44.228625°E / 40.387492; 44.228625 Architecture Type Cruciform central-plan Style Armenian Completed 1026 The Vahramashen Church ( Armenian : Վահրամաշեն եկեղեցի ), also commonly referred to as Vahramashen Surp Astvatsatsin or the Church of Amberd ) was built for Prince Vahram Pahlavuni of the Pahlavuni family. An inscription on the inside lintel of the north portal to the church dates its completion to the year 1026. It sits along the slopes of Mount Aragats in the Aragatsotn province of Armenia , between the fortress of Amberd and near a wall along the promontory with the Arkashian River in the canyon below. Architecture [ edit ] S. Astvatsatsin is a cruciform type church with four two-story chambers in the corners. A large circular twelve-faceted drum sits on top of the church, with pairs of thin decorative columns standing at the edge of each facet. A conical umbrella type dome rests above. The exterior of the church is simply decorated with edging around the portal and saddles of some small windows, layers of cornice work just above the thin columns on the drum and dome, and some cross relief designs carved into the façades. Gallery [ edit ] Location of Amberd fortress and Vahramashen Closeup of church South portal (main entry) Closeup of cupola Interior view of the dome Khachkar Vahramashen Surp Astvatsatsin during the spring See also [ edit ] Amberd References [ edit ] Ararat - Page 29 by Armenian General Benevolent Union Documenti Di Architettura Armena, published by Edizione Ares Notes [ edit ]
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6.82750°W
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34.04000°N
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Great Mosque of Salé
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https://en.wikipedia.org/wiki/Great_Mosque_of_Sal%C3%A9
| 4,423
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Morocco
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Mosque in Salé, Morocco Great Mosque of Salé المسجد الأعظم Religion Affiliation Islam Location Location Salé , Morocco Shown within Morocco Geographic coordinates 34°02′24″N 06°49′39″W / 34.04000°N 6.82750°W / 34.04000; -6.82750 Architecture Type Mosque Date established c. 1130 Completed 1196 (rebuilt) 18th century (major modifications) The Great Mosque of Salé ( Arabic : الجامع الأعظم , romanized : al-Jama' al-A'dam ), also known as the Masjid al-Tal'a , [ 1 ] [ 2 ] is a historic mosque in Salé , Morocco. It is the main mosque of the old city. Covering an area of 5,070 m 2 (54,600 sq ft), it is the third-largest mosque in Morocco. [ 3 ] A first mosque on this site may have been built between 1028 and 1030. [ 4 ] [ 5 ] The current mosque was the result of a reconstruction and expansion by the Almohad ruler Yaqub al-Mansur in 1196. Further renovations in the 18th century gave the building its present-day appearance. [ 1 ] It was severely damaged in the Bombardment of Salé of 1851 and was briefly closed during the French protectorate in Morocco . History [ edit ] The mosque has been destroyed and rebuilt many times since the beginning of the city's history. [ 4 ] A first mosque may have been built under the orders of Temim Ibn Ziri , a leader of the Banu Ifran tribe, in 420 AH ( c. 1030 CE ). [ 5 ] [ verification needed ] A new, larger mosque was built in 1196 under Abu Yusuf Yaqub al-Mansur 's orders after the old mosque's roof had collapsed. [ 1 ] The architect of the Almohad building was known as al-Gharnati – a name which suggests he was from Granada in Al-Andalus . [ 6 ] According to tradition, 700 French slaves were involved in the reconstruction under al-Mansur's orders. [ 6 ] Entrance to the mosque (center) and to the adjacent 14th-century Marinid Madrasa (left) In 1260, Salé was sacked and occupied by Castilian forces, [ 1 ] during which 3000 women, children and elderly residents of the city were gathered in the mosque and taken as slaves for Seville . [ 4 ] The Marinid sultan Abu Yusuf Yaqub reconquered the city soon afterwards. In 1342 another Marinid sultan, Abu al-Hasan , built the Madrasa of Abu al-Hasan next to the mosque, adding to its development as a religious and intellectual center of the city. [ 1 ] The mosque was largely rebuilt and modified over time, and its present appearance dates from the 18th century, [ 1 ] under the ' Alawi dynasty . The mosque's current minaret likewise dates from the 'Alawi period. [ 2 ] In 1851, Salé was bombarded by French forces, and the mosque was severely damaged after being struck by six cannonballs. [ 7 ] During the French protectorate in Morocco , the mosque was used for nationalist gatherings in the 1930s, led by people such as Said Hajji , Ahmed Maaninou , Boubker el-Kadiri , and Abu Bakr Zniber . [ 8 ] The French protectorate later [ when? ] closed the mosque to prevent it being used as a place to awaken awareness of nationalist sentiment, but it later [ when? ] re-opened. [ 8 ] Gallery [ edit ] The minaret of the mosque The main courtyard ( sahn ) of the mosque The gallery around the courtyard Inside the prayer hall of the mosque See also [ edit ] Madrasa of Abu al-Hasan List of mosques in Morocco References [ edit ]
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1,032
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14.8981°E
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49.8761°N
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Sázava Monastery
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https://en.wikipedia.org/wiki/S%C3%A1zava_Monastery
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Czechia
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Aerial view of Sázava monastery (2012 photograph) Sázava monastery seen from the south-west (April 2014) 1822 depiction of the monastery Sázava Monastery ( Czech : Sázavský klášter ) is a former Benedictine abbey and a monastery in Bohemia ( Czech Republic ), established by Bretislaus I, Duke of Bohemia around 1032. [ 1 ] [ 2 ] It is situated some 30 km southeast of Prague , on the right bank of the eponymous Sázava river , a right tributary of the Vltava . The town of Sázava ( Benešov District ) grew around the monastery. The monastery is notable, long after it's foundation by St Procopius of Sázava , for having followed the Byzantine Rite in the Old Church Slavonic liturgical language in the 11th century. It was forcibly transferred to the Latin rite in 1097, but remained a monastery until its destruction during the Hussite Wars in 1421. It was again re-established as part of the re-catholization of Bohemia under Habsburg rule in 1664 and finally dissolved under the policy of Josephinism in 1785. The extant buildings mostly date to the Baroque period , with 19th-century neo-Renaissance extensions, with some remaining structures in the Gothic style of the 13th to 14th centuries, notably the unfinished three-nave Gothic basilica. History [ edit ] The monastery is the site of the hermitage of Procopius of Sázava (d. 1052), a hermit (canonized in 1204 by Innocent III ). [ 1 ] Procopius attracted a community of hermits, which formed the basis of the Benedictine monastery established in 1032. It is one of the oldest monasteries founded in the Duchy of Bohemia , established some 40 years after Břevnov Monastery . In 1056, duke Spytihněv II had the monks expelled from the abbey. [ 3 ] The monks found sanctuary in Hungary until 1061, when Duke Vratislaus II of Bohemia had them returned to the abbey. [ 3 ] Unusually for a Benedictine abbey, Sázava was an important center of the Byzantine Rite Divine Liturgy in Old Church Slavonic (rather than Ecclesiastical Latin ) until 1096. [ 1 ] [ 4 ] The first stone church, consecrated to the Holy Cross , was built in 1070. The ruins of this church have been excavated and are visible in the garden north of the monastery building. In December 1096, the monks were expelled for the second time, by duke Bretislav II , marking the end of the Byzantine Rite in the Czech lands . The Byzantine Catholic monks were replaced by Latin Rite Benedictines from Břevnov Monastery under abbot Diethard (d. 1133). [ 1 ] It was under Diethard that all Old Church Slavonic books in the monastery library were destroyed . [ 1 ] In the 12th century, the Romanesque basilica and monastery buildings were completed. A 12th-century chronicle, De exordio Zazavensis monasterii , records the history of the monastery up to the year 1177. It also contains a continuation of Cosmas of Prague down to 1162. The monastery's founder Procopius was formally canonized in Sázava, in the presence of Ottokar , the first hereditary king of Bohemia , on 4 July 1204. In the later 13th to 14th centuries, the Romanesque basilica was transformed into a Gothic one, intended as a monumental three-nave structure, which however remained unfinished. The monastery buildings were also rebuilt in the Gothic style. The Madonna of Sázava is a notable 14th-century fresco in the capitular hall, unusually depicting Mary, mother of Jesus walking alongside a child Jesus aged about five years old. Sázava was sacked by Hussite troops in 1421 and the monks were expelled, interrupting building activity. Over the following two centuries, the monastery had secular owners and fell into decay. In 1664, the monastery was again revived, bought by Seifert, abbot of the Břevnov and Broumov monasteries. The dilapidated buildings were reconstructed in the Baroque style by architect Vít Václav Kaňka. A fire in 1746 damaged the Baroque buildings, which were restored under architect Kilian Ignatius Dientzenhofer in the late Baroque or Rococo style. The Rococo altar with a painting of the Assumption of Mary by Jan Petr Molitor and frescos of this period are extant. The monastery was finally closed down by decree of Emperor Joseph II in 1785. The monastery domain again fell to secular owners from 1809, first to Wilhelm Tiegel of Lindenkrone, who used the cloister as a chateau, while the basilica remained in operation as a parish church. The domain was sold to Johann Friedrich Neuberg in 1869, who commissioned reconstruction work in neo-Renaissance style . The domain and chateau were sold to Friedrich Schwarz in 1876. Part of the domain was sold to Benedictine monks from Emmaus Monastery in 1932, who intended to re-establish the monastery in Sázava. Benedictine monk and priest Method Klement moved from Emmaus to Sázava in 1940 and began preparatory work, but the plan was interrupted by the outbreak of World War II and the subsequent communist regime. The area was managed by the National Cultural Committee of Czechoslovakia from 1951. In 1962, the area became a National Cultural Heritage Site, managed by the National Heritage Institute. Archaeological excavations were carried out during the 1960s to 1990s by Ivan Borkovský , Petr Sommer , and others. The exhibition "Old Slavic Sázava" was opened in 1983. As part of the reprivatization following the establishment of the Czech Republic , the property was restored to Marie Hayessová, as heiress of the Schwarz family in 2003. She sold the property to the state in 2006. Under the 2013 act on church restitution, parts of the domain were returned to the Roman Catholic parish of Černé Budy (Sázava) and parts to Emmaus Monastery. The National Heritage Institute remains in charge of restoration and conservation, focussing on the threatened pillars of the unfinished Gothic three-nave structure and on the restoration of the baroque frescos. In popular culture [ edit ] Sázava Monastery is featured in the 2018 video game Kingdom Come: Deliverance , where it is called Sasau Monastery. "The Madonna of Sasau" is the name of a story arc in the game. [ 5 ] References [ edit ]
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8.36639°E
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49.63361°N
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Worms Synagogue
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https://en.wikipedia.org/wiki/Worms_Synagogue
| 8,306
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Germany
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Historical synagogue in Rhineland-Palatinate, Germany Worms Synagogue German : Worms Synagoge Rear view of the Worms Synagogue, 2005 Religion Affiliation Judaism Ecclesiastical or organisational status Synagogue Status Active Location Location Hintere Judengasse 6, Worms , Rhineland-Palatinate Country Germany Location of the synagogue in Rhineland-Palatinate Geographic coordinates 49°38′1″N 8°21′59″E / 49.63361°N 8.36639°E / 49.63361; 8.36639 Architecture Type Synagogue architecture Style Romanesque Gothic Completed 1034 (original); 1175 (second); 1961 (third) Materials Stone; slate Website schumstaedte .de /en /shum /worms / UNESCO World Heritage Site Type Cultural Criteria ii, iii, vi Designated 2021 Part of ShUM Sites of Speyer , Worms and Mainz Reference no. 1636 [ 1 ] The Worms Synagogue ( German : Worms Synagoge ), also known as Rashi Shul , is a Jewish congregation and synagogue located in the northern part of the city center of Worms , in the Rhineland-Palatinate region of Germany . Founded in the 11th century, the synagogue is one of the oldest in Germany. The Worms Synagogue was inscribed on the UNESCO World Heritage List in 2021 (along with other medieval Jewish cultural sites in Speyer and Mainz ), [ 1 ] due to its historical importance and its testimony to the European Jewish cultural tradition through millennia. History [ edit ] The first synagogue at the site was built in 1034 and is therefore regarded as the oldest existing synagogue in Germany. [ 2 ] The building was destroyed during the First Crusade in 1096 and subsequently rebuilt in 1175 in the Romanesque style. In 1186 a subterranean mikveh was constructed southwest of the synagogue. During the pogroms of 1349 and 1615 the synagogue was badly damaged: in both pogroms the vaulted ceilings and the walls were heavily damaged. During reconstruction after 1355 Gothic forms for the window and the vault were chosen. Of comparable seriousness was the damage after the fire of 1689 during the Nine Years' War . When the building was restored in 1700, the interior was renovated in period style. On Kristallnacht in 1938 the synagogue was once again attacked and reduced to rubble. It was painstakingly reconstructed in 1961, using as many of the original stones as could be salvaged. [ 3 ] The synagogue, open as a museum, continues to be a functioning synagogue used by the Jewish community. In May 2010, the synagogue was firebombed by arsonists, suspected to be anti-Zionists . [ 4 ] [ 5 ] The firebombs were thrown against eight corners of the stone building and against a window, but no one was injured and no serious damage to the building was reported. Architecture [ edit ] Built at the point when the late Romanesque style was fading and Gothic rising, the rectangular prayer hall features a pair of Romanesque columns supporting groin vaults. The windows in the thick stone walls are simple gothic arches. The windows in the adjoining study hall, the so-called Rashi Shul , have rounded Romanesque arches. The women’s section of the prayer hall has Romanesque windows on the eastern wall, and gothic windows on the western wall. [ 6 ] Gallery [ edit ] Pre-1938 interior of the Rashi Shul Interior Plan of the synagogue See also [ edit ] Germany portal Judaism portal Architecture portal History of the Jews in Germany List of synagogues in Germany (in German) Oldest synagogues in the World References [ edit ]
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1,038
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11.55778°E
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43.73194°N
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Vallombrosa Abbey
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https://en.wikipedia.org/wiki/Vallombrosa_Abbey
| 4,154
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Italy
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Benedictine abbey in Reggello, Tuscany, Italy Abbey of Vallombrosa The arms of the abbey, reproduced from a missal in 1822 Vallombrosa is a Benedictine abbey in the comune of Reggello (Tuscany, Italy), about 30 km south-east of Florence , in the Apennines , surrounded by forests of beech and firs . It was founded by Florentine nobleman Giovanni Gualberto in 1038 and became the mother house of the Vallumbrosan Order . History [ edit ] What began as a hermit's small wooden hut was followed by a built stone church in 1058. This was enlarged around 1450 and took on its current appearance at the end of the 15th century. In 1529, after the looting by Charles V , the east tower was built. Between 1575 and 1578, Galileo Galilei was educated there and then withdrawn by his father, before taking orders, and moved to Pisa to study medicine. [ 1 ] In the 17th century the walls were erected, and in the 18th century the fishing ponds dug. Today the monastery is open to tourists and its "Antica Farmacia" sells local produce such as herbal teas and liqueurs made following antique recipes. Among these is the rare and legendary Dry Gin of Vallombrosa. On 7 October 1096, Pope Urban II addressed the congregation of Vallombrosa, imploring the religious amongst them to support the cause for a crusade to the Holy Land . In particular in this sermon, he cited the need for knights, who could "restore the Christians to their former freedom". 1 Largely because of his poetic reference to the "autumnal leaves that strow the brooks, in Vallombrosa" in Paradise Lost , John Milton is supposed to have visited the monastery and, according to a plaque erected during the Fascist era, actually stayed there. Though this is unlikely, the notion that he did so encouraged many later travelers to visit the place, including William Beckford , J. R. Cozens , William Wordsworth , Crabb Robinson , Frances Trollope , Mary Shelley , Elizabeth Barrett Browning , and Friederich Nietzsche . [ 2 ] The Anglo-Italian monk, Enrico Hugford, became Abbot of Vallombrosa in 1743 and fellow Catholic, John Talman , seems to have visited even earlier. Derek Walcott also mentions Vallombrosa in chapter 33 section 2 of his Omeros . Derek Walcott has allusions to several historical moments and other literary works throughout the Omeros , and Shmoop suggests that this reference was inspired by John Milton. Partly thanks to the influence of the pioneering American ecologist and author of the 1864 Man and Nature , George Perkins Marsh , the Istituto Superiore Forestale Nazionale was founded in the secularized monastery in 1867. The exterior [ edit ] The exterior retains the 12th century belltower and a 15th-century tower. It maintains a sobriety appropriate for a monastery. It is a walled precinct, accessed through an 18th-century gate. The facade was designed (1637) by Gherardo Silvani who completed designs by Alfonso Parigi ; Silvani also completed the facade of the church (1644). The church interior [ edit ] The interior of the church was frescoed (1779–1781) by Giuseppe Antonio Fabrini . The main altar has an Assumption by the Volterrano , The altar of the left transept has a Trinity by Lorenzo Lippi ; other altarpieces are by Agostino Veracini , Antonio Puglieschi , Niccolò Lapi . In the Baptistery (once chapel of the Converted) is a Conversion of Saul by Cesare Dandini and in the chapel of San Giovanni Gualberto , a fresco by Alessandro Gherardini , the scagliola altar was Ignazio Hugford , a canvas by Antonio Franchi . Offertories before this altar were made by members of the Forest Service who have San Giovanni Gualberto as their patron saint. The wooden choir to the right of the main altar was fashioned by Francesco da Poggibonsi (1444–1446); the reliquary has the arm of the saint who founded the Vallombrosan order by Paolo Sogliano (1500). The sacristy has an altarpiece by Raffaellino del Garbo depicting San Giovanni Gualberto and other saints (1508), and a great terracotta altarpiece from the studio of Andrea della Robbia ; the refectory has a series of canvases by Ignazio Hugford (1745); the antirefectory has a large painting by Santi Buglioni and a cycle of paintings (three triptychs) by Mario Francesconi . [ 3 ] The Museum of Sacred Art [ edit ] Inaugurated in 2006, the museum is located on the right side of the abbey complex. It houses works of art such as the 15th-16th century Altoviti Set with embroidered fabric, the great altarpiece by Domenico Ghirlandaio and workshop (Madonna with Child and Four Saints), a selection of paintings, and the scagliolas by the 18th-century abbot Enrico Hugford (brother of the painter Ignazio ). Other activities [ edit ] The spruces of the closest forest of Vallombrosa were used in the 15th century to build up the first Italian Masonic Lodge in via Maggio, Florence . [ 4 ] In 2017, the Vallombrosa Abbey hosted the Italian Red Cross national meeting on its history. [ 5 ] See also [ edit ] Arboreti di Vallombrosa References [ edit ]
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88.99262°E
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29.12783°N
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Shalu Monastery
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https://en.wikipedia.org/wiki/Shalu_Monastery
| 1,783
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China
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Tibetan Buddhist monastery near Shigatse, Tibet, China Shalu Monastery Tibetan transcription(s) Tibetan : ཞྭ་ལུ། Wylie transliteration : Zhwa-lu Official transcription (China): Xalu THL : Zhalu Other transcriptions: Shalu Chinese transcription(s) Traditional : 夏魯寺 Simplified : 夏鲁寺 Pinyin : Xiàlǔ Sì Religion Affiliation Tibetan Buddhism Sect Shalu Sakya Location Location Shigatse Prefecture , Tibet , China Architecture Founder Chetsun Sherab Jungnay Part of a series on Tibetan Buddhism Schools Nyingma Kadam Sakya Bodong Kagyu Jonang Gelug Rimé Key personalities First dissemination Padmasambhāva Śāntarakṣita Kamalaśīla Songtsen Gampo Trisong Detsen Ralpacan Second dissemination Atiśa Talika Abhayakirti Niguma Sukhasiddhi Milarepa Nyingma Yeshe Tsogyal Longchenpa Jigme Lingpa Patrul Rinpoche Dudjom Lingpa Mipham Kagyu Marpa Rangjung Dorje Jonang Dolpopa Taranatha Sakya Sakya Pandita Gorampa Bodongpa Samding Dorje Phagmo Gelugpa Je Tsongkhapa 5th Dalai Lama 13th Dalai Lama 14th Dalai Lama 10th Panchen Lama Teachings General Buddhist Three marks of existence Skandha Cosmology Saṃsāra Rebirth Bodhisattva Dharma Dependent origination Karma Tibetan Four Tenets system Rangtong-Shentong Svatantrika-Prasaṅgika distinction Nyingma Dzogchen Pointing-out instruction Practices and attainment Lamrim Pāramitās Bodhicitta Avalokiteśvara Meditation Laity Vajrayana Tantra techniques Deity yoga Guru yoga Dream yoga Thukdam Buddhahood Major monasteries Tradruk Drepung Dzogchen Ganden Jokhang Kumbum Labrang Mindrolling Namgyal Narthang Nechung Pabonka Palcho Ralung Ramoche Rato Sakya Sanga Sera Shalu Tashi Lhunpo Tsurphu Yerpa Institutional roles Dalai Lama Panchen Lama Lama Karmapa Rinpoche Geshe Tertön Tulku Western tulku Festivals Chotrul Duchen Dajyur Galdan Namchot Losar Dosmoche Monlam Sho Dun Losoong Texts Kangyur Tengyur Tibetan Buddhist canon Mahayana sutras Nyingma Gyubum Art Sand mandala Thangka Wall paintings Ashtamangala Tree of physiology Festival thangka Mani stone History and overview History Timeline Outline Culture Index of articles v t e Shalu Monastery ( Tibetan : ཞྭ་ལུ། , Wylie : zhwa lu ) is small monastery 22 kilometres (14 mi) south of Shigatse in Tibet . Founded in 1040 by Chetsun Sherab Jungnay , for centuries it was renowned as a centre of scholarly learning and psychic training and its mural paintings were considered to be the most ancient and beautiful in Tibet. Shalu was the first of the major monasteries to be built by noble families of the Tsangpa during Tibet's great revival of Buddhism , and was an important center of the Sakya tradition. A 14th-century depiction of the 11th abbot of Shalu Buton Rinchen (left) and his successor, a wall painting inside the monastery Young Monk in Shalu Monastery, 2006 Repair and reconstruction [ edit ] Repair and reconstruction of Shalu Monastery began on May 13, 2009, according to the Chinese government Xinhua online news. "The project, one of Tibet's biggest heritage renovation projects under the 11th Five Year Plan (2006–2010), involves reinforcement of its buildings, maintenance of sewage treatment facilities and improvement of fire and flood control systems", a prefectural government official said. It is planned to spend more than 16 million RMB yuan on the project. [ 1 ] Further reading [ edit ] Vitali, Roberto. 1990. Early Temples of Central Tibet . Serindia Publications. London. ISBN 0-906026-25-3 . Chapter Four: "Shalu Serkhang and the Newar Style of the Yüan Court." Pages 89–122. von Schroeder, Ulrich. 2001. Buddhist Sculptures in Tibet . Vol. One: India & Nepal ; Vol. Two: Tibet & China . (Volume One: 655 pages with 766 illustrations; Volume Two: 675 pages with 987 illustrations). Hong Kong: Visual Dharma Publications, Ltd. ISBN 962-7049-07-7 . Zhwa lu («shalu») monastery, pp. 554, 922, 925, 1085, 1088, 1129: Zhwa lu gSer khang («shalu serkhang»), 554, 842, 922, 925; Figs. XIV–14–16, XV–8. Jo khang («jokhang»), p. 922; Pls. 47C, 229A, 230C, 231B, 231D, 314A, 329E. gNyer khang byan g («nyerkhang chang»); Pls. 268C–D, 301A, 313A, 324E. gTsug la g khang («tsuglakhang»); Pl. 292A. Yum chen mo lha khang («yum chenmo lhakhang»), pp. 842–843; Figs. XIII–14–16. gZhal yas lha khang byang («shalye lhakhang chang»), pp. 439, 441, 913, 922; Figs. VII–3–4, XV–2; Pls. 169A, 169B, 229B, 229C, 230A, 230B, 231A, 231E, 322B. gZhal yas lha khang lh o («shalye lhakhang lho»), pp. 922, 1129; Pls. 232B–C, 233B–C, 234B, 252D–F, 315A, 315B, 315C, 315D, 315E, 318D, 318E. Notes [ edit ]
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Savane church
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https://en.wikipedia.org/wiki/Savane_church
| 185
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Georgia
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Savane church of Saint George სავანის წმინდა გიორგის ეკლესია Savane church. Southern façade. 42°19′22″N 43°28′14″E / 42.322778°N 43.470556°E / 42.322778; 43.470556 ( Savane ) Location Savane , Sachkhere Municipality Imereti , Georgia Type Single-nave basilica The Savane church of Saint George ( Georgian : სავანის წმინდა გიორგის ეკლესია , romanized : savanis ts'minda giorgis ek'lesia ) is an 11th-century Georgian Orthodox church in the western Georgian region of Imereti . A single-nave basilica built in 1046, the church has harmonious proportions, ornamented iconostasis , and exquisite decorative masonry details on the exterior façades. The church is inscribed on the list of Georgia's Immovable Cultural Monuments of National Significance . [ 1 ] History [ edit ] The Savane church stands on a hill on the left bank of the Qvirila River , a tributary of the Rioni , in the centre of the eponymous village, in the Sachkhere Municipality , Imereti region. Prince Vakhushti , in his Description of the Kingdom of Georgia written in 1745, erroneously claims that the church, with its iconostatis, was hewn out of a single rock. This error was then repeated by Marie-Félicité Brosset , who relied on the information provided by Dimitri Meghvinet-Ukhutsesi. In 1920, the church was studied in details by the Georgian historian Ekvtime Taqaishvili . [ 2 ] Layout [ edit ] Western façade with decorated colonettes and door and window frames. Under the pediment, there is a bas-relief of a panther or lion. The Savane church, dedicated to Saint George , is a single-nave basilica, made of neatly hewn, yellowish stones. It is rectangular in its plan, measuring externally 15.9 × 14.5 m., including the porch . [ 3 ] The interior is covered with barrel vaulting on four supporting arches. In the main apse there are, on the right and on the left, two high, deep recesses which represent a prothesis and a diakonikon . There is another arched recess in the northern wall of the church, at the end of the iconostasis. [ 2 ] The iconostasis is a high structure, with a notched cornice and divided into two distinct parts; the lower formerly took the form of a compact wall, made of slabs of hewn stone, with a royal door in the middle, but later doors were made to the north and the south. The upper part, made of stucco , consists of three cinquefoil arches with cusps in the form of clover leaves, resting on four carved columns. The interior of the Savane church is whitewashed, and there is no trace of paintings. The church is lit with five windows, one each on the east and west, and three on the south. The doors are to the west and south. Later—no earlier than the 14th–15th century—a porch was built in front of the southern door with complex, engaged columns , set in a cluster, the capitals and bases carved; probably at a later date still, separate chambers were added to the porch on the east and west. [ 2 ] The façades of the church are all richly ornamented. The embellishments include carved, notched cornices, window and door frames adorned with carving of Georgian interlaced work, and carved tympani . The southern façade is partially disfigured by the later addition of a porch with its side chambers. Above the porch is a small belfry constructed in the 19th century. [ 2 ] Inscriptions [ edit ] There are several inscriptions carved on the walls. The one on the southern façade, on the left of the window, below the archivolt , states that George, eristavt-eristavi ("duke of dukes"), built the church with the help of the Savane community: "In the name of God, I, George, eristavt-eristavi, have written this, and have given the half of this church to the Savane community. When I began to build the church they helped me with work, with money, with all things. May God give them happy use of it, for ever and ever". [ 2 ] Another inscription, on the western tympanum, confirms that the Savane church was built by George in 1046, in the reign of King Bagrat IV of Georgia (1027–1072). [ 2 ] References [ edit ]
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1,049
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34.81667°N
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Iron Pagoda
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https://en.wikipedia.org/wiki/Iron_Pagoda
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China
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Historic building in Henan, PRC Iron Pagoda The Iron Pagoda of Kaifeng, China, built in 1049 Religion Affiliation Han Chinese Buddhism Location Country Kaifeng City, Henan province Location in Henan Geographic coordinates 34°49′00″N 114°21′54″E / 34.81667°N 114.36500°E / 34.81667; 114.36500 Architecture Completed 17 June 1049 ; 975 years ago ( 1049-06-17 ) The Iron Pagoda ( Chinese : 鐵塔 ) of Youguo Temple ( 佑國寺 ), Kaifeng City, Henan province, is a Chinese pagoda built in 1049. The pagoda is so-named not because it is made of iron , but because its color resembles that of iron. It is a brick pagoda tower built on the location of a previous wooden one that had been burnt down by lightning fire in 1044. Along with the Liuhe , Lingxiao , Liaodi , Pizhi , and Beisi pagodas, it is seen as a masterpiece of Song dynasty architecture . Architecture [ edit ] This octagonal -base structure stands at a current height of 56.88 meters (186.56 feet), with a total of 13 stories. [ 1 ] It is a solid-core brick tower with an inner spiral stone staircase and outside openings to allow light and air flow. [ 2 ] The architectural style features densely positioned, articulated dougong in the eaves ( miyan ) and multiple stories ( louge ). [ 2 ] The exterior features more than fifty different varieties of glazed brick and 1,600 intricate and richly detailed carvings, including those of standing and sitting Buddha , standing monks, singers and flying dancers, flowers, lions, dragons and other legendary beasts as well as many fine engravings. Under the eaves are 104 bells that ring in the wind. The foundation rests in the silt of the Yellow River . [ 3 ] Inside the Iron Pagoda are frescos of the classical Chinese tales, such as The Journey to the West . [ 4 ] History [ edit ] In the Northern Song (960–1127) dynasty's capital city of Kaifeng , the famous architect Yu Hao built a magnificent wooden pagoda as part of Youguo Temple (between 965 and 995 CE.) that was considered by many of his contemporaries to be a marvel of art. [ 5 ] Unfortunately, the widely admired structure burned down in 1044 after a lightning strike. [ 5 ] Under the order of Emperor Renzong (1022–1063), a new pagoda was built in its place by 1049. The new tower was built of nonflammable brick and stone and was dubbed the 'Iron Pagoda' due its iron-grey color when viewed from afar (its bricks are in fact glazed red, brown, blue, and green). In 1847 the Yellow River overflowed its banks and the Youguo Temple collapsed, but the Iron Pagoda survived. Historically, the pagoda has experienced 38 earthquakes, six floods and many other disasters, but it remains intact after almost 1,000 years. [ 3 ] [ 6 ] In 1994, the Iron Pagoda was featured on a two- yuan Chinese postage stamp. [ 7 ] Gallery [ edit ] detail detail glazed tiles of Iron Pagoda See also [ edit ] Architecture of the Song dynasty References [ edit ]
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1,050
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79.9197°E
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24.8530°N
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Kandariya Mahadeva Temple
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https://en.wikipedia.org/wiki/Kandariya_Mahadeva_Temple
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India
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Largest Hindu temple in Khajuraho temple complex, India Kandariya Mahadeva Temple Religion Affiliation Hinduism District Chhatarpur Deity Shiva (Mahadeva) Location Location Khajuraho State Madhya Pradesh Country India Shown within India Geographic coordinates 24°51′11″N 79°55′11″E / 24.8530°N 79.9197°E / 24.8530; 79.9197 Architecture Type North Indian Creator Vidyadhara Completed circa 1025-1050 CE The Kandariya Mahadeva Temple ( Devanagari : कंदारिया महादेव मंदिर, Kandāriyā Mahādeva Mandir ), meaning "the Great God of the Cave ", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India . It is considered one of the best examples of temples preserved from the medieval period in India . Because of its outstanding preservation and testimony to the Chandela culture, the temple was inscribed on the UNESCO World Heritage List in 1986. [ 1 ] Location [ edit ] Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group Kandariya Mahadeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India . [ 2 ] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi). [ 1 ] It is in the western part of the village to the west of the Vishnu temple. [ 3 ] [ 4 ] The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba , 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna , 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi . It is 9 kilometres (5.6 mi) from the railway station. [ 2 ] [ 5 ] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai . It is 6 kilometres (3.7 mi) from the temple. [ 5 ] [ 6 ] History [ edit ] Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India, [ 2 ] [ 7 ] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorum . [ 8 ] The Kandariya Mahadeva temple was built during the reign of Vidyadhara (r. c. 1003-1035 CE). [ 9 ] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019. [ 2 ] This battle was not conclusive and Mahmud had to return to Ghazni . Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar . [ 2 ] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara. [ 2 ] Its construction is dated to the period between 1025 and 1050 CE. [ 4 ] All the extant temples in Khajuraho including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was dominant until the country was invaded by Muslims in 1202. [ 1 ] [ 10 ] Features [ edit ] Various features of the temple marked on the Kandariya Mahadeva Temple. Simplified map of the temple The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples. [ 11 ] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva. [ 5 ] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India. [ 11 ] The temple is founded on a massive plinth of 4 metres (13 ft) height. [ 12 ] The temple structure above the plinth is dexterously planned and pleasingly detailed. [ 13 ] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world. [ 8 ] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires. [ 4 ] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho". [ 1 ] [ 13 ] [ 14 ] A series of steep steps with high rise lead from the ground level to the entrance to the temple. [ 15 ] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana , a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession. [ 4 ] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex. [ 13 ] The main temple tower with 84 mini spires Erotic sculptures on the external walls of the temple In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple. [ 4 ] [ 12 ] [ 16 ] [ 17 ] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs. [ 4 ] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns. [ 13 ] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size. [ 18 ] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here. [ 17 ] The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers. [ 4 ] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni , the god of fire is prominent. [ 13 ] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head. [ 4 ] The niches also have sculptures of Saptamatrikas , the septad of mother goddesses along with the gods Ganesha and Virabhadra . The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma ; Maheshwari with three eyes seated on Shiva's bull Nandi ; Kumari; Vaishnavi mounted on Garuda ; the boar-headed Varahi ; the lion-headed Narasimhi and Chamunda , the slayer of demons Chanda and Munda. [ 4 ] The image of Sardula, a mythical creature with lion face and human limbs in lower panel is a unique figure seen in the temple. [ 19 ] References [ edit ]
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31.27611°E
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Cathedral of Saint Sophia, Novgorod
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https://en.wikipedia.org/wiki/Cathedral_of_Saint_Sophia,_Novgorod
| 441
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Russia
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Cathedral church of the Archbishop of Novgorod and mother church of Novgorodian Eparchy Cathedral of Saint Sophia Софийский собор (in Russian) View of the cathedral from the southeast Religion Affiliation Russian Orthodox Province Diocese of Novgorod and Staraya Russa Year consecrated 1050 or 1052 Location Location Veliky Novgorod , Russia Geographic coordinates 58°31′20″N 31°16′36″E / 58.52217°N 31.27660°E / 58.52217; 31.27660 Architecture Type Church Groundbreaking 1045 Completed 1050 Specifications Height (max) 38 metres (125 ft) Dome (s) 5 UNESCO World Heritage Site Official name: Historic Monuments of Novgorod and Surroundings Type Cultural Criteria ii, iv, vi Designated 1992 (16th session ) Reference no. 604 State Party Russia Region Eastern Europe The Cathedral of Saint Sophia, the Holy Wisdom of God ( Russian : Кафедральный собор Софии Премудрости Божией ) in Veliky Novgorod , Russia, is the cathedral church of the Metropolitan of Novgorod and the mother church of the Novgorodian Eparchy . History [ edit ] The 38-metre-high, five-domed, stone cathedral was built by Vladimir of Novgorod and Bishop Luka Zhidiata between 1045 and 1050 to replace an oaken cathedral built by Bishop Ioakim Korsunianin in the late tenth century. [ 1 ] This makes it the oldest church building in Russia outside the Caucasus ( Tkhaba-Yerdy in Ingushetia dates from before the 8th century) and the oldest building of any kind still in use in the country, with the exception of the Arkhyz and Shoana churches. It was consecrated by Bishop Luka Zhidiata (1035–1060) on September 14, in 1050 or 1052, the feast of the Exaltation of the Cross . (A fresco just inside the south entrance depicts Sts. Constantine and Helena, who found the true cross in the fourth century; it is one of the oldest works of art in the cathedral and is thought to commemorate its dedication.) [ 2 ] While it is commonly known as St. Sophia's, it is not named for any of the female saints of that name (i.e., Sophia of Rome or Sophia the Martyr ); rather, the name comes from the Greek word for wisdom ( σοφία , from whence we get words like philo sophia or philosophy—"the love of wisdom"), and thus Novgorod's cathedral is dedicated to the Holy Wisdom of God, in imitation of the Hagia Sophia cathedral of Constantinople . Holy Wisdom is a reference to Christ. The main, golden cupola, was gilded by Archbishop Ioann (1388–1415) in 1408. The sixth (and the largest) dome crowns a tower which leads to the upper galleries. In medieval times these were said to hold the Novgorodian treasury and there was a library there, said to have been started by Yaroslav the Wise . When the library was moved to the St. Petersburg Spiritual Academy in 1859, it numbered more than 1,500 volumes, some dating back to the 13th century. The current archbishop, Lev , [ 3 ] has reestablished a library there, in keeping with the ancient tradition. As of 2004, it housed some 5,000 volumes. [ 4 ] A Sunday school is also held in the gallery. [ 5 ] Inside the church is Our Lady of the Sign , an icon credited with saving Novgorod from Andrei Bogolyubsky 's troops in 1170 The cupolas are thought to have acquired their present helmet-like shape in the 1150s, when the cathedral was restored after a fire. The interior was painted in 1108 at the behest of Bishop Nikita (1096–1108), although the project was not undertaken until shortly after his death. Archbishop Nifont (1130–1156) had the exterior whitewashed and had the Martirievskii and Pretechenskaia porches ( papter' , [ what language is this? ] more akin to side chapels) painted sometime during his tenure, but those frescoes are hardly visible now because of frequent fires. In the 1860s, parts of the interior had to be repainted and most of the current frescoes are from the 1890s. [ 5 ] A white stone belltower in five bays was built by Archbishop Evfimy II (1429–1458), the greatest architectural patron to ever hold the archiepiscopal office. He also had the Palace of Facets built just northwest of the cathedral in 1433. The nearby clocktower was initially completed under his patronage as well, but fell down in the seventeenth century and was restored in 1673. From the 12th to the 15th century, the cathedral was a ceremonial and spiritual centre of the Novgorod Republic , which sprawled from the Baltic Sea to the Ural Mountains , and came to symbolize the city itself, with chronicle references to the Novgordians being willing "to lay down their heads for Holy Wisdom" or "to die honorably for Holy Wisdom." [ 6 ] When one prince angered them, they told him "we have no prince, only God, the Truth, and Holy Wisdom." [ 7 ] On another occasion, they made the cathedral the symbol of the city itself, saying "Where Holy Wisdom is, there is Novgorod." [ 8 ] An 11th-century fresco on the wall The House of Holy Wisdom ( Дом святой Софии / Dom svyatoy Sofii ) was one of the largest landowners in the Novgorod Land. Its possessions were spread across all parts of Novgorod land and outside of it. In the 16th century the House had its own court in Moscow and by the second half of 17th century it also owned 41 monasteries with their land and peasants. The bishop (later, archbishop) headed the House of Holy Wisdom. He was assisted by the head of the chancellery ( d'yak ) and treasurer and about 100 other staff who included scribes, bookbinders, icon painters and silversmiths. [ 9 ] The cathedral has long been the city's great necropolis, the burial place of 47 people of prominence in the city's history, including several princes and posadniks and 32 bishops, archbishops, and metropolitans of Novgorod. The first burial there was Prince Vladimir himself in 1052. The first bishop was Luka Zhidiata in 1060. The last burial in the cathedral was Metropolitan Gurii in 1912. Most of the burials are below the floor in the Martirievskaia Porch, on the south side of the cathedral, named for Bishop Martirii (1193–1199). Later burials took place (again below the floor) in the Pretechenskaia Papter' on the north side of the cathedral. Today, there are several burials in the main body of the church. The sarcophagi of Prince Vladimir and Princess Anna overlook the Martirievskaia Porch; Archbishop Ilya (also known as Ioann) (1165–1186) is buried in the northwestern corner of the main body of the church, next to the Pretechenskaia Porch. Bishop Nikita lies in a glass-covered sarcaphogus between the chapels of the Nativity of the Mother of God and Sts. Ioakim and Anne and the sarcophagus is opened on his feast days (January 30, the day of his death and April 30/May 13, the day of the "uncovering of his relics," i.e., when his tomb was opened in 1558) so the faithful can venerate his relics. Two other princes also lie in the main body of the cathedral and in the Chapel of the Nativity of the Mother of God. [ 10 ] The Cathedral of Holy Wisdom in 1900 Millennium of Russia and the Cathedral of Holy Wisdom on a 5-ruble bill The Cross of Novgorod, found at the Cathedral The cathedral was looted by Ivan the Terrible in the 1570s but restored by Archbishop Leonid (1572–1575). He built the Tsar's Pew which stands just inside the south entrance of the main body of the cathedral near the Martirievskii Porch. Leonid also had several large chandeliers hung in the cathedral, but only one of them survives. [ 5 ] Beginning in the eighteenth century, the archbishops or metropolitans of Novgorod lived in St. Petersburg (they were known as archbishops or metropolitans of Novgorod and St. Petersburg). Thus, while Novgorod technically still had a prelate, he was not often active in the city itself, and the church in the city was administered by a vicar bishop for much of the time. Twelve metropolitans of Novgorod and St. Petersburg (or Leningrad) are buried in the Alexander Nevsky Lavra in St. Petersburg, rather than in the Cathedral of Holy Wisdom. During the Nazi occupation of Novgorod, the Kremlin was heavily damaged from the battles and from the Nazi abuse. However, the cathedral itself survived. The large cross on the main dome (which has a metal bird attached to it, perhaps symbolic of the Holy Spirit in the form of a dove) was removed by Spanish infantry . For over 60 years it resided in the Madrid 's Military Engineering Academy Museum, until November 16, 2004, when it was handed over back to the Russian Orthodox Church by the Spanish brothers Miguel Ángel and Fernando Garrido Polonio who discovered the Cross in a military camp in Madrid. The domes were heavily damaged in the war, and the large Christ Pantocrator in the dome was ruined. According to legend, the painters painted him with a clenched fist. The archbishop told them to repaint Christ with an open palm, and when they returned the next morning, the hand was miraculously clenched again. After repeated efforts, a voice from the dome is said to have told the archbishop to leave the painting alone for as long as Christ's fist remained closed, he would hold the fate of Novgorod in his hand. [ 11 ] During the Soviet period, the cathedral was a museum. It was returned to the Russian Orthodox Church in 1991. An inscription on the north wall of the west entrance attests to its rededication by Bishop Lev and Patriarch Alexius II . Features [ edit ] Detail of a portion of the Płock, Sigtuna or Magdeburg Gates at the West Entrance to the cathedral Novgorod's St. Sophia was the first Slavic church in which local divergences from Byzantine pattern were made so evident. With its austere walls, narrow windows, the church is redolent of Romanesque architecture of Western Europe, rather than of Greek churches built at that time. The Novgorod cathedral also differs strikingly from its namesake and contemporary in Kyiv . As one art historian put it, the Kyiv cathedral is a bride, whereas the Novgorod cathedral is a warrior. Its decoration is minimal, the use of brick is limited, and the masses are arranged vertically rather than horizontally. These features proved to be influential with Novgorod masters of the next generation, as the Yuriev Monastery Cathedral (1119) and the Antoniev Monastery Cathedral (1117) clearly show. Icons [ edit ] The oldest icon in the cathedral is probably the Icon of the Mother of God of the Sign , which according to legend miraculously saved Novgorod in 1169 when the Suzdalians attacked the city; it was brought out of the Church of the Transfiguration on Il'ina Street and displayed in the cathedral and on the walls of the city by Archbishop Ilya . The Church of the Icon Mother of God of the Sign was built next to the Church of the Transfiguration in the seventeenth century to house the icon. During the Soviet period, it was housed in the nearby Novgorod Museum (as were the bones of Bishop Nikita, said to have been kept in a paper bag until they were transferred to the Church of Sts. Philip and Nicholas in 1957); the icon was returned to the cathedral in the early 1990s and stands just to the right of the Golden Doors of the iconostasis. The icon of Sophia, the Holy Wisdom of God, is also quite old and is part of the iconostasis just to the right of the Golden Doors as well (where the icon of the saint to which the church is dedicated usually hangs). Several icons were said to have been painted or commissioned by Archbishop Vasilii Kalika (1330–1352) and Archbishop Iona (1458–1470) and Archbishop Makarii (1526–1542) (he went on to become Metropolitan of Moscow and All Rus') is said to have painted the icons in the small iconostasis in the Chapel of the Nativity of the Mother of God (the iconostasis originally stood in the Chapel of Sts. Ioakim and Anne, just to the left of its present location. [ 5 ] One of the 11th-century Korsun icons kept in Saint Sophia Cathedral until the Russian Revolution (236 × 147 cm) Gates [ edit ] Three famous sets of gates adorned the cathedral over the centuries; they are known as the Korsun, Vasilii, and Sigtuna (or Płock, or Magdeburg) Gates. The Korsun Gates hang at the western entrance to the Chapel of the Nativity of the Mother of God at the southeast corner of the cathedral. They were said to have been brought to Novgorod by Bishop Ioakim Korsunianin, whose name indicates ties to Korsun in Crimea . The Vasilii Gates, were donated to the cathedral in 1335 by Archbishop Vasilii Kalika and were taken by Tsar Ivan IV to his residence in Alexandrov near Moscow following the looting of the cathedral in 1570, where they still may be seen. They influenced artwork in the Moscow Kremlin executed under Ivan the Terrible. [ 12 ] The doors at the west entrance (intended to be the main entrance to the cathedral, although the main one is now the northern entrance), called the Sigtuna, Magdeburg or Płock Gates, are said to have been looted by Novgorodian forces from the Swedish town of Sigtuna in 1187. In fact, they were most probably wrought and sculptured by Magdeburg masters, most likely in years 1152–1154, for the Archbishop of Płock in Poland (where they were decorating one of the entrances into the Cathedral in Płock for around 250 years [ 13 ] ). The gates were acquired by the Novgorodians most probably in the end of the 15th century, probably by Archbishop Evfimii II, who loved Western art (as can be seen in the Gothic style incorporated into the Palace of Facets) or—according to another theory—in the first half of the 15th century [ 14 ] by prince of Novgorod and brother of the Polish king, Simeon Lingwen . [ 15 ] It is not known precisely how the Novgorodians acquired the Płock Gates—most probably they were a gift from Archbishops of Płock or the dukes of Mazovia for the brother of Polish-Lithuanian King Władysław Jagiełło , Lithuanian Duke Lengvenis , or for Archbishop Evfimii II. There is also another theory that the gates had been looted from the cathedral in Płock by pagan Lithuanians in the thirteenth century, and later somehow made their way to Novgorod. The first theory is considered the most likely. The Magdeburg or Płock Gates (sometimes also wrongly called the Sigtuna Gates) are opened only twice a year for special occasions, although some reports say that they are opened when the archbishop himself leads the Divine Liturgy . Since 1982, copies of the Gates, a gift from Novgorod, hang in the Cathedral in Płock. Pigeon [ edit ] A figure of pigeon—the symbol of the Holy Spirit—crowns the cross on the main dome of the cathedral. According to a local legend, a live pigeon sitting on the dome froze out of terror seeing the Massacre of Novgorod . In the 18th century the cathedral's treasury included a gold-plated silver pigeon. The dome and the figure were destroyed during the Nazi occupation of Novgorod and then restored after the war. The original figure was returned to Novgorod in 2005 by former members of the Blue Division who fought in Novgorod. [ 16 ] See also [ edit ] Saint Sophia Cathedral, Kyiv Saint Sophia Cathedral in Polotsk Hagia Sophia References [ edit ] Wikimedia Commons has media related to Saint Sophia Cathedral in Novgorod .
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Odda's Chapel
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https://en.wikipedia.org/wiki/Odda%27s_Chapel
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United Kingdom
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Church in England, UK Odda's Chapel Chapel of the Holy Trinity Odda's Chapel (left) and Abbot's Court (right) Odda's Chapel 51°58′01″N 2°11′32″W / 51.966879°N 2.1920845°W / 51.966879; -2.1920845 OS grid reference SO86902984 Location Deerhurst , Gloucestershire Country England , UK Denomination Roman Catholic Website Odda's Chapel History Status chantry Founder(s) Earl Odda Dedication Holy Trinity Consecrated 12 April 1056 ( 1056-04-12 ) Associated people Ælfric Architecture Functional status disused Heritage designation Grade I listed Designated 4 July 1960 Style Anglo-Saxon Years built 11th century Completed 1056 Specifications Materials rubble masonry with squared quoins Odda's Chapel is a former chantry chapel at Deerhurst , Gloucestershire . It is an 11th-century late Anglo-Saxon building, completed a decade before the Norman Conquest of England . In the 16th century the chapel ceased to be used for worship and by the 17th century it was part of a farmhouse. It was rediscovered and restored late in the 19th century, and further restored in the 20th century. It is now managed by English Heritage . The chapel is the smaller of two Anglo-Saxon places of worship in Deerhurst. The larger and older is St Mary's Priory Church . Both buildings were part of a Benedictine priory , whose site is now a scheduled monument . [ 1 ] Architecture [ edit ] The building has a nave and chancel , linked by a Romanesque chancel arch. A smaller Romanesque arch forms a doorway on the north side of the chapel. The nave has small windows high in the north and south walls. [ 2 ] History [ edit ] Earl Odda had the chapel built for the benefit of the soul of his brother Ælfric, who died on 22 December 1053. Ealdred , Bishop of Worcester consecrated it on 12 April 1056. [ 2 ] [ 3 ] Secularisation [ edit ] As a consequence of the English Reformation , it would have no longer been possible to use the building for its original purpose. In the 1540s Kings Henry VIII and Edward VI abolished chantries . Late in the 16th or early in the 17th century the chapel building was re-used as part of a timber-framed farmhouse, Abbot's Court, which was built against its east wall. [ 4 ] The nave was converted into a kitchen. [ 3 ] A first floor was inserted in the chancel. Three- and four-light domestic windows were inserted in the north and south walls of the chancel. [ 2 ] In time the building's true age and its identity as a chapel were forgotten. Odda's Stone [ edit ] Main article: Odda's Dedication Stone Dedication stone set up by Earl Odda , dated 1056, now in the Ashmolean Museum , Oxford In 1675 Sir John Powell , a local landowner, discovered a stone slab near Deerhurst. Powell was a judge and would have been sufficiently educated to be able to decipher the slab's 11th-century Latin inscription concerning the dedication of the chapel. [ 5 ] However, the chapel itself remained unidentified. The inscription translates: "Earl Odda ordered this royal hall to be built and dedicated in honour of the Holy Trinity for the soul of his brother Ælfric, taken up from this place. Ealdred was the bishop who dedicated the building on the second day before Ides of April in the fourteenth year of the reign of Edward, king of the English ". [ 5 ] "Odda's Stone" is now in the Ashmolean Museum , Oxford, [ 5 ] and there is a replica in the chapel. Chancel arch seen from the nave Discovery and restoration [ edit ] In 1865 the then Vicar of St Mary's parish church, Deerhurst, Rev. George Butterworth, deduced from a chronicle of Tewkesbury Abbey and from the existence of Odda's Stone that there had been a chantry chapel in Deerhurst. [ 5 ] In 1885 during repairs to Abbot's Court a blocked Anglo-Saxon window was discovered hidden behind plaster. [ 3 ] In 1960 the Ministry of Works made the chapel a Grade I listed building . In 1965 the chapel was "disentangled" from Abbot's Court farmhouse [ 2 ] [ 3 ] and restoration of its roof was begun. Early photographs show that although the main part of the roof is 17th century there was an earlier design of 11th-12th century date which may be part of the original roof. [ 6 ] There have been a number of archaeological excavations at Deerhurst since the 1970s. Items from the 1981 excavation led by Philip Rahtz are in Tewkesbury Museum . [ 7 ] North doorway to the nave References [ edit ]
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Atik Mustafa Pasha Mosque
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https://en.wikipedia.org/wiki/Atik_Mustafa_Pasha_Mosque
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Unknown
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Mosque in Istanbul, Turkey Atik Mustafa Pasha Mosque Atik Mustafa Paşa Camii The mosque viewed from southeast in a drawing of 1877, from A.G. Paspates' Byzantine topographical studies Religion Affiliation Sunni Islam Year consecrated Between 1509 and 1512 Location Location Istanbul , Turkey Location in the Fatih district of Istanbul Geographic coordinates 41°02′18.96″N 28°56′38.40″E / 41.0386000°N 28.9440000°E / 41.0386000; 28.9440000 Architecture Type church with Greek cross plan Style Byzantine Completed 1059 Specifications Minaret (s) 1 Materials brick , stone Atik Mustafa Pasha Mosque ( Turkish : Atik Mustafa Paşa Camii ; more commonly known as Hazreti Cabir Camii ) is a former Eastern Orthodox church in Istanbul , converted into a mosque by the Ottomans . In Çember Sokak in the neighbourhood of Ayvansaray , in the district of Fatih , Istanbul, it lies just inside the walled city at a short distance from the Golden Horn , at the foot of the sixth hill of Constantinople . The dedication of the church is obscure. For a long time it has been identified with the church of Saints Peter and Mark, but without any proof. Now it seems more probable that the church is to be identified with Saint Thekla of the Palace of Blachernae ( Greek : Άγία Θέκλα τοῦ Παλατίου τῶν Βλαχερνών , Hagia Thekla tou Palatiou tōn Vlakhernōn ). [ 1 ] Stylistically, it belongs to the eleventh or twelfth century. The Apse of the building History [ edit ] Towards the middle of the ninth century, Princess Thekla , the eldest daughter of Emperor Theophilus enlarged a small oratory, dedicated to her patron saint and namesake, lying 150 metres (490 feet) east of the Church of Theotokos of the Blachernae . [ 2 ] In 1059 Emperor Isaac I Komnenos built a larger church on this site, as thanks for surviving a hunting accident. [ 3 ] The church was famous for its beauty, and Anna Comnena writes that her mother, Anna Dalassena , frequently used to pray there. [ 3 ] After the Ottoman conquest of Constantinople , the building was heavily damaged during the earthquake of 1509 , which destroyed the dome. [ 4 ] Shortly after that, Kapicibaşi [ 5 ] (and later Grand Vizier ) Koca Mustafa Pasha [ 6 ] repaired the damage and converted the church into a mosque. [ 7 ] Up to the end of the nineteenth century, a hamam , 150 metres (490 feet) south of the building, formed part of the mosque's foundation . [ 2 ] In 1692, Şatir Hasan Ağa built a fountain in front of the mosque. [ 2 ] In 1729, during the great Fire of Balat , the building was heavily damaged and had to be repaired. It was damaged again during the 1894 Istanbul earthquake , which destroyed the minaret , and didn't reopen for worship until 1906. A last restoration occurred in 1922. [ 2 ] At that time, a cruciform marble baptismal font found across the street was removed to the Istanbul Archaeology Museum . [ 2 ] Inside the apse of the building is a türbe (tomb) attributed to Hazreti Cabir (Jabir) Ibn Abdallah-ül-Ensamı, one of the companions of Eyüp , [ 8 ] who fell nearby in 678 during the first Arab siege of Constantinople . [ 9 ] Architecture [ edit ] The alleged türbe (tomb) of Hazreti Cabir (Jabir) in the south apse. The building is 15 metres (49 feet) wide and 17.5 metres (57 feet) long, and has a domed Greek cross plan. It is oriented in a northeast–southwest direction. It has three polygonal apses, and the narthex has been destroyed. [ 10 ] There are no galleries, and the dome, which has no drum, is almost certainly Ottoman, although the arches and the piers which support it are Byzantine. [ 11 ] The arms of the cross, the Pastophoria , the Prothesis and Diaconicon , are covered with barrel vaults , and joined by arches. The north and south walls have three arcades at floor level, three windows at the first level and a window with three lights at the second level. [ 11 ] On the southeast side, each of the three apses is three-sided. [ 11 ] The roof, the cornice and the wooden narthex, which replaced the old Byzantine narthex, are Ottoman. The dome piers, which form the internal side of the cross, are L-shaped in an example of the stage preceding that of the cross-in-square church with four columns. [ 11 ] Details of the frescoes on the south side of the building have been published. [ 12 ] During floor renewal in the 1990s, several tesserae were found, revealing the previous existence of mosaics panels n the building. [ 13 ] Despite its architectural significance, the building has never undergone a systematic study. [ 14 ] Gallery [ edit ] Atik Mustafa Pasha Mosque Exterior Atik Mustafa Pasha Mosque Facade detail Atik Mustafa Pasha Mosque Decoration Atik Mustafa Pasha Mosque Interior Atik Mustafa Pasha Mosque 6189 Atik Mustafa Pasha Mosque 4764 Atik Mustafa Pasha Mosque Türbe References [ edit ]
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1,062
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141.1640611°E
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Morioka Hachimangū
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https://en.wikipedia.org/wiki/Morioka_Hachimang%C5%AB
| 1,283
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Japan
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Morioka Hachiman Shrine 盛岡八幡宮 Morioka Hachimangu Honden Religion Affiliation Shinto Deity Hachiman Festival September 15 Type Hachiman Shrine Location Location Yawata-cho 13-2, Morioka, Iwate Shown within Japan Geographic coordinates 39°41′43.11″N 141°09′50.62″E / 39.6953083°N 141.1640611°E / 39.6953083; 141.1640611 Architecture Style Hachiman-zukuri Date established 1062 Website www .morioka8man .jp Glossary of Shinto Morioka Hachimangū ( 盛岡八幡宮 ) is a Shinto shrine in the city of Morioka, Iwate in northern Japan . The shrine is noted for its annual festival on the second Saturday in June, which is famous for the Chagu Chagu Umakko , a horse parade which was recognized in 1978 as an Intangible Folk Cultural Property . [ 1 ] In 1996 the sound of the bells of the Chagu Chagu Umakko was selected by the Ministry of the Environment as one of the 100 Soundscapes of Japan . [ 2 ] The shrine is also noted for its displays of yabusame horse archery during its annual festival on September 15. History [ edit ] The Morioka Hachimangū was established in 1062 during the late Heian period when Minamoto no Yoriyoshi brought a bunrei of the Minamoto clan ’s tutelary shrine, the Iwashimizu Hachimangū in Kyoto to pray for victory in his campaign against the Abe clan in the Former Nine Years War . It was originally called the Hatomori Hachimangū ( 鳩森八幡宮 ) . The shrine was rebuilt in 1593 by the Nanbu clan to be the protective shrine for Morioka Castle . Under the State Shinto system of shrine ranking from 1871 through 1946, the Morioka Hachimangū was officially designated as a "prefectural shrine". The Edo-period shrine structures burned down in 1884. The present main structure dates from 2006. Shinto belief [ edit ] The shrine is dedicated to the veneration of the Shinto kami Hachiman . Hachiman has been recognized as an amalgamation of the semi-legendary Emperor Ojin and his consort, Empress Jingū . [ 3 ] See also [ edit ] List of Shinto shrines Modern system of ranked Shinto Shrines References [ edit ] Breen, John and Mark Teeuwen . (2000). Shinto in History: Ways of the Kami. Honolulu: University of Hawaii Press . ISBN 978-0-8248-2362-7 ; OCLC 43487317 Ponsonby-Fane, Richard . (1959). The Imperial House of Japan. Kyoto: Ponsonby Memorial Society. OCLC 194887 Ponsonby-Fane, Richard . (1962). Studies in Shinto and Shrines. Kyoto: Ponsonby Memorial Society. OCLC 399449 External links [ edit ] Wikimedia Commons has media related to Morioka-Hachimangū . Official website (in Japanese) Notes [ edit ]
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Lingyan Temple (Jinan)
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https://en.wikipedia.org/wiki/Lingyan_Temple_(Jinan)
| 1,510
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China
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Buddhist temple in Jinan, China Not to be confused with Lingyin Temple . The Qiānfó-diàn (Thousand Buddha Hall) enshrines Ming dynasty statues of Vairocana (center), Amitabha (left) and Bhaisajyaguru (right). The projecting tongues from Vairocana's "puffball" throne are petals that symbolize his radiance in infinite directions. Lingyan Temple ( simplified Chinese : 灵 岩 寺 ; traditional Chinese : 靈 巖 寺 ; pinyin : Língyán Sì ; lit. 'Temple of the Spiritual Rocks') is a Buddhist temple located in Changqing District , Jinan , Shandong Province, China , about 20 kilometres (12 mi) north of the city of Tai'an . [ 1 ] The temple grounds are situated in a valley on the western edge of the Taishan range . The Lingyan Temple has a long recorded history , and was one of the main temples in China during the times of the Tang and Song Dynasties. Its most renowned landmarks are the 11th century Pìzhī-tǎ (辟支塔; "Pizhi Pagoda") and the Qiānfó-diàn (千佛殿, "Thousand Buddha Hall") which houses a Ming dynasty bronze Buddha statue as well as 40 painted clay statues of life-size luohan from the Song dynasty . [ 2 ] History [ edit ] The original temple was established in the Yongxing reign period (357–358), during the reign of Fú Jiān (r. 357–385) of the Former Qin state. Gaining a greater reputation during the Northern Wei (386–534), the temple reached its apex of importance during the Tang dynasty (618–907) and Song dynasty (960–1279). There were over 40 different wooden temple halls located at the temple, composing more than 500 monastic rooms. [ 3 ] More than 500 Buddhist monks lived at Lingyan Temple during its height. [ 1 ] The oldest structures at the site are the various stone stupas and square-based stone Chinese pagoda in the pavilion style from the Tang dynasty, the 8th century Huichong Pagoda. Of the 167 stone stupas at the temple, no two are identical, and like the luohan statues of the Qiānfó-diàn, have been well preserved. [ 2 ] The tallest structure of the temple is the 54 m (177 ft) tall Pìzhī-tǎ, built originally in 753, although the present structure was built from 1056 to 1063. [ 3 ] [ 4 ] Although the wooden halls were all reconstructed during the Ming dynasty (1368–1644) and Qing dynasty (1644–1912), the stone pedestals at the base of the pillars in the Qiānfó-diàn are the original work of the Tang and Song eras. [ 3 ] Gallery [ edit ] The exterior of the Qiānfó-diàn (Thousand Buddha Hall) of Lingyan Temple. Notice the elaborate dougong brackets supporting the pent, shingled roof. Some of the 167 stupas in the stupa forest at Lingyan, some as old as the Tang dynasty (618 - 907) while some date as late as the Qing dynasty (1644 - 1911). This squared stupa (742-755 AD, Tang dynasty ) marks the burial of monk Hui Chong, who led the monastery during his lifetime. The corners of the pagoda display dour guardian telamons such as this, that symbolically hold up the entire structure From a cliffside of nearby Mount Tai , a view onto Lingyan Temple and Pìzhī-tǎ (Pizhi Pagoda) See also [ edit ] Architecture of the Song dynasty List of sites in Jinan Cassock Spring Notes [ edit ]
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Ōmiya Hachimangū (Tokyo)
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https://en.wikipedia.org/wiki/%C5%8Cmiya_Hachimang%C5%AB_(Tokyo)
| 719
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Japan
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Shrine in Tokyo, Japan You can help expand this article with text translated from the corresponding article in Japanese . (December 2021) Click [show] for important translation instructions. View a machine-translated version of the Japanese article. Machine translation, like DeepL or Google Translate , is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Consider adding a topic to this template: there are already 1,457 articles in the main category , and specifying |topic= will aid in categorization. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Japanese Wikipedia article at [[:ja:大宮八幡宮 (杉並区)]]; see its history for attribution. You may also add the template {{Translated|ja|大宮八幡宮 (杉並区)}} to the talk page . For more guidance, see Wikipedia:Translation . Ōmiya Hachimangū 大宮八幡宮 Religion Affiliation Shinto Festival September 15 Location Location Suginami, Tokyo , Japan Geographic coordinates 35°40′57″N 139°38′23″E / 35.6824°N 139.6397°E / 35.6824; 139.6397 Glossary of Shinto Ōmiya Hachiman Shrine ( 大宮八幡宮 , Ōmiya Hachimangū ) is a Shinto shrine located in Suginami, Tokyo , Japan. It is a Hachiman shrine , dedicated to the kami Hachiman . It was established in 1063. Its main festival is held annually on September 15. Kami enshrined here include Emperor Ōjin , Empress Jingū and Emperor Chūai in addition to Hachiman. See also [ edit ] Hachiman shrine Ōmiya Hachiman Shrine (Hyōgo) External links [ edit ] Official website v t e Shinto shrines Shinto architecture Buildings chōzu or temizu Haiden Heiden hokora honden / shinden / shōden kagura-den setsumatsusha Architectonic elements Chinjusha chigi hidden roof kaerumata: see nakazonae kairō karahafu karamon katōmado katsuogi kitsune (fox) komainu mon nakazonae shinboku shōrō sōrin tamagaki tokyō torii tōrō Styles hirairi-zukuri tsumairi-zukuri hachiman-zukuri hiyoshi-zukuri irimoya-zukuri ishi-no-ma-zukuri kasuga-zukuri kibitsu-zukuri misedana-zukuri nagare-zukuri ōtori-zukuri owari-zukuri ryōnagare-zukuri shinmei-zukuri sumiyoshi-zukuri taisha-zukuri Decorations Sandō Saisen Tomoe Shimenawa Others Implements An Chōzubachi Chōzuya Hakama Himorogi Jōe Kagura suzu O-miki Ō-nusa Gohei Sanbo Shide Shinsen Suzu Tamagushi Masakaki Washi Head shrines 1 Fushimi Inari Taisha Inari Ōkami Inari shrine Usa Hachiman-gū Hachiman Hachiman Shrine Ise Grand Shrine Amaterasu Jingūkyō Jingu Taima Shinmei shrines Dazaifu Tenman-gū Tenjin Tenmangū Munakata Taisha daughters of Amaterasu Suwa Taisha Takeminakata Yasakatome Kotoshironushi Hiyoshi Taisha Ōkuninushi Oyamakui no Kami Sannō torii Sannō Ichijitsu Shintō Kumano Nachi Taisha Kumano Kodō Kumano Sanzan Tsushima Shrine Gion cult Yasaka Shrine Gion cult Tutelary deities Ujigami Chinjugami Garanshin Dōsojin Jinushigami Yama-no-Kami Oyagami Sorei Ubusunagami Kunitama Yorishiro and Shintai Mirrors Shinboku (trees) Chinju no Mori (forests) Iwakura (rocks) Meoto Iwa Kannabi (locations) Katashiro (dolls) Kadomatsu Bunrei and Kanjō (propagation) Ofuda Jingu Taima Omamori Senjafuda Arahitogami Mikoshi Matsuri float Shinko-shiki Staff Kannushi Miko Miscellaneous A-un Kanjo Nawa Junrei Misaki Miyamairi Shinshi Classification Twenty-Two Shrines Gokoku Shrines Beppyo Shrines Shinkai (divine rank) Modern system of ranked Shinto shrines Engishiki Jinmyocho Chinjusha Setsumatsusha Hokora Buddhist elements jingū-ji miyadera Whale mounds Kamidana Mitamaya Sōja shrine History Shrine Parishioner Registration Secular Shrine Theory Shrine Consolidation Policy Shrine Shinto Misc practices for visitors Ō-mikuji Shuin Ema Institutions Jinja Honchō Rites Futomani Harae Kagura Misogi Hakushu Two bows, two claps, one bow Jichinsai 1 (in order of the size of the shrine network they head) This article relating to Shinto is a stub . You can help Wikipedia by expanding it . v t e v t e Hachiman shrines Gods Main deities Hachiman Emperor Ōjin Minor gods Emperor Chūai Empress Jingū Takenouchi no Sukune Nakatsuhime Minamoto no Yoshiie Places Three Major Hachiman Shrines of Japan ( 三 大 八幡 宮 ) ‡not always included Usa Jingū Iwashimizu Hachimangū Hakozaki Shrine ‡ Tsurugaoka Hachimangū ‡ Other shrines Fukuyama Hachimangū Hakodate Hachiman Shrine Hatogamine Hachiman Shrine Iino Hachimangū Kameyama Hachimangū Kotohiki Hachimangū Miyake Hachimangū Morioka Hachimangū Ōsaki Hachimangū Shiraoi Hachiman Shrine Shiroyama Hachimangū Suda Hachiman Shrine Tomioka Hachiman Shrine Tamukeyama Hachiman Shrine Tsuboi Hachimangū Umi Hachiman-gū Ōmiya Hachimangū (Tokyo) Ōmiya Hachiman Shrine (Hyōgo) Ōshio Hachiman Shrine Sapporo Hachimangū Shikaumi Shrine Saipan Hachiman Shrine Kōzu-gū Ikime Shrine Miscellaneous Kōra taisha Mount Hachimantai Jōten-ji Kaijin Shrine Shrines dedicated to empress Jingū Furogu Shrine Fuyo Jingū Kashii-gū Kehi Shrine Kotohiki Hachimangū Miyajidake Shrine Moto-Sumiyoshi Shrine Mukuhashi Sōja [ ja ] Shikaumi Shrine Suda Hachiman Shrine Sumiyoshi sanjin Sumiyoshi Shrine (Fukuoka) Sumiyoshi Shrine (Shimonoseki) Sumiyoshi-taisha Tsuboi Hachimangū Umi Hachiman-gū Kōzu-gū Yagi Shrine [ ja ]
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San Tommaso, Ascoli Piceno
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https://en.wikipedia.org/wiki/San_Tommaso,_Ascoli_Piceno
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Italy
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Roman Catholic church in Marche, Italy Church of San Tommaso Apostolo of Ascoli Piceno. San Tommaso Apostolo is a Romanesque and Gothic -style, Roman Catholic church located in the town of Ascoli Piceno in the region of Marche , Italy. History [ edit ] Construction of the church was spurred circa 1064 by Bishop Bernardo II. The simple façade built with travertine blocks has three naves, with a tympanum with a rose window. To the right, rises a bell-tower (1283) with a square base. The church has a basilica layout with the naves and aisles separated by sturdy pilasters, and includes spolia from the former Roman amphitheater of the first century BC, which had been located in the piazza in front of the church. Many of the nave pilasters are frescoed. Frescoes depict a Madonna del Latte (14th century) by the Maestro di Offida and an Enthroned Madonna and Child (1298). A number of the lateral altars were erected in the 18th century using travertine marble. The main altar has a gilded wood tabernacle from the 16th century shaped like an octagonal ciborium . The church houses a marble sculptural group (17th-century) depicting a Madonna and Child with St Thomas the Apostle and St John the Evangelist sculpted by Lazzaro and Giuseppe Giosafatti . [ 1 ] References [ edit ]
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1,067
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0.819167°E
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Jumièges Abbey
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https://en.wikipedia.org/wiki/Jumi%C3%A8ges_Abbey
| 9,690
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France
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Abbey located in Seine-Maritime, in France Jumièges Abbey ruins Jumièges Abbey Jumièges Abbey, as painted by John Sell Cotman in 1818 Jumièges Abbey ( Latin : Monasterium Gemeticensis ), [ 1 ] [ 2 ] formally the Abbey of St Peter at Jumièges ( French : Abbaye Saint-Pierre de Jumièges ), was a Benedictine monastery. Its ruins are situated in the commune of Jumièges in the Seine-Maritime Departement of Normandy , France . History [ edit ] Around 654 [ 3 ] the abbey was founded on a gift of forested land belonging to the royal fisc presented by Clovis II and his queen, Balthild , to the Frankish nobleman Filibertus , [ 4 ] who had been the companion of Saints Ouen and Wandrille at the Merovingian court of Dagobert I . Philibert became the first abbot, and Balthild's generosity added "many gifts and pastures from the royal fisc" [ 5 ] but he was later obliged to leave Jumièges through the jealousy of certain enemies, and spent a period of exile from Neustria at the court of Bishop Ansoald of Poitiers ; [ 6 ] afterwards he founded monasteries at Pavilly , Montivilliers and Noirmoutier , [ 7 ] where he died in about 685. Among those inspired by his example was the Irish monk Sidonius , who founded the monastery at Saint-Saëns . Under the second abbot, Saint Achard , Jumièges prospered and soon numbered nearly a thousand monks. Starting in 788, Charlemagne kept Tassilo III , the recently dethroned Agilolfing Duke of Bavaria and one of his sons (and thus a possibly dangerous avenger and successor), Theodo , arrested in the abbey. In the ninth century it was pillaged and burnt to the ground by the Vikings, but was rebuilt on a grander scale by William Longespee, Duke of Normandy (d. 942). [ 8 ] A new church was consecrated in 1067 in the presence of William the Conqueror . Enjoying the patronage of the dukes of Normandy , the abbey became a great centre of religion and learning, its schools producing, amongst many other scholars, the national historian, William of Jumièges . It reached the zenith of its fame about the eleventh century, and was regarded as a model for all the monasteries of the province. It was renowned especially for its charity to the poor, being popularly called Jumièges the Almoner ( Jumièges l'Aumônier ). The church was enlarged in 1256, and again restored in 1573. The abbots of Jumièges took part in all the great affairs of the church and state. One of them, Robert Champart , became Archbishop of Canterbury in 1051, after being Bishop of London . Many others became bishops in France, and some were also raised to the dignity of cardinal. The fortunes of the abbey suffered somewhat through the English invasion of the fifteenth century, but it recovered and maintained its prosperity and high position until the whole province was devastated by the Huguenots and the Wars of Religion . In 1649, during the abbacy of Francis III, Jumièges was taken over by the Maurist Congregation , under which rule some of its former grandeur was resuscitated. The French Revolution , however, ended its existence as a monastery, leaving only impressive ruins. These comprise the church, with its beautiful twin towers and western façade, and portions of the cloisters and library, the contents of which were removed to Rouen when the abbey was dissolved. In the middle of the former cloister, there is still the 500-year-old yew tree. A gallery of the cloister was bought by Lord Stuart de Rothesay to rebuild it in Highcliffe Castle near Bournemouth , Dorset. [ 9 ] The Nobel Prize-winning French novelist Roger Martin du Gard devoted his dissertation to an archaeological study of the ruins. [ 10 ] See also [ edit ] List of Merovingian monasteries Merovingian architecture Merovingian art Notes [ edit ]
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1,067
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49.008944°E
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35.840139°N
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Kharraqan towers
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https://en.wikipedia.org/wiki/Kharraqan_towers
| 4,416
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Iran
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11th-century twinned domes in Avaj County, Qazvin Province, Iran Kharraqan towers برجهای خرقان The Kharāghān twin towers Religion Affiliation Muslim Year consecrated First tower 1067 Second tower 1093 Location Location Hesar-e Valiyeasr , Qazvin Province , Iran Architecture Architect(s) Muhammad bin Makki al-Zanjani Specifications Width 4 m Height (max) 13 m The Kharraqan towers (as known as the Kharrakhan or Kharaghan towers ; Persian : برجهای خرقان ) are a pair of mausolea built in 1067 and 1093, in the Kharraqan region of northern Iran , near Qazvin . They are notable for being an early example of geometric ornament, [ 1 ] an early example of double domes , [ 2 ] and one of the earlier tomb towers that appeared in the Seljuk era of medieval Iran during the 11th century. [ 3 ] [ 2 ] The octagonal brick structures stand 13 metres (43 ft) tall, and each side is 4 metres (13 ft) wide. [ 4 ] The surface of both mausolea demonstrate extensive use of geometry. The interior walls of the older mausoleum are decorated with paintings of various subjects. [ 5 ] The eastern tower dates from 1067–68, and the western tower dates from 1093. [ 2 ] Descriptions [ edit ] Structure [ edit ] Both mausolea have double shells for the domes; the inner shells are intact, but the outer shells on both towers are lost. There is no direct access to light through the windows on the outer and inner shells of the dome. [ 2 ] However, the opposite positions of the window on the two shells allow indirect light into the first tower through the side window on the inner shell. [ 2 ] Both octagonal towers have 8 rounded buttresses - one per corner. [ 2 ] Stronach and Young speculate there were vertical ribs for the demolished outer shell of the dome; however, they conclude from the lack of same ribs in the inner side that the ridges, accompanying the ribs, were decorative. [ 2 ] Exterior [ edit ] Both towers have inscriptions of their architect on the exterior surface. Muhammad b. Makki al-Zanjani is inscribed on the earlier tower; Abu’l-Ma’ali b. Makki al-Zanjani, on the later tower. [ 2 ] Stronach and Young indicate the two names refer to the same person—a local, unknown architect. [ 2 ] Also on the exterior of the buildings is an intricate geometric patterning formed of carved bricks. [ 6 ] The brick also features lengthy inscriptions, both historical and Quranic . The historical inscription on the Eastern tower includes not only the architect, but also another name, possibly the mausoleum's intended patron, which can only be partially read due to damage. [ 7 ] The Kufic inscription of Quranic text on the exterior walls of both towers, identically distributed across sides and buttresses, features Sura 59, verses 21-23, recognizable despite damage on buttresses. [ 2 ] Samuel Stern asserts that these Suras are an unusual choice for mausolea, but points to the preceding verses as being more fitting. [ 8 ] Parts of the inscriptions above the Western tower's door can be recognized as Sura 23, Verse 115. [ 8 ] Interior [ edit ] The eastern tower's interior appears to have been fully decorated with frescoes , but only a few survive. There are paintings of mosque lamps in the niches, [ 2 ] [ 5 ] of pomegranate trees and peacocks in the piers alternating between them, [ 2 ] [ 9 ] and of a medallion surrounding peacocks and geometrical ornament near the top of the niches. [ 2 ] There is also a band of Kufic calligraphy just below the beginning of the dome. [ 2 ] The western tower's interior contains no plaster decoration; instead, there are a mihrab and additional brick ornament. [ 2 ] It is believed that the occupant of the eastern tower was Abu Sa'id Bijar and the occupant of the western tower was Abu Mansur Iltayti, according to Dr. Samuel Miklós Stern's transliteration of the inscriptions on the towers. [ 2 ] Interpretations [ edit ] The Kharraqan towers exhibit more elaborate external design, individualized for each of the 8 sides, in comparison to other towers with more repetitive patterns. [ 10 ] Oleg Grabar reminds that there is no concrete method of elucidating the meaning of the abstract, geometric decoration in Islamic architecture. [ 10 ] Instead, the intricacy of the geometric pattern promotes appreciation of the visual design itself. [ 11 ] The subjects of wall paintings inside the western tower possess symbolic association with heaven. Abbas Daneshvari connects the light of the lamp with the light of the god, thus with paradise. Daneshvari further associates the interior paintings with paradise by emphasizing the iconographic role of peacocks, in sunburst medallions, as the bird of paradise. Peacocks appear in the Islamic medieval culture of Iran in literature and art objects such as textiles and ceramic wares. [ 12 ] 21st century [ edit ] Both towers were significantly damaged by the 2002 Bou'in-Zahra earthquake . They were in a good state of preservation before the event, suggesting it was one of the most powerful quakes in the region for approximately 900 years. [ 13 ] See also [ edit ] Iranian architecture Cultural Heritage, Handcrafts and Tourism Organization Great Seljuk Architecture History of Persian domes References [ edit ]
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in Data Studio
YearGuessr Dataset
This dataset, Morris0401/Year-Guessr-Dataset, is a comprehensive and large-scale collection of architectural images and associated metadata, designed for global building age estimation, specifically treating age as an ordinal variable. It provides an unprecedented benchmark for evaluating building visual recognition, cross-regional generalization, and multi-modal reasoning tasks.
Motivation and Background
Building age is a critical indicator for sustainability, urban planning, cultural heritage audits, and post-disaster safety assessments. However, most existing public datasets suffer from significant limitations:
- Narrow Geographical Coverage: The majority of datasets are confined to single cities or countries, hindering models' understanding of global architectural diversity and their generalization capabilities.
- Coarse Age Annotation: Continuous years are often discretized into a few broad categories (e.g., by decades or centuries), neglecting the inherent ordinal relationship between years. This prevents models from precisely capturing subtle age-related changes.
- Lack of Multi-modal Information: Most datasets rely solely on building facade images, rarely integrating textual descriptions or precise geographical location information, thereby limiting the potential for multi-modal learning.
- Evaluation Metrics Mismatched to Task Nature: Commonly used classification accuracy metrics, instead of continuous error measures or metrics considering ordinality, fail to adequately assess the precision of age estimation tasks.
- Accessibility and Licensing Issues: Some datasets are difficult to publicly release in full due to copyright restrictions or large file sizes, limiting research reproducibility.
To address these challenges, we introduce YearGuessr, an innovative dataset designed to fill these gaps.
Key Features and Contributions of YearGuessr
YearGuessr is a dataset collected from Wikipedia, offering the following core features and contributions:
- Global Scale and Coverage: Comprising 55,546 geotagged building facade images in its
train/test/validsplits, spanning approximately from 1000 CE to 2024 CE, and covering 157 countries worldwide. This makes it the largest and most geographically diverse dataset for building age estimation to date. Thewiki_datasetsplit contains a larger, raw collection of 57,934 entries from Wikipedia before filtering. - Ordinal Regression Targets for Age: YearGuessr is the first benchmark dataset to explicitly frame building age estimation as an ordinal regression task. This allows models to better understand the continuity and sequential relationship of ages, rather than treating it as a simple classification problem.
- Rich Multi-modal Information: In addition to high-resolution images, each entry includes the precise construction year, longitude/latitude, building name, country, and comprehensive textual descriptions from Wikipedia (e.g., architectural style, material, purpose, historical period), providing a rich source for multi-modal learning and explainable AI.
- High-Quality Data Collection: Data was collected via web scraping from Wikipedia and automatically filtered and de-duplicated using advanced Vision-Language Models (such as CLIP and LLM) to ensure data accuracy and relevance for the
train/test/validsplits. - Enabling New Research Directions:
- Facilitating more precise building age prediction, especially through ordinal regression methods.
- Promoting research into cross-regional generalization capabilities and zero-shot learning.
- Encouraging multi-modal feature fusion combining images, geographical coordinates, and textual descriptions.
- Providing a foundation for analyzing model biases when handling popular versus less-known buildings.
- High Accessibility and Open Licensing: YearGuessr dataset and associated code will be publicly released on Hugging Face under the CC-BY-SA 4.0 and MIT Licenses, ensuring free use, sharing, and modification by the research community.
Supported Tasks and Evaluation Metrics
YearGuessr is primarily designed to benchmark performance on the following tasks:
- Building Age Ordinal Regression: Predicting the precise construction year of buildings using architectural images and optional geographical and textual descriptions.
- Zero-shot Reasoning: Evaluating the inference capabilities of Vision-Language Models (VLMs) and Large Language Models (LLMs) in estimating building age without specific age-annotated training.
Recommended evaluation metrics include:
- Mean Absolute Error (MAE): Measuring the average absolute difference between predicted and ground-truth ages.
- Interval Accuracy: Assessing prediction accuracy within predefined error intervals (e.g., ±5 years, ±20 years, ±50 years, ±100 years).
- Popularity-based Accuracy Analysis: Investigating differences in model performance across buildings of varying popularity (based on Wikipedia view counts) to reveal potential biases or memorization effects.
Dataset Structure
To accommodate all data splits and maintain consistency, we employ a superset of features to unify all Parquet files. Missing values are filled with None.
Splits
The dataset is divided into the following splits, each stored as a Parquet file with a unified feature set:
train: Training data with architectural images and metadata.test: Testing data with architectural images and metadata.valid: Validation data with architectural images and metadata.wiki_dataset: Wikipedia-sourced raw data, including image metadata and geographical information (larger than the curatedtrain/test/validsplits).
Unified Features
The complete feature set across all splits is:
Picture: Relative path to the image (e.g.,images/part_1/1.jpg).Year: Construction year (integer, if available). This is the primary ordinal regression target.Longitude: Geographical longitude (string, if available).Latitude: Geographical latitude (string, if available).Country: The country where the building is located (string, if available).Building: Name or description of the building (string, if available).Source: Source URL (string, if available).Views: Number of Wikipedia page views (integer, if available), useful for popularity analysis.Description: A general textual description of the building (string, if available).
Additional Files
images_metadata.parquet: Metadata for all images in theimages/directory, includingimage_path,partition, andfilename.csv/Directory: Contains raw CSV files (train.csv,test.csv,valid.csv,wiki_dataset.csv) for reference.
Image Directory
images/: Contains image files organized in subdirectories (e.g.,part_1/,part_2/, ...,part_8/) with.jpgfiles.- Example path:
images/part_1/1.jpg.
- Example path:
Usage
Loading the Dataset
You can load the dataset using the Hugging Face datasets library:
from datasets import load_dataset
dataset = load_dataset("Morris0401/Year-Guessr-Dataset")
print(dataset)
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