Church towering
781 creative works found
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127 shots (serial mode with locked remote- control release) each 30s @ f/5.6, ISO 640 > total of 63.5 minutes exposure time / photos merged in startrails (freeware software)
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On top of the hill is the church / tower of the St Michael´s / Church of the Middle Ages
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After the fires only the church tower was left. / After the purification, only the pure is left.
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The cross in the main courtyard of the Santuario de Chimayo. This is a black and white rendering that left just the white bow in color. Pentax K20D, f4.0, 1/250.
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Elmet is an ancient Celtic kingdom situated to the east of Leeds. In the 10th century the Saxon king Athelstan, on his conversion to Christianity, gave the land on which the ancient royal palace stood to the church. The present Parish Church of All Saints dates back to 1125 and was built on this site.
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, / , / Bells and clocks of the church tower in Gries i. Sellrain, Tyrol, Austria. / . / . / Canon EOS 400D / Canon EF 70-300 IS USM / . / .
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This is St Columba’s RC Church in the Long Tower area of Derry City, Northern Ireland. Late afternoon. / Originally built 1784 on a site where mass had been celebrated during the Penal Days, and extensively renovated in 1909. St Columba’s Church is dedicated to St Columcille, the patron saint of Derry. It is said to be built on the site of St Columcille’s first monastery in Derry. / Behind the church you can see a winding road which leads uphill to where I live. This church, and the Long Tower area have great emotional and family connotations for me. / When you enter this church, there is a profound hush, an overwhelming feeling of peace and sanctity. HDR processed
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Just to the south of Dunfermline’s High Street lies one of Scotland’s most unusual churches. The Abbey Church of Dunfermline, Fife, Scotland is two very distinct churches, joined in the middle. The effect is unexpected but attractive. The Abbey Church, as the name suggests, was the church serving Dunfermline Abbey. A church probably already existed on this site in 1070, when King Malcolm III married Queen Margaret. Margaret liked Dunfermline so much she set up a Benedictine foundation here. This was later transformed by her son King David I into what was intended to become the most important abbey in Scotland. Work was started in 1128 on the Abbey Church and the nave still survives as the western half of the building on view today. Dunfermline was renowned as the burial place of many Scottish Kings and Queens. The first was Queen Margaret (later St Margaret) in 1093, and the last Royal internment was Robert, the infant son of James VI and Anne of Denmark, in 1602. The most famous burial, and certainly most celebrated, was Robert the Bruce. He was buried in Dunfermline Abbey in 1329, minus his heart, which was taken in a lead casket on a posthumous visit to the Holy Land before being buried at Melrose Abbey. During the building of the new Abbey Church in 1819 bones believed to be those of Robert the Bruce, because of their position and because of a cut breastbone (to allow the removal of his heart), were discovered. Robert was reinterred in the centre of the new Abbey Church, 560 years after his death. His grave now lies under the magnificent pulpit covered by a large brass grave marker. And to celebrate his presence the words “KING ROBERT THE BRUCE” were formed with large stone lettering around the four sides of the crown of the tower. Subtle it isn’t, but striking it most certainly is. Famous Births, Marriages, & Burials / Saint Margaret of Scotland was buried here in 1093; on 19 June 1250 following her Canonization her remains were disinterred and placed in a reliquary at the high altar. Her husband, Malcolm III of Scotland remains were also disinterred, and buried next to Margaret. Both Duncan II of Scotland 1094, and his wife Ethelreda, were buried here Edgar of Scotland was buried here in 1107 Both Alexander I of Scotland 1124, and his queen Sybilla de Normandy 1122, were buried here David I of Scotland was buried here (1153) along with his queen Maud, Countess of Huntingdon (1130) Malcolm IV of Scotland was buried here in 1165 Alexander III of Scotland (1286), was buried here, with his first wife Margaret of England (1275) and their sons David of Scotland (1281) and Alexander of Scotland (1284) Elizabeth de Burgh, wife of Robert I of Scotland, was buried here in 1327 Robert the Bruce was buried, in 1329 Matilda of Scotland, daughter of Robert I of Scotland, was buried here in 1353 Anabella Drummond, wife of Robert III and mother of James I was buried here in 1401 Robert Stewart, Duke of Albany was buried here in 1420 Birthplace, in 1600, of Charles I, the last British monarch born in Scotland. David Lindsay, 1st Lord Balcarres, son of John Lindsay of Balcarres, Lord Menmuir and father of Alexander Lindsay, 1st Earl of Balcarres, was married here in 1611 James Bruce (bishop) Camera: Canon EOS 450D (Digital Rebel XSi in the USA) BEST VIEWED LARGER Three bracketed JPGs converted to HDR in Photomatix. Related shots can be found at: Dunfermline. Click here for a random page of photographs Click on the images below to see another view of this church
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Southease Church SOUTHDOWNS NATIONAL PARK…................YES Today it has been confirmed , the Southdowns will be a National Park / So to celebrate I wanted to be possibly the 1st to upload an image St Peters Southease / The village church was first mentioned in a charter of King Edgar, in 966 AD. The nave walls are the oldest parts of the church, and may even date from before the Norman conquest, but its unusual round tower dates from around 1150. / There are only 3 churches with round towers in Sussex / The others being / St Michaels Lewes & / St Johns Piddinghoe
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Paving stone labrynth has been set into the lawn at Christ Church Cathedral. / Victoria, British Columbia / Vancouver Island Canon 400D / Sigma 10-20mm / CS3/HDR / What’s a Labyrinth? / Labyrinths have been around for over 4000 years and are more popular today than at any other time in history. They were built in many cultures from Scandinavia to South America, China to France, India to the American Southwest. There is no religious affiliation with labyrinths although many have been built at churches as an alternative to organized services. They are used as a walking meditation and for community and seasonal celebrations or private events such as weddings. The labyrinth has low walls and is unicursal having only one path that winds its way into the centre or goal and then back out again. Unlike a puzzling maze where the path is hidden, with dead-ends or wrong turns intended to get you lost, the labyrinth is all about finding yourself. Labyrinths have been built in community parks, at churches, hospitals, prisons, retreat centres and schools. People often experience a sense of calm, focus, and heightened intuition. Children say they just feel better after walking a labyrinth. It is a place to take feelings they can’t express, and just be with them. The labyrinth provides a place to take time out of our hectic lives for contemplation and restoring balance. It is a down-to-earth tool for transformation. The equal-access labyrinth in Victoria will provide a place where families, groups, people of all capabilities can gather on equal ground. It is believed by world experts to be the first fully accessible labyrinth in the world.
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Properties inscribed on the World Heritage List – Italy The City of Orvieto (2006) / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-— / Featured in A View Somewhere Group January – 02 – 2010 / —-—-—-—-—-—-—-—-—-—-—-—-—-——- Featured in Image Writing Group December – 29 – 2009 —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- / Featured in Unique Buildings Of The World April – 23 – 2009 —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- Nikon D300 camera – Sigma 15/30 Lens Orvieto’s Duomo is one of the top three cathedrals in Central Italy; the other two belonged to those bitter rivals who long tried to dominate each other and, in fact, the whole Mediterranean: Siena and Florence. But Orvieto? Not only did it lack the power of its rival Tuscan cities, it also needed to import many of the artisans who worked on its iconic cathedral. Typically Orvieto’s Duomo was often built with Sienese hands.The answer to why Orvieto though, is as simple as the cathedral is complex. The answer is the pope.A few decades before work started on the Duomo, Pope Urban IV had made Orvieto his residence.When Pope Nicholas IV blessed the new foundation in 1290 as both religious and secular ruler of the town as he was Orvieto’s podestà - the rough equivalent of its head of state (or city). Some of the cathedral’s funding came from the papacy as well. Nicholas IV’s immediate successors also served as podesta - and funded Duomo construction as well. Both pope and town wanted a cathedral suitable for a pope. They got a stately cathedral, but not the seat of the papacy as that institution was about to start its most traumatic period, moving to Southern France before the Duomo had exterior walls. By the early 15th century, the cathedral had its walls and perhaps the most magnificent Gothic facade in the world. But three men each claimed to be Pope—and none of them were interested in Orvieto. As a work in progress over parts of five centuries, Orvieto’s Duomo survived a succession of master architects, some who knew a lot more about art than construction. Arnolfo di Cambio started in 1290 with a Romanesque layout. (He also served as the chief architect of Florence’s cathedral which started about the same time).Lorenzo Maitani took over around 1310 for better (the façade) and worse (adding useless buttresses that later were expanded into brilliantly frescoed transept chapels). Maitani’s sons took over at his death and they were followed by members of the Pisano family and then by Andrea Orcagna who designed the magnificent rose window. Several others followed and the façade was not completed until early in the 17th century.Over 300 years in the making including parts of 5 centuries.But Orvieto’s Duomo does more than display fine craftsmanship from the late middle ages through the Renaissance; it boasts an even finer paper trail through much of its long construction: Of great interest to scholars are the substantial archives of the cathedral, a tribute to the record keeping of the elected cathedral board of works that built and ran the place. These provide the foundation for research into the methods and organization of the medieval craftsmen who came together to build this specific cathedral as well as suggesting how other medieval buildings may have been constructed. While sketchy during the first 3 decades, after 1321 the record is rich in detail regarding the contacts binding the artists, artisans and the materials purchased. Masterpiece in Mosaic and Marble: Orvieto’s Duomo is the earliest Italian architectural masterpiece for which a master plan is available. In fact, two such plans remain and components from each were implemented. The first showed the influence of the French Gothic, especially that of Paris’s Notre Dame built about a century earlier (although it was still incomplete when Orvieto started its build). The second plan was thought to be by the Duomo’s second capomaestro (chief architect), Lorenzo Maitani, and reflects much of the work done during his two decade tenure.Maitani’s plan also suggests the golden ratio or “root of two” ratio stretching all the way back to Pythagoras and the Greeks. (And stretching forward into the works of Frank Lloyd Wright and other modern architects.)Despite any classic ratios, Orvieto’s façade is quite Gothic. And Tuscan. Orvieto was too small of a town to have an abundance of craftsmen; it imported its designers and craftsmen from Florence and Siena. Furthermore, Orvieto wanted to catch up with those Tuscan neighbors as their cathedrals underwent façade construction first in Siena and then in Florence.As was the case through most of history, technology didn’t transfer unless the technologists moved first. These Tuscan (primarily Siennan) artisans relocated to Orvieto—and sometimes went back and forth to Sienna and Florence as well. In fact, Siena’s cathedral nave continued to rise; so many of these craftsmen must have returned to that city to add a second story to its facade, one bearing a strong resemblance to Orvieto’s mosaic front. So many carvings, so little time. / No expense was spared here. Mosaics cost about 4 times what murals do.The façade gables highlight many crucial scenes from the life of the Virgin Mary in stunning symmetry with her assumption into heaven and coronation between the slender spires that frame the cathedral’s center. A first impression of the Duomo is a bit overwhelming, primarily due to the glittering mosaics on the façade: A golden Gothic face on a Romanesque body. As in most of Europe’s great cathedrals, visitors see mostly reproductions on the exterior with the sculpture and other art long moved indoors to preserve it. But unlike many of these cathedrals, the restorations here are typically not mere copies of what came before, although they appear to depict the same Christian legends. Instead, restorers viewed themselves as artists in their own right and created new images. However, it appears that with the exception of the topmost gable, the overall subject matter reflects the original framework of Marian lore created by Siena architect Lorenzo Maitani around 1310. It took most of the last half of the 14th century to complete these mosaics, starting around 1350 and mostly ending around 1390, and even then the capstone Coronation at the very top gable had yet to finish. The first Restoration started about 100 years later in 1484. Today only part of one mosaic contains original stone.Mostly what we see are “imaginative” reconstructions (actually more like reinterpretations) from the 17th through 19th centuries. Catherine Harding of the University of Victoria has researched the cathedral’s archives in order to reconstruct the social organization and methods needed to sustain the significant mosaic project necessary to create this key component of this magnificent façade. A well documented and preserved paper trail from 1321 through 1390 allows her to describe a well organized and hierarchical workshop which allowed apprentices to spend their whole working lives creating this façade. They would rise literally on a career ladder (scaffold) from laborer in the on-site factory to apprentice to glass cutter to master glass artisan. Some such as Fra Giovanni Leonardelli would begin their careers at Orvieto as glassmakers and later work on murals in the inner chapels.And no one got kicked upstairs: Andrea Orcagna created one of the façade mosaics and designed its rose window—after he became the master builder of the entire cathedral in 1359. / In many ways, the Orvieto mosaics show the technical transition from Byzantine to the Renaissance practice. Much as in the old way, the Orvieto artisans cut the glass and embedded it in the mortar with their own hands. The vision and the hand were one. But as time passed, they began to rely more on external drawings and/or drawings on the mortar, allowing lesser skilled craftsmen to cut and embed the tesserae. This is similar to how the Renaissance masters Titian or Tintoretto created cartoons for others to implement on Saint Mark’s in Venice.
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This is part of the old Trinity Church by the Eaton Centre in Toronto—taken March 16/08 Fuji Finepix – zoom used – turned to B&W / aperture f/5.5 / focal 19 mm / exposure 1/300 / ISO 100
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Standing at the west doors which is the main entrance to the church from the street, I decided to look up. I was standing directly underneath the tower of St. Mary Magdalene church, Newark, England. The lower level of the tower dates back to the 13th century, around 1220, with the upper levels of the tower and the spire added on in the 14th century. The upper levels are above the ceiling you see here, and there is a trap door in that ceiling that allows the bells to be lowered to the ground for maintenance. Above here are the clock rooms and the bell ringers room, the bell house, and finally the spire and exit onto the terrace. From the top of the tower you have a wonderful view of the town, the market place, and Newark Castle. You can see for miles. I hope to upload some more of those pictures some time. Back down at the bottom, the impressive Great West Window was originally inserted around 1466. Paid for in part by Alexander Lowe, who left hundreds of pounds in his will for this purpose. However, the window was replaced in 1887 and dedicated to the memory of Rev JG Bussell, Vicar of the parish from 1835 to 1874. The view up is impressive, full of colour as the sun sets in the evenings. High above the heads of those who enter through the west door, the life and activities of the church continue to ring out to the community that it is set into! This is a HDR image using four bracketed shots, and using Photomatix Pro for Mac to put them together, making adjustment of tone and brightness in detail enhancer. Canon EOS-1Ds Mark ll / 17-28mm wide angle lens / f/3.5 / 0.3, 1/2, 1/5, 1/8 / ISO 100
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the tower of the former cathedral in the dutch city of utrecht. belfry, symbol of the city and fortified keep of the bishops palace in one. Its three part design and lack of external butresses was an example for many other church towers in the netherlands and even in the 14th century it was a tourist attraction. The tower guard even had a little café near the top of the tower. It is 112 meters tall and it was the tallest man made structure in Europe for some time. The highest place that visitors can reach is at a height of 90 meters, at the base of the spire.
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Properties inscribed on the World Heritage List – Italy – Venice and its Lagoon (1987) Ministry of Heritage and Cultural Activities, Superintendence for the Architectural, the Landscape, the Historical Heritage. Artistic and Ethno-Anthropological of Italy —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- / Featured in Visions of Italy Group October – 17 – 2009 —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- / Featured in Unique Buildings Of The World Group May – 30 – 2009 / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- Featured in Live, Love, Dream Group May- 01 – 2009 / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-- Nikon Coolpix 950
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Nikon D300 Nikon 70/300
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March 3/09 Lucerne, Switzerland at night. I was thrilled when I saw the results of this shot. Hope you like it too!
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Featured in Visions of Italy Group October – 17 – 2009 —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-- / Featured in A View Somewhere Group October – 11 – 2009 / -—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- Featured in Castle Magic Group July – 06 – 2009 / —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—- Taken from the Album “Ruins and Restoration along Tyrrhenian Sea” Nikon D100 Sigma 15/30 Fiumefreddo Bruzio Fiumefreddo takes its name after Flumen frigidum, which means river with potable water, called also as frigidum (cold) due to its fresh waters that stream from the rocks a few kilometers away from the sea. The name Bruzio denotes a territory and it was added in 1860 in order to distinguish this village from other ones with the same name. IX-X cen., The Saracens destroyed what was once probably a Roman colony (archaeological traces on Cutura hill) and had borders from its southern side with Byzantine lands. The village was built about year 1000. 1054, The Normans occupied the region and their leader Roberto il Guiscardo constructed a tower for defense in Fiumefreddo in virtue of its overhanging rocks. 1201, Simone de Mamistra, the governor of Calabria and baron in the Swabian period, transformed the Norman tower into a fortified castle and donated the Basilan monastery of Valle Cent’Acque to Gioacchino da Fiore, the monk and exegesist, founder of the florense order. XIII-XV cen., The feudal property of Fiumefreddo passed from baron to baron, first under the Angioini and after the Aragonesi dominance. 1528, The emperor Charles V gave the property to Captain Pietro Gonzales de Mendoza, for victories accomplished in Calabria against French army. By marrying the only daughter of Fernando de Alarcon, one of the most famous Spanish generals during the wars in Italy, captain Mendoza was connected to a powerful noble house. The reconstruction of the castle and the consolidation of surrounding walls were his merit. 1638, a huge earthquake hit the village 1807, Bourbon garrison house established in the castle was forced to surrender to the Napoleon army. A year after, the last of the Alarcon y de Mendoza heirs, Beatrice, sold material values of Fiumefreddo, castle ruined by French artillery included. Castle’s ruins, built on the upper parts of the village on the overhanging rocks of the narrow valley. Napoleon’s army in 1807 destroyed the castle because of the presence of Bourbon rebels. One of the halls is decorated by fresco of Salvatore Fiume, but very often weather-beaten.
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from the first ‘ellejayerose’ calender
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An old church in Jackson, CA. / (F/4.0; ISO 64; FL 38.7;) / /
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A fantastic and imposing church in Glastonbury, England. Archaeology indicates a church has been here since the 9th century, but the current church dates from the 15th Century. Restoration to the church took place in the mid 19th century.
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Nestled in the trees in the shadow of the Castle, St. Cuthbert’s Church just off Lothian Road in Edinburgh, Scotland is a large and imposing structure. This view shows the Cupola closest to Princes Street on the corner of the church. There is another, identical Cupola on the other side of the building (the side nearest the Castle) as well as a spire at the other end of the church. Tradition has it that St. Cuthbert, the famed monk-bishop of Lindisfarne, stopped by the shores of the Nor’ Loch (a lake now replaced with Princes Street Gardens) just below Edinburgh Castle and built a little hut there. This is the site of St. Cuthbert’s Parish Church, whose current incarnation dates from the 19th century but is built over at least six earlier places of worship. The first record of St. Cuthbert’s Church in Edinburgh is in 1127, when King David I gave all the land below the Castle to St Cuthbert’s. This is the oldest document in the Scottish Records Office, Register House, Edinburgh. Little is known of the church’s history from the 12th to the 16th century, aside from occasional references in Vatican documents. Click here for an aerial view. Three bracketed JPGs converted to HDR in Photomatix. Camera: Canon EOS 450D (Digital Rebel XSi in the USA) / Canon 18-55mm IS lens BEST VIEWED LARGER Related shots can be found at: Edinburgh or you can look at all my HDR shots.
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Taken As is This is not the best image but to get this I had to wrap my camera strap around my wrist stick my camera on my palm pointing upwards and stick my arm through a opening and push the button. / Simon and I where half way up the Octagan Tower and we were able to look down below to the center of the church or was able to get a closer view of the hand painted roof of Jesus done by the victorians. You can see all the stained glass windows that are at the top of the tower and eventually we made our way out to the roof. / Afraid I was unable to get a good shot looking down as I was unable to clamber onto the sill to get one, and im sure Simon would of stopped me as he would of had to hold onto my legs. LOL Nikon D90 and Nikor 18-105 vr lens / Focal length 18mm / f/.4 / exposure 1/80th / ISO 400 hand held arm sticking out in to mid air a lot of feet above ground, so just a point and shoot.
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