Zeichnungen aus dem handgeschriebenen Biichlein des Thomas Amplatz von Landshut, der darin in Bild und Schrift die Entstehung der Wallfahrt zu Maria Bründl, Landshut, in einzelnen Phasen aufgezeichnet hat. Amplatz dürfte mit seinen Aufzeichnungen bereits 1661 begonnen haben. Entwurf einer Votiv- und Weihetafel aus dem Biichlein des Thomas Amplatz, Landshut. Dargestellt ist eine Familie mit allen verstorbenen Angehörigen.
Drawings from the handwritten Biichlein of Thomas Amplatz of Landshut , which in fact Picture and writing the emergence the pilgrimage to Maria Bründl , Landshut , in each phase has recorded . Amplatz likely with his records already in 1661 have begun .
Draft votive and consecration panel from the Biichlein of Thomas Amplatz, Landshut. shown is a family with all deceased Members.
Missing the Main Altar in the Church of St. Clare in Nuremberg, 1433. engraving, detail.
Ausschnitt eines Kupferstiches des 18. Jahrhunderts, auf dem der verschollene Hauptaltar in der St. Clarenkirche in Nürnberg dargestellt ist. Der Ausschnitt gibt die Außenseite des rechten altarflügels wieder. auf ihr ist das Stiftungsjahr 1433 angegeben.
Red sandstone altar with votives, Romano-British, 2nd century AD.
Faint inscription and decorated sides. Dedicated to Fortune the Home-bringer, to Aesculapius and to Salus. The altar was set up by the freedmen and slaves in the household of a Roman officer, Titus Pomponius Mamilianus Rufus Antistianus Funisulanus Vettonianus, who was the legatus of the 20th legion at Chester, circa AD 100. British Museum, 1836,0805.1
Interior of a chapel with an impassioned preacher inspiring his listeners who include a woman swooning on the floor and a young couple embracing; many of the congregation are clutching figures of Christ; a barking dog with a collar labelled “Whitfield” echoes the preacher. c.1760 Etching and engraving.
William Hogarth, British (1697-1794), Enthusiasm Delineated, 1760-1762, etching, 373 x 327 mm, British Museum 1858, 0417.582
Vittore Carpaccio, Italian (1465-1520), Apparition of the Ten Thousand Martyrs (Sant’Antonio di Castello), c. 1512. Venice, Accademia.
Built from 1346, the first stone was laid by the founder, Fra Giotto degli Abbati, a Florentine nobleman and prior of the Canons of St Anthony. Vincenzo and Girolamo Grimani commissioned a new façade in 1518 from Tullio Lombardo, shown in the Luca Carlevarijs print (see right). The tombs of two doges were to be found here – Antonio Grimani, who died in 1523 and Pietro Lando who died in 1545.The monastery and church passed to the Laterans until they were suppressed in 1768.
One of the three churches demolished in 1808 by Napoleon to make way for the public gardens, this one seems to have been the greatest loss. Two of the church’s bells were sold to help pay for the under funded project and materials from the church were used towards another building, which was demolished to make way for the Biennale buildings later in the 19th Century. The Doric arch of the Lando chapel of the church (designed by Michele Sanmicheli) still stands forlornly in the Giardini Pubblici (see left) and is all that’s left of the fabric of the three demolished churches.
In Sir Francis Palgrave’s Hand-book for Travellers in Northern Italy of 1842, the author wrote that the creation of the Giardini Pubblici ‘afforded an excuse for pulling down a few churches which in itself was a recommendation for the French.’
Also the Apparition of the Martyrs of Mount Ararat by Carpaccio which depicts the interior of the church before his own painting of The Martyrdom of the Ten Thousand Christians on Mount Ararat (also now in the Accademia) was installed over the Ottoboni altar. The Apparition… depicts the miraculous appearance of the 10,000 martyrs to Prior Francesco Ottobon in the nave of the church. It is currently (September 2015) to be found in the corridor/room as you approch the room of the St Ursula cycle.