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view of the old town, Zaułek Władysława Panasa (Władysław Panas's alley), Plac po Farze (Former Parish Church Square) and Wieża Trynitarska (Trinitarian Tower) from the Castle Tower (Donjon)
Lublin is the ninth-largest city in Poland and the second-largest city of historical Lesser Poland. It is the capital and the centre of Lublin Voivodeship with a population of 336,339 (December 2021). Lublin is the largest Polish city east of the Vistula River, located 153 km (95 mi) southeast of Warsaw.
One of the events that greatly contributed to the city's development was the Polish–Lithuanian Union of Krewo in 1385. Lublin thrived as a centre of trade and commerce due to its strategic location on the route between Vilnius and Kraków; the inhabitants had the privilege of free trade in the Grand Duchy of Lithuania. The Lublin Parliament session of 1569 led to the creation of a real union between the Crown of the Kingdom of Poland and the Grand Duchy of Lithuania, thus creating the Polish–Lithuanian Commonwealth. Lublin witnessed the early stages of the Reformation in the 16th century. A Calvinist congregation was founded and groups of radical Arians appeared in the city, making it an important global centre of Arianism.
Until the partitions at the end of the 18th century, Lublin was an important royal city of the Kingdom of Poland. Its delegates, alike nobles, had the right to participate in the royal election. In 1578, Lublin was chosen as the seat of the Crown Tribunal, the highest appeal court in the Polish–Lithuanian Commonwealth, and for centuries, the city has been flourishing as a centre of culture and higher learning.
In 2011, the analytical Financial Times Group found Lublin to be one of the best cities for business in Poland. The Foreign Direct Investment ranking placed Lublin second among larger Polish cities in the cost-effectiveness category. Lublin is noted for its green spaces and a high standard of living; the city has been selected as the 2023 European Youth Capital and 2029 European Capital of Culture. Its historical Old Town is one of Poland's national monuments (Pomnik historii) tracked by the National Heritage Board of Poland.
The Romanesque defensive tower, also known as 'donjon', is the oldest building on the castle hill. The tower was built of stone and brick around the middle of the 13th century in the form of a cylindrical, homogeneous building showing the features of the late Romanesque style. The building was erected in a typical way for the 13th-century fortress - inside the defensive ring, as the main center of fortifications. The tower is around 20-meter high and the thickness of its walls at the basement level comes to 4 meters. The highest part of the tower is lit by a biforium - a type of window characteristic of Romanesque architecture divided into two parts by a stone column. The top of the tower features a viewing terrace with a beautiful view onto the Old Town and the surrounding area.
Along with the Castle Chapel, it was the only part survived after destruction of the castle during the wars in the 17th century. From 1826, the tower and the castle served as a prison. From 1957, the exhibition halls of the Lublin Museum are located there.
“Love alone is capable of uniting living beings in such a way as to complete and fulfill them, for it alone takes them and joins them by what is deepest in themselves.”
-Teilhard de Chardin, Phenomenon of Man, 265.
“The reason for loving God is God Himself; and the measure of love due to God is immeasurable love.”
-Bernard of Clairvaux
“The more conscious the individual becomes, the more individual becomes person, and each person is person only to the extent that the individual freely lives by the life of the Whole.”
-Beatrice Bruteau, “Trinitarian Personhood,” in The Grand Option: Personal Transformation and a New Creation (Notre Dame, IN: University of Notre Dame Press, 2001), 77.
/****
to desire....
a mountain...
or...
an altar...
the source...
the same.
-rc
The Mother of God with a baby is an icon created in 1884-1885 by Mykhailo Vrubel for the decoration of the iconostasis of St. Cyril's Church in Kyiv. Despite the fact that the image is made in accordance with all the canons of Orthodox iconography, art critics and artists note its expressiveness and unusualness. The faces of the Mother of God and the infant Christ were copied by Vrubel from the wife and youngest daughter of the art critic Adrian Prakhov*.
Holy Archbishop Athanasius of Alexandria, known as "The Great" and "Father of Orthodoxy", is the first in the chronological order among the holy fathers of the "golden" IV century of patristic writing. He occupies a special place among the greatest theologians of the period of trinitarian disputes, he is called a great fighter for the unity of the Word.
* Adrian Viktorovych Prakhov - art critic, archaeologist and art critic, professor of the Kyiv Imperial University of St. Volodymyr, leader of a group of artists (Viktor Vasnetsov, Mykhailo Vrubel, Mykhailo Nesterov, Pavlo Svedomskyi and Vilhelm Kotarbinskyi) who painted the Volodymyr Cathedral in 1884–1885
Богоматір з немовлям - ікона, створена в 1884-1885 роках Михайлом Врубелем для оформлення іконостасу Кирилівської церкви в Києві. Незважаючи на те, що образ виконаний згідно з усіма канонами православної іконографії, мистецтвознавці та художники відзначають його виразність та незвичайність. Лики Богородиці та Христа-немовля були списані Врубелем з дружини та молодшої доньки мистецтвознавця Адріана Прахова*.
«Незвичайний, привабливий образ, написаний всупереч канонам духовного живопису. Ледве помітний нахил голови, просте, втомлене обличчя з широким носом і пухкими губами, земне і неземне водночас. У величезних очах, що зачаровують, любов, біль, благання, терпіння і передбачення трагічної долі художника. Це не парадна ікона для всіх, для гучного храму, що блищить оздобленням. Це ікона для тихої церкви, написана великому емоційному піднесенні, як звернення до серця конкретної людини.»
Святий архієпископ Олександрійський Афанасій, відомий під ім'ям «Великого» та «Отця Православ'я», є першим у хронологічній лавці серед святих отців «золотого» IV століття святоотцівської писемності. Він займає особливе місце серед найбільших богословів періоду тринітарних суперечок, його називають великим борцем за єдиносущність Слова.
* Адріан Вікторович Прахов – мистецтвознавець, археолог та художній критик, професор Київського Імператорського університету Святого Володимира, керівник групи художників (Віктор Васнєцов, Михайло Врубель, Михайло Нестеров, Павло Свєдомський та Вільгельм Котарбінський), яка здійснювала розпис Володимирського собору у 1884–1884 роках. Саме Адріан Прахов запросив молодого Михайла Врубеля у Киів і доручив йому написати 4 ікони для іконостасу Кирилівськоі церкви.
The main ceiling painting shows Saint John of Matha in glory (Gregorio Guglielmi)
The church and its adjoining convent were built by the Spanish Trinitarians between 1741 and 1746. Its interior has a vestibule and then an elliptical plan with seven inter-communicating chapels (four to the right and three to the left), housing the original paintings placed in them in the 18th century.
source wikipedia
youtu.be/h195GlReIOU?si=fSjBjr9-OEhP11jG
Julian of Norwich (1342-c 1416) was the most important English mystic of the 14th century. She wrote the best known surviving book in the English language written by a mystic, 'Revelations of Divine Love'. The book is the first written in English by a woman. Her spirituality is strongly Trinitarian and basically Neoplatonic. Through the Passion, Julian was led to visions of the Trinity and of the universe as it exists in God. She lived in permanent seclusion as an anchoress in her cell, which was attached to St Julian's Church, Norwich.
text taken from the description of the above video.
Our Air B&B was across the street from this church although this is the view of the side of the church. It is very plain looking in appearance both in this view and from the front. It has a very long history. The simple cross above the door is the symbol of the Trinitarian Order. The Order was organized in 1198 to rescue Christian captives.
San Crisogono is a church in Rome dedicated to the martyr Saint Chrysogonus. It was one of the tituli, the first parish churches of Rome, and was probably built in the 4th century under Pope Sylvester I (314–335). The area beneath the sacristy was investigated in 1907and remains of the first church were found.
The church is served by Trinitarians. Among the previous Cardinal Priests was Vincenzo Gioacchino Raffaele Luigi Pecci (1853–1878), elected Pope Leo XIII. San Crisogono is the station church for Monday, the fifth week of Lent.
Chrysogonus was martyred in Aquileia probably during the persecution of Diocletian, was buried there, and publicly venerated by the faithful of that region. Very early the veneration of this martyr was transferred to Rome. In 731 Pope Gregory III restored the church and founded a monastery dedicated to Sancti Stephani, Laurentii et Chrysogoni. The original monks were of the Byzantine rite. The church was rebuilt in 1123t by John of Crema, and again in 1626 by Giovanni Battista Soria, funded by Scipione Borghese. A further renovation was carried out in the mid-1860s, shortly after the basilica was placed in the care of the Trinitarian Order. [Adapted from Wikipedia]
Trinity - in Christianity, three Persons of one God in essence. Despite monotheism, Christianity in its central dogma understands God as one in three hypostases (faces): God the Father, God the Son and God the Holy Spirit. The term "Trinity" was first attested by the Syrian bishop Theophilus of Antioch (2nd century).
The term "Trinity" is absent from the texts of the books of the Old and New Testaments; the Church's teaching on the Trinity is the fruit of Christology, that is, the teaching about Jesus Christ as the God-man, and appears in the works of the Holy Fathers and Teachers of the Church. The term "Trinity" was first used in Christian theology in the 2nd century by Saint Theophilus of Antioch in his work "Against Autolycus". By the middle of the 4th century, after the rejection of a number of heresies and thanks to the works of the Cappadocian Fathers Basil the Great, Gregory the Theologian, Gregory of Nyssa, the Church had developed a unified Trinitarian terminology.
Трійця - у християнстві три Особи єдиного по суті Бога. Незважаючи на монотеїзм, християнство у своєму центральному догматі розуміє Бога єдиним у трьох іпостасях (ликах): Бог Отець, Бог Син і Бог Дух Святий. Вперше термін «Трійця» засвідчений у сирійського єпископа Феофіла Антіохійського (ІІ століття).
Термін «Трійця» відсутнїй у текстах книг Старого та Нового Завітів; вчення Церкви про Трійцю є плід христології, тобто вчення про Ісуса Христа як Боголюдину, і з'являється у працях святих Отців і Вчителів Церкви.
Вперше у християнському богослов'ї термін «Трійця» вжив у II столітті святий Феофіл Антіохійський у своєму творі «Проти Автолика». До середини IV століття, після заперечення низки єресей і завдяки працям отців-каппадокійців Василя Великого, Григорія Богослова, Григорія Ніського, Церквою було вироблено єдину тринітарну термінологію.
Cette galerie dorée autrefois appelée « galerie de la reine » (elle reliait les appartements de la reine et le cabinet de la volière), longue de 80 m et large d'environ 10 m, a été décorée une première fois de scènes illustrant le mythe de Diane, celui d'Apollon, et les victoires du roi, par Ambroise Dubois et Jean de Hoey, sur les attiques en bois des murs et le plafond de la voûte brisée.
Pendant la Révolution la galerie de Diane devient une prison dans laquelle furent incarcérés, entre autres, des religieux Trinitaires. Abîmée au XIXe siècle, elle fut restaurée d'abord sous Napoléon Ier par l'architecte Maximilien Joseph Hurtault qui supprima les décors du XVIIe siècle, puis pendant la Restauration, époque à laquelle sa voûte fut ornée dans le style du peintre David, par Merry-Joseph Blondel.
Elle est transformée en bibliothèque sous le Second Empire, en 1858.
elle possède en son centre un globe terrestre installé au Second Empire et réalisé auparavant pour Napoléon Ier en 1810, et qui devait être installé aux Tuileries.
This gilded gallery, formerly known as the "Queen's Gallery" (it connected the Queen's flats and the Aviary), is 80 m long and about 10 m wide. It was first decorated with scenes illustrating the myths of Diana, Apollo and the King's victories by Ambroise Dubois and Jean de Hoey on the wooden attics of the walls and the ceiling of the broken vault.
During the French Revolution, the Galerie de Diane became a prison in which Trinitarian monks and others were incarcerated. Damaged in the 19th century, it was restored first under Napoleon I by the architect Maximilien Joseph Hurtault, who removed the 17th century decorations, and then during the Restoration, when its vault was decorated in the style of the painter David, by Merry-Joseph Blondel.
It was transformed into a library under the Second Empire, in 1858.
In the centre of the room is a globe installed during the Second Empire and previously made for Napoleon I in 1810, which was to be installed in the Tuileries.
St Albans Cathedral, at the western end of the nave. When entering the seating area here, the middle passage between the pews is flanked by two of these large wrought iron sculptures. There is no functionality to them (they are not candle sticks), they are just "there". But why? My guess is that they are boundary markers separating the inside from the outside. And when you do this, you probably wish to protect what is inside, just like the gargoyles on medieval church roofs are meant to ward off evil. These are resolutely modern and even abstract sculptures (unlike the gargoyles), but their meaning cannot be found in the lofty heights of trinitarian theology. Their raison d'être follows a much deeper and more primal need, namely to be in the presence of signs that signal protection. Fuji X-E3.
{195 mm: ƒ/8.0 | 1/25 s | ISO 250}
a deep truth about our universe as a whole. It is a world that responds to desire and to will, and in many ways. That is what we should expect of a universe that is at bottom Trinitarian, based in the ultimate reality of an interpersonal union too “one” to be many and too “many” to be just one. (Dallas Willard)
TEM2-200 (ORLEN Kolej Sp. z o.o.)
(PL)
Lokomotywa TEM2-200 należąca do Orlen Kolej prowadzi krótki skład cystern do bazy paliw, mijając w tle zabudowania Polskich Zakładów Zbożowych Lubella GMW Sp. z o.o. Sp. k. Na horyzoncie dostrzec można także charakterystyczne zabytki Lublina – Archikatedrę św. Jana Chrzciciela i św. Jana Ewangelisty oraz Wieżę Trynitarską. Spostrzegawcze oko wypatrzy również słynną Arenę Lublin.
Polska, województwo lubelskie, bocznica EC Wrotków.
(ENG)
The TEM2-200 locomotive, owned by Orlen Kolej, hauls a short train of tank cars to a fuel depot, passing by the buildings of the Polish Grain Works Lubella GMW Sp. z o.o. Sp. k. in the background. On the horizon, one can also spot some of Lublin’s iconic landmarks – the Archcathedral of St. John the Baptist and St. John the Evangelist, as well as the Trinitarian Tower. A keen eye will also notice the famous Arena Lublin stadium.
Poland, Lublin Voivodeship, EC Wrotków siding.
(RUS)
Польша, Люблинское воеводство, подъездной путь электростанции Вроткув.
Date: 23.04.2021
www.facebook.com/CleanRome/?fref=nf
Campagna di sensibilizzazione per la salvaguardia del patrimonio artistico di Roma, senza scopo di lucro
Awareness campaign for the preservation of the artistic heritage of Rome
La chiesa di #SanCarloalleQuattroFontane fa parte di un complesso conventuale dei #Trinitari edificato nel XVII secolo ad opera di #FrancescoBorromini e ritenuto uno dei capolavori assoluti dell’#architetturaBarocca. Dedicata a #CarloBorromeo, arcivescovo di Milano, è nota come #SanCarlino per le sue ridotte dimensioni e si affaccia su #ViadelQuirinale all'incrocio con #ViadelleQuattroFontane, dove appunto sorgono 4 monumentali fontane in corrispondenza degli spigoli dell'incrocio. Malgrado il caos del traffico della zona, la chiesa ed il piccolo chiostro annesso risultano protetti e silenziosi, luoghi di quiete nel centro di Roma. La facciata è caratterizzata da una successione di superfici concave e convesse ed è divisa orizzontalmente da uno spettacolare cornicione sinusoidale. Borromini ha creato così un effetto di dinamismo plastico che rompe il ritmo dei palazzi di via del Quirinale generando interesse per la chiesa che, altrimenti, rischierebbe di essere ignorata dai passanti a causa della ridotta larghezza della strada.
The church of San Carlo at the Four Fountains is part of a convent of the Trinitarians built in the seventeenth century, designed by Francesco Borromini and considered one of the absolute masterpieces of Baroque architecture. Dedicated to Carlo Borromeo, archbishop of Milan, the church is known as San Carlino for its small size and overlooks Via del Quirinale intersection with Via delle Quattro Fontane where 4 monumental fountains arise (precisely located at the crossing edges). Despite the chaos of traffic in the area, the church and the small adjoining cloister are protected, peaceful, quiet places in central Rome. The facade is characterized by a succession of convex and concave surfaces and is divided horizontally by a spectacular sinusoidal cornice. In this way Borromini created such a plastic dynamism effect which breaks the rhythm of palaces in Via del Quirinale generating interest in the church which, otherwise, would risk being ignored by passersby due to the narrow width of the road.
testo di Alessandro Loschiavo
The church and its adjoining convent were built by the Spanish Trinitarians between 1741 and 1746. They were designed by the Portuguese architect Emanuele Rodriguez dos Santos, assisted by Giuseppe Sardi.
The church has a concave facade with statues of the order's two founders saint John of Matha and saint Felix of Valois and the coat of arms of Philip V of Spain.
Its interior has a vestibule and then an elliptical plan with seven inter-communicating chapels (four to the right and three to the left), housing the original paintings placed in them in the 18th century.
source wikipedia
The 18th century baroque Trinity or Trinitarian church of Bratislava lit by the afternoon light.
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The Greek Catholic church of the Transfiguration was originally built as the Roman Catholic church of the Holy Trinity of the Trinitarian Order, between 1703 and 1731, in the style of French classicism but with a Baroque interior.
In 1783, the monastery was abolished by the Holy Roman Emperor Joseph II and the church was used as a library of the Lviv University, until it was destroyed by Austrian artillery during the Spring of Nations in 1848.
The ruins of the church were rebuilt by the Greek Catholic Church, and most of the original design was kept. The interior underwent changes to adapt it the need of Eastern Rite liturgy.
The church was reconsecrated on 29 April 1906, as the Greek Catholic church of the Transfiguration of Our Lord Jesus Christ. In the first half of the 20th century, the parish became one of the main cultural centres of the Ukrainian national movement.
Life is a dance…. This choral dance is a combination of harmony and rhythm, Plato says. It reminds us of the Trinitarian perichōrēsis, the cosmic and divine dance. Śiva is Nataraja, the dancing god. The dance is his creation. Dance is practically for all popular religions the most genuine human sharing in the miracle of creation…. We all participate in rhythm because rhythm is another name of Being and Being is Trinity.
-Panikkar, The Rhythm of Being, 37.
The monk’s ‘philosophy’ is the pattern of the incarnate Christ. It is Gregory, however, who elaborates more systematically a theology of the Christian spiritual life, a theology deeply marked by Origen’s concern with the union of love and knowledge and with the goal of the Christian life as an entry into the trinitarian relationship. But perhaps his most important contribution to Christian thought was (and is) his sophisticated development of Origen’s view of Christian life as unceasing advance, ‘straining forward to what lies ahead’ (Phil. 3.13, quoted by Origen in de oral. XXV. 2).
-The Wound of Knowledge The Wound of Knowledge Christian Spirituality from the New Testament to St John of the Cross, ROWAN WILLIAMS
Anna Maria Taigi, (born on May 29, 1769 in Siena) is an Italian mystic, blessed of Catholic Church. Praying with her husband in the Basilica of Saint. Piotr, she felt a deep desire to devote herself to God. She joined the Trinitarian Order, rendering service to the sick, reconciling family responsibilities with the implementation of spiritual improvement. She had 4 sons and 3 daughters.
She died on June 9, 1837 in Rome in the opinion of holiness. Her body did not decay, she rests in the chapel of the church of St. Chrysogon in Zatybrze. In the process of beatification, her two daughters, her 92-year-old husband, and cardinals and bishops testified, two miracles required for beatification were recognized.
Pope Benedict XV approved them on January 6, 1919, and on May 30, 1920 in the St. Peter's Basilica beatified her.
-
Anna Maria Taigi, (ur. 29 maja 1769 w Sienie) to włoska mistyczka, błogosławiona Kościoła katolickiego. Modląc się razem z mężem w Bazylice św. Piotra, poczuła głębokie pragnienie poświęcenia się Bogu. Wstąpiła do Zakonu Trynitarzy, udzielając posługi chorym, godząc obowiązki rodzinne z realizacją doskonalenia duchowego. Miała 4 synów i 3 córki.
Zmarła 9 czerwca 1837 w Rzymie w opinii świętości. Jej ciało nie uległo rozkładowi, spoczywa w kaplicy kościoła św. Chryzogona na Zatybrzu. W procesie beatyfikacji zeznawały jej dwie córki, 92-letni mąż oraz kardynałowie i biskupi, uznane były dwa cuda wymagane do beatyfikacji.
Papież Benedykt XV zatwierdził je 6 stycznia 1919 roku, a w dniu 30 maja 1920 w Bazylice Świętego Piotra dokonał jej beatyfikacji.
As viewed from the Casa per ferie Santa Maria alle Fornaci, owned by the Trinitarian fathers, but run by, I think, a secular outfit. The rooms of the north side of the building look across a small space between the buildings to the parish hall (and other rooms?) of Santa Maria delle Grazie alle Fornaci. I recently went back in the archives and edited some photos from previous trips to Rome to see how I could enhance them now that I have a basic idea of how to use Lightroom. In this process the tools that I most appreciated were the Upright transformations. This photo was certainly a beneficiary.
nrhp # 73001696- The Unitarian Church in Charleston, home to a Unitarian Universalist congregation, is an historic church located at 4 Archdale Street in Charleston, South Carolina. It is the oldest Unitarian church in the South and the second oldest church building on the peninsula of Charleston.
The church has received Welcoming Congregation status from the Unitarian Universalist Association as well as Green Sanctuary certification. It is known in Charleston for its social justice activities.
The Unitarian Church in Charleston was declared a National Historic Landmark.[1] in 1976.
The Unitarian Church in Charleston was originally built as a second meeting house for the Independent Church in Charleston, also known as the Society of Dissenters, because the congregation needed more space than its Meeting Street location could provide. This second building was to be Georgian in style, plain brick with two doors and a tower in front. Construction began in 1772 and was nearly completed in 1776 when the Revolutionary War began. Because both Colonial and British forces quartered militia in the building, it needed considerable repair after the war. Unofficially named the Archdale Street Meeting House, it was finally dedicated in 1787.
For 30 years following the dedication, the Meeting Street and Archdale Street churches operated as a single entity. They shared not only the same two ministers, but the same sermon was delivered each Sunday. Drs. Hollinshead and Keith, co-pastors of the church for most of this period, each preached one sermon in both houses each Sunday, alternating morning and afternoon services. In 1815, one of the co-pastors was the Reverend Anthony Forster. Forster was married to Altona Gales, the daughter of Joseph Gales, a North Carolina printer and a close associate of Joseph Priestley. Gales and Priestley were friends in England, and both fled England to escape religious persecution in 1795-1796. Dr. Joseph Priestley was the eminent British Scientist who discovered oxygen and carbonated water. Priestly was also a Unitarian Minister, and a dissenter. When Anthony Forster converted from the trinitarian to unitarian theology in 1817, the congregation split, with 75 members out of 144 leaving the mother church to form an independent church based in the Archdale Meeting House. (The original Independent Church on Meeting Street is now the site of the Circular Congregational Church.) The new congregation was chartered as the Second Independent Church of Charleston in 1817.
As Forster succumbed to an old Army illness in 1819, Samuel Gilman, a graduate of Harvard College and an “avowed Unitarian”, was hired to complete the slow transition to Unitarianism. While at Harvard, Gilman wrote Harvard’s alma mater, Fair Harvard. Gilman’s wife, Caroline Howard Gilman, was a well-known author and poet. She was inspired by Mount Auburn Cemetery in Massachusetts, to create the churchyard next to the church in the 1830s with beautiful plants and objects; a place to be used by the living. Samuel Gillman remained the minister of the church until his death in 1858. During his tenure, he was known as a fine speaker and grew the congregation substantially. Ralph Waldo Emerson also spoke at the church on two different occasions in 1823. The church was chartered as the Unitarian Church in Charleston when it joined the American Unitarian Association in 1839.
During the Civil War, many members left Charleston and the church closed its doors until 1865. Shortly after the war began, the Great Charleston Fire of 1861 swept across the peninsula, destroying five churches and coming within two blocks of the Unitarian Church. During the 18-month Federal bombardment of Charleston that began in August 1863, the church was within range of the Union batteries but again remained unscathed.
Charleston surrendered to Union troops on February 15, 1865, and the church began, once again, to hold services. Because many members had lost their fortunes and/or did not return to Charleston, pew rentals plummeted and the church fell on difficult times, going through seven ministers in the next ten years. Fortunately for the church, one of its members, Alva Gage, had retained most of his money and was generous in sustaining the church through the difficult times.
Meanwhile, the Universalist Church in Charleston closed and was sold in the late 1850's with the money invested. After the war the remaining members joined the Unitarian Church and donated their funds to the repair of the church. It was not until 1961 that Unitarians and Universalists officially merged into the Unitarian Universalist Association, but clearly there was an affinity much earlier than that!
Although the church was fortunate in suffering no major damage during the Civil War, that came to an end during two natural disasters in 1885 and 1886. The Cyclone of 1885 hurricane in 1885, with winds of 125 mph, bore down on Charleston, creating havoc and blowing out all of the windows in the Nave of the church .
The new side windows, donated by Unitarian churches in Boston, are in the Art Nouveau style and contrast sharply with the traditional windows in the Chancel. These windows are solid stained glass and were manufactured by Redding, Baird & Company of Boston, Mass. These windows, too, carry the theme of old and new testaments with the words “The Lord is One” written in Hebrew and “Spirit of God” written in Greek.
The next year, the great Charleston earthquake of 1886 (7.3 on the moment magnitude scale) devastated the city of Charleston and caused major damage to the Unitarian Church. The entire top of the church tower, including eight paneled buttresses, high pinnacles, and medieval-style finials, fell into the Nave of the church, leaving a gaping hole in the roof and destroying part of the famed fan-vaulted ceiling. Fortunately for the church, Unitarians from across the country generously donated $17,000 to the rebuilding effort, much of which was later repaid. Boston architect Thomas Silloway restored the interior to Francis Lee's original design. The tower, however, was rebuilt in a slightly less elaborate form with the pinnacles and parapet lowered and simplified. This was to increase structural stability in the event another earthquake struck Charleston.
More than one hundred years passed before Charleston faced another natural disaster of similar scope. In 1989, Hurricane Hugo destroyed about 30 mature trees in the churchyard. These trees were replaced with a lower growing canopy of dogwood, halesia (silverbell), crepe myrtle, and Japanese maple. More than 60 tombstones were also damaged in that storm, but age and weather have also taken their toll. The Larrisey Gravestone Conservation Project, named for former member, M. Maxine Larrisey, was established for their repair and 65 have been refurbished.
from Wikipedia
The Trinitarian Order established their only monastery in Ireland in Adare in 1230. It is believed that the Trinitarian monks who came to Adare may have come from Scotland. The Abbey was restored in 1811 by the first Earl of Dunraven as the Catholic Parish church.
A rare case of diverging verticals as I shot this photo of Lublin Cathedral from the adjacent Trinitarian Tower which is higher. I've mostly corrected in Photoshop but I was in danger of distorting too much.
Click here to see my other Poland shots : www.flickr.com/photos/darrellg/albums/72157671110605611
From Wikipedia : "Lublin, by some tourists can be called "a little Krakow", and this is true by the citizens sharing a number of Lesser Poland traditions, historic architecture and a unique ambiance, especially in the Old Town. Catering to students, who account for 35% of the population, the city offers a vibrant music and nightclub scene. Lublin has many theatres and museums and a professional orchestra, the Lublin Philharmonic. Old buildings, even ruins, create magic and unique atmosphere of the renaissance city. Lublin’s Old Town has cobbled streets and traditional architecture. Many venues around Old Town enjoy an architecture applicable for restaurants, art galleries, clubs, apart from entertainment this area has also been designed to place small businesses and prestigious offices. The Old Town Hall and Tribunal in the Market Square is surrounded by burgher houses and winding lanes"
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Kentucky's Freedom of Religion and Deep Religious Tolerance
The Shaker Village at Pleasant Hill is the eleventh and final entry to the book Dr. Thomas Clark's Eleven Kentucky Treasures that the historian felt all Kentuckians should visit to appreciate their state, whether they are Shakers or not. In fact, three of the Kentucky historian's picks for the top eleven spots were religious sites of quite different beliefs. Each have one thing in common. They were able in Kentucky to set up their own slice and attempt of Heaven on earth.
The United Society of Believers in Christ's Second Coming was too long of a church name for the average American to remember. The name also had a heavy-duty, end-of-the-world connotation to boot. Instead, the United Society of Believers in Christ's Second Coming's nickname caught on. Shakers were labeled after believers were observed to shake while in worship. That name was simple. Memorable. Whether church members liked it or not, that name stuck with non-believers.
This is Shaker Village at Pleasant Hill, Kentucky.
The United Society of Believers in Christ's Second Coming was different than many Christian churches in that it was non-trinitarian in belief. They also were restorationists, that is to say they believed through the church Christ was restoring a truer, more ancient, purer form of Christianity to a world where Christianity had been perverted throughout the centuries. Men and women were to be equal. Family units of a man and wife only re-established a conventional patriarchal order, which quashed the woman. So, Shakers were to be celibate and single. No family units. With no children, their congregations gradually aged and faded away. Shakers also believed their founder, Mary, was Jesus Christ made incarnate again through the body of their leader.
-És la Adelfa, planta verinosa (Nerium oleander), coneguda també com llorer de jardí, rosa llorer, baladre o trinitària.
-Es la Adelfa, planta venenosa (Nerium oleander), conocida también como laurel de jardín, rosa laurel, baladre o trinitaria.
-Oleander is poisonous plant (Nerium oleander), also known as garden laurel, oleander, baladre or Trinitarian.
Moltes gràcies a tots pels vostres comentaris.
Muchas gracias a todos por vuestros comentarios.
Thank you very much to all for your comments
A Sala dos Mártires do Palácio Nacional de Mafra alberga um conjunto artístico notável. Em primeiro plano, sobressai o grupo escultórico (autor desconhecido) dos "Cinco Mártires de Marrocos", representando os frades franciscanos decapitados em Marraquexe, em 1220, por ordem do rei Almóada, devido à sua pregação cristã. Este evento, que influenciou a vocação de Santo António de Lisboa, culminou na canonização dos mártires em 1481. Ao fundo, domina o espaço a obra-prima semicircular de André Gonçalves, "Consagração da Ordem dos Trinitários a Nossa Senhora da Conceição", datada de 1748. A pintura, emoldurada por uma elaborada talha dourada adornada com anjos e urnas, representa uma alegoria à Santíssima Trindade, evocando o coro da Igreja do convento das Trinas do Mocambo, em Lisboa (o local de origem desta pintura). No centro, a Virgem Maria, vestida com o escapulário trinitário, é acompanhada por São João da Mata, fundador da ordem, e rodeada por anjos. A obra celebra a devoção mariana e a missão redentora dos Trinitários, integrando-se no programa decorativo religioso do Palácio.
The Hall of Martyrs of the National Palace of Mafra houses a remarkable artistic ensemble. In the foreground, the sculptural group (author unknown) of the "Five Martyrs of Morocco" stands out, representing the Franciscan friars beheaded in Marrakech in 1220 by order of King Almóada, due to their Christian preaching. This event, which influenced the vocation of Saint Anthony of Lisbon, culminated in the canonization of the martyrs in 1481. In the background, André Gonçalves' semicircular masterpiece, "Consecration of the Order of the Trinitarians to Our Lady of Conception", dated 1748, dominates the space. The painting, framed by an elaborate gilded carving adorned with angels and urns, represents an allegory to the Holy Trinity, evoking the choir of the Church of the Trinas do Mocambo convent, in Lisbon (the place of origin of this painting). In the center, the Virgin Mary, dressed in the Trinitarian scapular, is accompanied by Saint John of the Wood, founder of the order, and surrounded by angels. The work celebrates the Marian devotion and the redemptive mission of the Trinitarians, integrating itself in the religious decorative program of the Palace.
Two panels each for St. Louis (King of France, leader of two crusades, and builder of the Sainte-Chapelle in Paris), and St. Felix (de-Valois - a long-time hermit, who emerged at an advanced age to found the Trinitarian Order).
Tintoretto (Jacopo Robusti 1519 - 1594) Trinity (1561-62) dimensions 122 x 181 cm - Galleria Sabauda Torino
La tela è il frammento di una pala d’altare. L’iconografia è comunque identificabile con la Trinità, ripensata però da Tintoretto in modo originale e personale. Dio Padre con le braccia aperte con un gesto insieme di pietà e accoglimento sovrasta la croce con Cristo morto, realizzata in una prospettiva molto scorciata. Tra i due è collocata la colomba dello Spirito Santo. Ai lati due angeli vegliano il crocifisso. Più in basso, in parte tagliati, due putti alati pregano con le mani giunte. Sullo sfondo si intravedono teste di cherubini appena abbozzate. I colori intensi delle vesti dei personaggi, a suggerirne la consistenza serica, sono esaltati da un sapiente uso del chiaroscuro e della pittura tonale. Una luce diffusa giallo-ambra illumina la porzione di scena dando risalto alle ombre sui volti e sui corpi, sottolineando quindi la tragicità dell’evento. Questa porzione di dipinto è fortunosamente scampata a un rovinoso incendio. Proviene dalla chiesa veneziana di San Girolamo, andata a fuoco nel 1705. Pare dunque probabile che il genovese Gerolamo Ignazio Durazzo l’avesse acquistato a seguito di quelle drammatiche circostanze. Secondo recenti segnalazioni documentarie, sembra che il dipinto fosse collocato sull’altare dedicato a Sant’Adriano, edificato nel 1560 per conto di Piero Alessandro Lippomano, già antico committente del pittore. Oltre al gruppo trinitario la pala si componeva della presenza dei santi Adriano, Francesco e Agostino ai piedi della croce. La sua datazione si orienta intorno al 1561-62. L’opera venne acquistata da Carlo Felice di Savoia nel 1824.
The canvas is the fragment of an altarpiece. The iconography is however identifiable with the Trinity, however rethought by Tintoretto in an original and personal way. God the Father with open arms with a gesture of piety and acceptance overwhelms the cross with the dead Christ, realized in a very shortened perspective. The dove of the Holy Spirit is placed between the two. At the sides two angels watch over the crucifix. Lower down, partly cut, two winged cherubs pray with folded hands. In the background one can see the heads of cherubs that have just been sketched. The intense colors of the characters' robes, to suggest their silky consistency, are enhanced by a clever use of chiaroscuro and tonal painting. A diffuse amber-yellow light illuminates the portion of the scene giving prominence to the shadows on faces and bodies, thus emphasizing the tragedy of the event. This portion of the painting has fortunately escaped a disastrous fire. It comes from the Venetian church of San Girolamo, which was burnt down in 1705. It therefore seems probable that the Genoese Gerolamo Ignazio Durazzo had bought it following those dramatic circumstances. According to recent documentary reports, it seems that the painting was placed on the altar dedicated to Sant’Adriano, built in 1560 on behalf of Piero Alessandro Lippomano, the former commissioner of the painter. In addition to the Trinitarian group, the altarpiece consisted of the presence of Saints Adriano, Francesco and Agostino at the foot of the cross. Its dating is around 1561-62. The work was purchased by Carlo Felice of Savoy in 1824.
Schmidt-kastély - Kiscelli Múzeum
The building was once a Trinitarian monastery (in operation until 1784), housing monks invited by the Zichy family. Its architect was Johann Entzenhoffer, resident of Vienna. During the 19th century, it was used as military residence, and in the beginning of the 20th century, Miksa Schmidt, cabinet factory owner in Vienna, who placed his own collection here, bought it. He deemed the building and the surrounding park to the city, the only requirement being that a museum should operate in the mansion.
In 1938, the capital moved its historical and art collections to this place, but both the building and the items were heavily damaged during the siege of Budapest in the War. After the reconstruction, the museum re-opened in 1949.
Today, the museum is administratively a branch of the Budapest History Museum, and has two sections. One covers the modern history of Budapest, presenting a unique collection of paintings, prints and graphic art, and the other contains the Budapest Archive artistic collection.
Permanent exhibitions include:
-The Golden Lion Pharmacy
- Printing Offices and the Press in Budapest
- Old Trade and Shop Symbols in Pest
- Statue Park on the History of the City
During the summer, temporary exhibitions and concerts are held.
Remek díszlet lenne a következő Indiana Jones filmben :)
Kiscelli Múzeum
Budapest
2024.08.13
A múzeum épülete 1750 körül a trinitárius szerzetesrend kolostoraként épült. II. József király szekularizációs politikája miatt a szerzetesrendet 1784-ben feloszlatták és az épületetet katonai kórházként, kaszárnyaként és raktárként hasznosították tovább. 1911-ben egy bútorgyáros vásárolta meg és 1935-ben végrendeletében Budapest városra hagyta. Azóta az épület a Budapesti Történeti Múzeum újkori gyűjteményeinek ad ottont.
The former chapel
Could be a great set in the next Indiana Jones movie :)
Kiscell Museum
Budapest, Hungary
13.08.2024
The museum building was built around 1750 as a monastery of the Trinitarian Order (en.wikipedia.org/wiki/Trinitarians). Due to the secularization policy of King József II, the Trinitarian Order was dissolved in 1784 and the building was used as a military hospital, barracks and warehouse. It was bought by a furniture manufacturer in 1911 and bequeathed to the city of Budapest in 1935. Since then, the building has been home to the modern collections of the Budapest History Museum.
Schmidt-kastély - Kiscelli Múzeum
The building was once a Trinitarian monastery (in operation until 1784), housing monks invited by the Zichy family. Its architect was Johann Entzenhoffer, resident of Vienna. During the 19th century, it was used as military residence, and in the beginning of the 20th century, Miksa Schmidt, cabinet factory owner in Vienna, who placed his own collection here, bought it. He deemed the building and the surrounding park to the city, the only requirement being that a museum should operate in the mansion.
In 1938, the capital moved its historical and art collections to this place, but both the building and the items were heavily damaged during the siege of Budapest in the War. After the reconstruction, the museum re-opened in 1949.
Today, the museum is administratively a branch of the Budapest History Museum, and has two sections. One covers the modern history of Budapest, presenting a unique collection of paintings, prints and graphic art, and the other contains the Budapest Archive artistic collection.
Permanent exhibitions include:
-The Golden Lion Pharmacy
- Printing Offices and the Press in Budapest
- Old Trade and Shop Symbols in Pest
- Statue Park on the History of the City
During the summer, temporary exhibitions and concerts are held.
Remek díszlet lenne a következő Indiana Jones filmben :)
Kiscelli Múzeum
Budapest
2024.08.13
A múzeum épülete 1750 körül a trinitárius szerzetesrend kolostoraként épült. II. József király szekularizációs politikája miatt a szerzetesrendet 1784-ben feloszlatták és az épületetet katonai kórházként, kaszárnyaként és raktárként hasznosították tovább. 1911-ben egy bútorgyáros vásárolta meg és 1935-ben végrendeletében Budapest városra hagyta. Azóta az épület a Budapesti Történeti Múzeum újkori gyűjteményeinek ad ottont.
Kiscell Museum
Budapest, Hungary
13.08.2024
The former chapel
Could be a great set in the next Indiana Jones movie :)
The museum building was built around 1750 as a monastery of the Trinitarian Order (en.wikipedia.org/wiki/Trinitarians). Due to the secularization policy of King József II, the Trinitarian Order was dissolved in 1784 and the building was used as a military hospital, barracks and warehouse. It was bought by a furniture manufacturer in 1911 and bequeathed to the city of Budapest in 1935. Since then, the building has been home to the modern collections of the Budapest History Museum.
The Crowning with Thorns is a painting by the Italian Renaissance master Titian done during 1542 and 1543. It is housed in the Musée du Louvre, in Paris.
The painting was commissioned by the confraternity of Santa Maria delle Grazie in Milan. It was brought to France after the Napoleonic conquest of the city in 1797.
In The Crowning with Thorns, painted for the church of Santa Maria delle Grazie in Milan, the space is compressed in the scene by arranging the figures on a shallow plane delimited by the wall of a building. There are explicit references to antiquity: the figure of Christ derives from the celebrated Laocoon, an antique statue discovered in Rome in 1506, an archetypal exemplum doloris ("example of pain"). Another famous antique sculptural fragment, the Belvedere Torso, provides the model for the upper body of the torturer on the left. With the inclusion of the bust of Tiberius Caesar, a direct reference to the Roman authorities who condemned Christ, Titian also pays homage to the classical past.
This is a brutal scene, in which Christ's tormentors twist the crown onto his head with their canes, but the violence is relieved and Christ's suffering exalted by the beauty of the colours, which especially in the blue and green to the right are colder than usual in deference to Titian's Roman sources. In Christ's foot extended on the steps, however, Titian pulls out all the Venetian stops and one can sense the blood flowing through the veins under the flesh. The pattern of the canes slices through the massed figures like the strokes of a knife, forming a Trinitarian triangle to the right of Christ's head. An inimitable Titian touch is the cane lying unused on the foremost step, still, shadowless and deadly, like a snake.
According to Robert Haven Schauffler, the German painter Fritz von Uhde once considered it to be "the greatest picture ever painted."
Holy Trinity Abbey Church, Adare
he present Catholic Church in Adare was once the Trinitarian Abbey, which was founded in 1230. It was restored in the 19th century, in 1811 and 1852.
According to Westropp the alleged date of construction of the Trinitarian abbey was 1230. However, Spellissy and O'Brien believe that the abbey may have been in existence as early as 1226. The monastery flourished until the dissolution, when, with the other religious houses subsequently founded here, it was granted by Elizabeth I to Sir Henry Wallop.
The Trinitarian Order was founded on the continent in the late 12th century (in 1198) during the pontificate of Pope Innocent III. The order was founded by St John de Matha and St. Felix de Valois, the latter being a grandson of the King of France. The main function of the Order aside from its religious purposes was the ransoming and liberation of Christian captives during the wars of the Crusades.
This monastery was commonly called the White Monastery. The habit of the order was white with a shoulder cross (greek cross) with the horizontal bar being blue and the vertical bar being red (it overlapped the blue). This was on the front of the scapular of the Habit and on the shoulder of the cape. After its suppression at the time of the Reformation it gradually fell into ruin. The remains of the monastery consist of tower, nave, and part of the choir of the church. In 1811, the Earl of Dunraven converted these remains into the present day Catholic parish church. (Churches of Adare)
Budapest, Kiscelli Castle Museum, Óbuda (Old Buda)
The building was once a Trinitarian monastery (in operation until 1784), housing monks invited by the Zichy family. Its architect was Johann Entzenhoffer, resident of Vienna. During the 19th century, it was used as military residence, and in the beginning of the 20th century, Miksa Schmidt, cabinet factory owner in Vienna, who placed his own collection here, bought it. He deemed the building and the surrounding park to the city, the only requirement being that a museum should operate in the mansion.
In 1938, the capital moved its historical and art collections to this place, but both the building and the items were heavily damaged during the siege of Budapest in the War. After the reconstruction, the museum re-opened in 1949.
hu.wikipedia.org/wiki/Kiscelli_kast%C3%A9ly_%C3%A9s_parke...
'San Carlino' parish church - originally part of Spanish Trinitarian monastery complex
en.wikipedia.org/wiki/San_Carlo_alle_Quattro_Fontane
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Sacra di San Michele: the charm of symbology
In the Middle Ages the link between faith and a daily life steeped in superstitions and ancestral religious practices was profound: numerology, astrology, occult meanings given to colors and geometric shapes, plants or animals survived stronger than it seems. A bond that we find in the symbolic place of Piemonte, the Sacra di San Michele. The stairway of the dead In order to reach the Porta dello Zodiaco at the Sacra di San Michele, the visitor must climb a total of 243 steps, almost in a sort of "ascending path". An ascent in which we can already search for hidden meanings: according to Kabbalisticism, to understand the meaning of a number greater than 22 you need to add its digits until you get a number between 1-22. Done? The sum of the digits that make up the number 243 therefore takes you to the number 9, a number of great importance for Western cabalistics as it is the product of the multiplication of 3x3, a well-known Trinitarian symbol. An "ascending path" that passes by a staircase called Scalone dei Morti, because niches were created along it which housed the bodies of deceased monks, and which recalls other interesting symbols. Considering the appearance of this staircase, which leads to the so-called Portal of the Zodiac, the cave and the door to heaven come to mind. In ancient times the cave has always been a metaphor for the center of the world. Curious if we also notice that this artificial cave was built right in the heart of Mount Pirchiriano, mountain image of the "spiritual center" of the cosmos. A cave that welcomes these 243 steps that recall an ascending axis, a metaphor for the ascent from material and earthly things to the Absolute of heavenly life and to communion with God. It is therefore not surprising the desire to place the remains of the dead monks in niches created right along the grand staircase: monks who reach the gates of Heaven and eternal life, on an upward journey that allows them to leave behind everything related to their past earthly life in order to be able to get rid of their bodies and let their soul is reunited with the Eternal. The Portal of the Zodiac (see next photo) Once you have climbed the staircase, you then reach this portal, so called because the 12 signs of the zodiac are engraved on it. A first curiosity catches the eye of the attentive observer: unlike usual, it is the internal faces of the entrance that are decorated and not those facing the outside. Why? There are those who hypothesize that this indicates a simple relocation of parts of a reused portal, but if we want to go back to the ascending symbology encountered earlier then the answer is simple: the important side, therefore embellished and decorated, was the internal one facing towards the staircase welcomed those who walked along it.
Budapest, Kiscelli Castle Museum, Óbuda (Old Buda)
The building was once a Trinitarian monastery (in operation until 1784), housing monks invited by the Zichy family. Its architect was Johann Entzenhoffer, resident of Vienna. During the 19th century, it was used as military residence, and in the beginning of the 20th century, Miksa Schmidt, cabinet factory owner in Vienna, who placed his own collection here, bought it. He deemed the building and the surrounding park to the city, the only requirement being that a museum should operate in the mansion.
In 1938, the capital moved its historical and art collections to this place, but both the building and the items were heavily damaged during the siege of Budapest in the War. After the reconstruction, the museum re-opened in 1949.
hu.wikipedia.org/wiki/Kiscelli_kast%C3%A9ly_%C3%A9s_parke...
Validation, by those in the ministry and in the laity, of the experiences of Abba Ammonas and the members of his monastic network concretized and centralized discernment, the indwelling of the Holy Spirit, and the cultivation of received spiritual gifts in a way that extended baptismal belief in the hope and promise of new life in the resurrection. Because these spiritual fathers and mothers had experienced subsequent, postbaptismal, graces they attested to the continual presence of the Holy Spirit as teacher and as guide in the life of the individual Christian. In the midst of the clerical and doctrinal formalization of the late fourth century, these monks upheld the experience on which such formalization rested. 65 As a result, they lived a theology akin to what Vladimir Lossky defines as a trinitarian theology, “a theology of union, a mystical theology which appeals to experience, and which presupposes a continuous and progressive series of changes in created nature, a more and more intimate communion of the human person with the Holy Trinity.” 66 By legitimating Abba Ammonas’ witness as an experience of the indwelling of the Holy Spirit, Serapion of Thmuis honored the role of discernment and its manifestation in the life of the local church community. The evidence of these relations between the ministry of the bishop and the stewardship of the monk, with the gift and exercise of discernment at its core, would have contributed to the expansion of Christianity in late antiquity.
As Norman Russell writes: This development had theological repercussions. An intellectualist idea of faith came to be replaced by one that was more “institutionalized,” the emphasis shifting from knowing God through the contemplation of the timeless cosmic order to encountering him through his historical revelation in Jesus Christ. The new emphasis was accompanied by a suspicion of intellectuals, a focusing more on the shared experience of the community. The first abbas, with their teaching on self-knowledge and spiritual ascent hearkened back to an earlier world. From the episcopal point of view it was important that the abbas’ authority and prestige should be harnessed to the ecclesiastical needs of the new era and that whatever seemed incompatible with those needs should be eliminated.
-Useful servanthood: a study of spiritual formation in the writings of Abba Ammonas / Bernadette McNary-Zak;