Votive Interiors 2017-05-15T15:01:16+00:00

 

left right merged

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.

Gleason'sFeb.4,1854_6069

Chapel interior with grace and votive offerings. Engraving from “Diva Virgo Hallensis,” Antwerp, 1616.

Gleason'sFeb.4,1854_6068

Maximilian Rassler, Seeking help before Saints Marianus and Anianus, 1483. Engraving. «Heiliges Bayer-Land», 1. Teil,

S. 275. Dieser Stich ist eine freie Kopie der Tafel (Abb. 6).

Gleason'sFeb.4,1854_6067

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.

Die hl. Ottilie. Von Gabriel Mälesskircher, 1476. BNM 35/22. Wahrscheinlich aus der Klosterkirche von Tegernsee vom “aller Junchkfrawen altar.” E. Büchner, Der wirkliche Gabriel Mälesskircher, in: Münchner Jahrbuch der bildenden Kunst N.F. Bd. 13, 1938/39, 36-45. S. 38. und Abb. 5, Kat.-Nr.4.

 

Feld eines Flugels des Hochaltares von St. Wolfgang in Pipping bei Munchen Um 1480 pg 54 Kriss Rettenbeck

Field of a wing of the high altar of St. Wolfgang in Pipping near Munich, c. 1480.

Feld eines Flügels des Hochaltares von St. Wolfgang in Pipping bei München. Um 1480

Ausschnitt aus dem Bild "Maria (Ward) hat Anno 1624 seiner eminenz dem Cardinal di Trebo die schnelle genesung von einem sehr gefehrlichen fieber durch eine wallfahrth und funff stundirgeb gebett, so sie fur ihme vor der wunderthatigen Mutter Gotteb auf dem berg gionino verricht, erhalten". Das Bild gehort zu einem Zyklus von 50 Gemalden, die sich im Institut der Englischen Fraulein in Augsburg befinden und offensichtlich treue Kopien eines Zyklus aus dem 3. Viertel des 17. Jh. sind. Augsburg 1. Halfte 18. Jh. (?) bilder und Zeichen Nr. 324, S. 123f.

Ausschnitt aus dem Bild “Maria (Ward) hat Anno 1624 seiner eminenz dem Cardinal di Trebo die schnelle genesung von einem sehr gefehrlichen fieber durch eine wallfahrth und funff stundirgeb gebett, so sie fur ihme vor der wunderthatigen Mutter Gotteb auf dem berg gionino verricht, erhalten”. Das Bild gehort zu einem Zyklus von 50 Gemalden, die sich im Institut der Englischen Fraulein in Augsburg befinden und offensichtlich treue Kopien eines Zyklus aus dem 3. Viertel des 17. Jh. sind. Augsburg 1. Halfte 18. Jh. (?) bilder und Zeichen Nr. 324, S. 123f.

Good EditedGleason'sFeb.4,1854_6045

 

Booklet title page, The Refuge to Maria Mother of God in Ancient Oding, Nurnberg 1497

titelblatt büchlein der zuflucht zu maria der mutter gottes im alten oding nurnberg 1497

Gleason'sFeb.4,1854_6046Hans Mair von Landshut (1450-1514), Pilgrims visiting St. Anianus and Marinus, 1483. Wood panel. Inv.Nr. Gm 898

Michael Ostendorfer (German, (?) ca. 1490–1549 Regensburg) Pilgrims at the Church of the 'Beautiful Virgin' at Regensburg, 1610 German,  Woodcut; Sheet: approximately 26 9/16 × 16 1/8 in. (67.4 × 41 cm) The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1939 (39.5) http://www.metmuseum.org/Collections/search-the-collections/678895

Michael Ostendorfer (German, (?) ca. 1490–1549 Regensburg)
Pilgrims at the Church of the ‘Beautiful Virgin’ at Regensburg, 1610
German,
Woodcut; Sheet: approximately 26 9/16 × 16 1/8 in. (67.4 × 41 cm)
The Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1939 (39.5)
http://www.metmuseum.org/Collections/search-the-collections/678895

Michael Ostendorfer, (c. 1490–1549), Pilgrims at the Church of the ‘Beautiful Virgin’ at Regensburg1519-1521. Woodcut, 26 9/16 × 16 1/8 in. (67.4 × 41 cm). Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1939, 39.5.

de Belay, Pardon de Sainte-Anne-la-Palud, 1926

Gleason'sFeb.4,1854_6047

Robert Thom, Depiction of the temple sleep or ‘incubation’ ritual. (Photo courtesy of Parke-Davis Co, Scarborough, ON, Canada (Great Moments in Medicine))

 

AN01143877_001_l AN01143872_001_l AN00652680_001_l AN00032693_001_lGleason'sFeb.4,1854_6048

 

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

 

 

Gleason'sFeb.4,1854_6064 copy

Hans Weiditz, (before 1500-1536), St. Anthony the Hermit hanging votives on Church wall. Woodcut. Graphische Sammlung München. Inv.-Nr. 65451a.

 

 

Gleason'sFeb.4,1854_6063 copy

Wall climbers from the altar of St. Stephen in Weihenstephan. Oil on canvas, Southern Germany, 1603.

Gleason'sFeb.4,1854_6062

Francesco Cagnoli, Ex Voto, vault detail, San Gaudenzio, Baceno VB, Italy

Gleason'sFeb.4,1854_6061 copy

Monogramist DG, Satire of the Catholic Church, 1605, detail. Engraving. Nürnberg, Germanisches National Museum Kuperstichkabinett, Inv. Nr. HB 56, 1-3/1336. (Photo: Georg Janssen)

Gleason'sFeb.4,1854_6060 copy

Einblattholzschnitt 1650 aus Augsburg, nach Schnürer/Ritz, Abb. 122

 

Gleason'sFeb.4,1854_6059 copy

William Hogarth, British (1697–1764), Credulity, Superstition, and Fanaticism, March 15, 1762. Etching and engraving, sheet: 14 5/8 x 12 3/4 in., Metropolitan Museum, Harris Brisbane Dick Fund, 1932, 32.35(151)

Hogarth Enthusiasm Delinated

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

 

Gleason'sFeb.4,1854_6057

Engelbert Seehuber, Ein grawsamlich geschicht Geschehen zu passaw Von den Juden als hernach voglt, 1477. Woodcut. Staatliche Graphische Sammlung, Munich. Inv.-Nr.:118307 Schr. 1965.

Gleason'sFeb.4,1854_6056

Cranach Workshop, Ahimelech gives David the shewbread (Ahimelech gibt David die Schaubrote), woodcut, King James Bible 1534. 29.8×21 cm. MBK Gr-3.1041

Gleason'sFeb.4,1854_6055

Johann Melchior Füßli (1677-1736), Primitia frugum, Erstling-Opfer

Aus: Johann Jakob Scheuchzer (1672-1733): Physica sacra, 4 Bde., Augsburg 1731-1735; Tafel 283. MBK Gr-3.782

Carlos Villalpando, Exvoto a San Francisco de Paula, 1704, oil on panel, 90×78 cm, Museo Nacional del Virreinato, Tepotzotlán, Mexico

Sant'Antonio di Castello

Sant’Antonio di Castello

Vittore Carpaccio, Italian (1465-1520), Apparition of the Ten Thousand Martyrs (Sant’Antonio di Castello), c. 1512. Venice, Accademia.

History

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.

http://www.churchesofvenice.co.uk/demolished.htm

css.php
Skip to toolbar