Albi Cathedral Nave

© RicardMN Photography

© RicardMN Photography

The Cathedral Basilica of Saint Cecilia (French: Basilique Cathédrale Sainte-Cécile d’Albi), also known as Albi Cathedral, is the most important Catholic building in Albi, France, and the seat of the Roman Catholic Archbishop of Albi (in full, Albi-Castres-Lavaur). First built as a fortress in the aftermath of the Albigensian Crusade; begun in 1282 and under construction for 200 years, it is claimed to be the largest brick building in the world. In 2010 the cathedral was designated a UNESCO World Heritage Site.

The present cathedral was preceded by other buildings. The first dated from the fourth century and in 666 was destroyed by fire. The second is recorded in 920 by the name of Saint Cecilia, the present-day patroness of musicians. It was replaced in the thirteenth century by a Romanesque cathedral in stone.

The Brick Gothic cathedral was constructed in brick between 1287 and 1480 in the wake of the Cathar Church, a Christian non-trinitarian dualist movement with an episcopal see at Albi around 1165 AD. Pope Innocent III initiated a brutal crusade (“Cathar Crusade”, 1209–1229) to extinguish Catharism in southern France, with great loss of life to area residents. In the aftermath of the bloodshed, the cathedral’s dominant presence and fortress-like exterior were intended to convey the power and authority of the trinitarian Roman Catholic Church. The instigator of the cathedral’s construction was Bernard de Castanet, Roman Catholic Bishop of Albi and Inquisitor of Languedoc. Work on the nave was completed about 1330.

The cathedral is built in the Southern Gothic Style. As suitable building stone is not found locally, the structure is built almost entirely of brick. Notable architectural features include the bell-tower (added in 1492), which stands 78 metres (256 ft) tall, and the doorway by Dominique de Florence (added circa 1392). The nave is the widest Gothic example in France at 60 feet (18 m). The interior lacks aisles which are replaced by rows of small chapels between brick internal buttresses, making Albi a hall church. Compared with regular Gothic, the buttreses are almost entirely submerged in the mass of the church. The principal entry is on the south side through an elaborate porch entered by a fortified stair, rather than through the west front, as is traditional in France.

The side chapels in the nave received overhead galleries in the 15th century, diminishing their impact.

The elaborate interior stands in stark contrast to the cathedral’s military exterior. The central chœur, reserved for members of the religious order, is surrounded by a roodscreen with detailed filigree stone work and a group of polychrome statues.

Below the organ, a fresco of the Last Judgement, attributed to unknown Flemish painters, originally covered nearly 200 m² (the central area was later removed).

In the middle register of the painting, angels blow trumpets announcing the resurrection and the judgement. The dead rise up from their tombs.

The composition marks the rupture between Christ and the condemned, separated by a gloomy, greenish sky. The dead all carry around their necks the book of their good and bad actions, indicating that each shall be judged by their deeds on earth and that holy mercy alone does not suffice to assure salvation.

Hell appears as an underground world of despair, far from God. Disorder and chaos constitute its fundamental structure: swarming promiscuous masses, pandemonium, foetid, nauseating odours and an infernal din. Monsters proliferate; hideous clawed, flabby skinned demons arouse fear and loathing. Some have the heads of goats; putrid, diabolical creatures, symbolising lust.

An immense garden of torment, hell is represented as a furnace. Streaks of colour show the omnipresence of the fire burning, but not consuming, the damned. Other tortures are represented, the breaking wheel, forced feeding, boiling in giant cauldrons and impalement.

In this terrible world physical suffering (we see mouths pathetically screaming in horror) is accompanied by moral suffering which goes with the eternal separation from God.

Hell is organised into seven sectors, the same as the number of deadly sins. The first, at the left, corresponds to pride, which led Adam and Eve to eat the fruit of the tree of knowledge and to fall into lust, which, with its accompanying punishment, features at the far right.

Between the two we see successively the punishments meted out to the envious, the wrathful, the slothful and the greedy. The lazy and their punishment were lost in the 17th century.

The frescoes on the enormous vaulted ceiling comprise the largest and oldest ensemble of Italian Renaissance painting in France.

The origin of the classic organ whose actual case remains, is attributed to Christophe Moucherel (1736). This gigantic organ (width : 16.2 m) has been restored by Francois & Jean-Francois Lepine (1747), Joseph Isnard (1779), Antoine Peyroulous (1824).

It was then transformed into a romantic organ by Claude brothers (1840), Thibault Maucourt (1865), Puget Co. (1904).

After the study of the Historic Organ Committee in 1960s, they confirmed a restauration to a classic instrument by Schwenkedel in 1971 and by Bartholomeo Formentelli in 1977 who restored it in 1981.
(Description from Wikipedia and mypipeorganhobby.blogspot).

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Gravestones and ruins of St Andrews Cathedral

© RicardMN Photography

© RicardMN Photography

The ruins of the nave of St. Andrews Cathedral, St. Andrews, Scotland, United Kingdom.

The Cathedral of St Andrew (often referred to as St Andrews Cathedral) is a ruined Roman Catholic cathedral in St Andrews, Fife, Scotland. It was built in 1158 and became the centre of the Medieval Catholic Church in Scotland as the seat of the Archdiocese of St Andrews and the Bishops and Archbishops of St Andrews. It fell into disuse and ruin during the 16th century Scottish Reformation, after which Catholic mass was outlawed.

The cathedral was founded to supply more accommodation than the older church of St. Regulus (St. Rule) afforded. This older church, located on what became the cathedral grounds, had been built in the Romanesque style. Today, there remains the square tower, 33 metres (108 feet) high, and the quire, of very diminutive proportions. On a plan of the town from about 1530, a chancel appears, and seals affixed to the city and college charters bear representations of other buildings attached. To the east is an even older religious site, the Church of St Mary on the Rock, the Culdee house that became a Collegiate Church.

Work began on the new cathedral in 1158 and continued for over a century. The west end was blown down in a storm and rebuilt between 1272 and 1279. It was dedicated on 5 July 1318, in a ceremony before King Robert I . When intact it had, besides a central tower, six turrets; of these remain two at the east and one of the two at the western extremity, rising to a height of 30 metres (100 feet).

A fire partly destroyed the building in 1378; restoration and further embellishment were completed in 1440.

Greyfriar (Franciscan) and Blackfriar (Dominican) friars had properties in the town by the late 15th century and possibly as late as 1518.
In 1559, during the Scottish reformation, the building was stripped of its altars and images; and by 1561 it had been abandoned and left to fall into ruin.
At about the end of the sixteenth century the central tower apparently gave way, carrying with it the north wall. Afterwards large portions of the ruins were taken away for building purposes, and nothing was done to preserve them until 1826. Since then it has been tended with scrupulous care, an interesting feature being the cutting out of the ground-plan in the turf. The principal portions extant, partly Norman and partly Early Scottish, are the east and west gables, the greater part of the south wall of the nave and the west wall of the south transept.

At the end of the seventeenth century some of the priory buildings remained entire and considerable remains of others existed, but nearly all traces have now disappeared except portions of the priory wall and the archways, known as The Pends.

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St Andrews Cathedral and Gravestones

© RicardMN Photography

© RicardMN Photography

The Cathedral of St Andrew (often referred to as St Andrews Cathedral) is a ruined Roman Catholic cathedral in St Andrews, Fife, Scotland. It was built in 1158 and became the centre of the Medieval Catholic Church in Scotland as the seat of the Archdiocese of St Andrews and the Bishops and Archbishops of St Andrews. It fell into disuse and ruin during the 16th century Scottish Reformation, after which Catholic mass was outlawed.
The cathedral was founded to supply more accommodation than the older church of St. Regulus (St. Rule) afforded. This older church, located on what became the cathedral grounds, had been built in the Romanesque style. Today, there remains the square tower, 33 metres (108 feet) high, and the quire, of very diminutive proportions. On a plan of the town from about 1530, a chancel appears, and seals affixed to the city and college charters bear representations of other buildings attached. To the east is an even older religious site, the Church of St Mary on the Rock, the Culdee house that became a Collegiate Church.
Work began on the new cathedral in 1158 and continued for over a century. The west end was blown down in a storm and rebuilt between 1272 and 1279. It was dedicated on 5 July 1318, in a ceremony before King Robert I . When intact it had, besides a central tower, six turrets; of these remain two at the east and one of the two at the western extremity, rising to a height of 30 metres (100 feet).
A fire partly destroyed the building in 1378; restoration and further embellishment were completed in 1440.
Greyfriar (Franciscan) and Blackfriar (Dominican) friars had properties in the town by the late 15th century and possibly as late as 1518.
In 1559, during the Scottish reformation, the building was stripped of its altars and images; and by 1561 it had been abandoned and left to fall into ruin.
At about the end of the sixteenth century the central tower apparently gave way, carrying with it the north wall. Afterwards large portions of the ruins were taken away for building purposes, and nothing was done to preserve them until 1826. Since then it has been tended with scrupulous care, an interesting feature being the cutting out of the ground-plan in the turf. The principal portions extant, partly Norman and partly Early Scottish, are the east and west gables, the greater part of the south wall of the nave and the west wall of the south transept.
At the end of the seventeenth century some of the priory buildings remained entire and considerable remains of others existed, but nearly all traces have now disappeared except portions of the priory wall and the archways, known as The Pends.

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Saint Germain des Pres – Paris

© RicardMN Photography

© RicardMN Photography

The Benedictine Abbey of Saint-Germain-des-Pres, just beyond the outskirts of early medieval Paris, was the burial place of Merovingian kings of Neustria. At that time, the Left Bank of Paris was prone to flooding from the Seine, so much of the land could not be built upon and the Abbey stood in the middle of fields, or pres in French, thereby explaining its appellation.
The Abbey was founded in the 6th century by the son of Clovis I, Childebert I (ruled 511-558). Under royal patronage the Abbey became one of the richest in France; it housed an important scriptorium in the eleventh century and remained a center of intellectual life in the French Catholic church until it was disbanded during the French Revolution. An explosion of saltpetre in storage levelled the Abbey and its cloisters, the statues in the portal were removed and some destroyed, and in a fire in 1794 the library vanished in smoke. The abbey church remains as the Eglise de Saint-Germain-des-Pres, Paris.

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Nave of the Eglise Notre-Dame la Grande de Poitiers

© RicardMN Photography

© RicardMN Photography

Nave of the Eglise Notre-Dame la Grande, Poitiers, France.
Notre-Dame la Grande is a Roman Catholic church in Poitiers, France. The west front adorned with statuary is recognised as a masterpiece of Romanesque religious art. The walls inside the church are painted.
The church is mentioned in the 10th century, under the name of “Sancta Maria Maior”, referring to the Romanesque church of the same name.
The whole of the building was rebuilt in the second half of the 11th century, in the period of High Romanesque, and inaugurated in 1086 by the future Pope Urban II.

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Vaults Of Rouen Cathedral

© RicardMN Photography

© RicardMN Photography

Rouen Cathedral is a Roman Catholic Gothic cathedral in Rouen, in northwestern France. Inside, the nave dates primarily from the 12th century and the aisles and vault from the 13th century. The nave is quite similar to Laon Cathedral, with a four-story elevation, restrained height, and busy architecture elements that focus attention downward, instead of to the heavens like later Gothic architecture.
It contains a tomb of Richard the Lionheart which contained his heart.

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