Looks out of place.
Post your church shots
- Thread starter jdeg
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Blue439
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That is also what I thought when I first looked at it. However, once I sat on a pew and gave it some thought for a moment, I understood how it actually worked in spite of the glaring æsthetic rupture. I was myself quite surprised when I left the church a believer in this modern addition.
Below is another one showing the altar and the lectern (there is only one, on the Gospel side).
Nikon Z7 II, Micro-Nikkor 85mm, ƒ/2.8 D PC tilt-shift macro lens, manual focus, FTZ II adapter. Gitzo tripod, Benro geared head.
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Blue439
New member
A village church in Burgundy (2023)
Bois-Sainte-Marie may be a very quiet village today, but from around Year 1000 and throughout the Middle Ages, it was a busy market town on the road linking Paray-le-Monial to Cluny. Enclosed in a sheet wall, it was the seat of an archpriesthood dependent on the cathedral of Autun. There was a granary and a salt store, judicial authorities and even a mint.
The parish church was built with significant input from Lombard architects and masons, at least as far as the apse and chancel are concerned, as the decorative bandes lombardes indicate. Construction probably began around 1025, as the eastern part of the church was completed by 1050, and it is quite large. Quite archaic as well, it is the only church in the the whole of Burgundy that features an ambulatory without any radiating chapels: the ambulatory formula was quite in its infancy back then. Ambulatories are often associated with pilgrimage churches, as they allow for the circulation of pilgrims around the relics, while the opus Dei is still being carried out in the chancel. However, in the case of Bois-Sainte-Marie, I could find no claims regarding possession of any relics at any point in time. Maybe they intended to procure some and didn’t succeed? Or maybe the concept of ambulatory was only being tested here for the first time, without any particular intent to obtain relics?
The rest of the church, dedicated to Notre-Dame de la Nativité, was built later, towards the end of the 11th century. It is very large as well (for a village church, that is), and abundantly decorated with a collection of extremely interesting historied capitals.
The church was listed as a Historic Landmark (“Monument historique”) in 1862.
Nikon Z7 II, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus, FTZ II adapter. Gitzo tripod, Benro geared head. Natural light.
Bois-Sainte-Marie may be a very quiet village today, but from around Year 1000 and throughout the Middle Ages, it was a busy market town on the road linking Paray-le-Monial to Cluny. Enclosed in a sheet wall, it was the seat of an archpriesthood dependent on the cathedral of Autun. There was a granary and a salt store, judicial authorities and even a mint.
The parish church was built with significant input from Lombard architects and masons, at least as far as the apse and chancel are concerned, as the decorative bandes lombardes indicate. Construction probably began around 1025, as the eastern part of the church was completed by 1050, and it is quite large. Quite archaic as well, it is the only church in the the whole of Burgundy that features an ambulatory without any radiating chapels: the ambulatory formula was quite in its infancy back then. Ambulatories are often associated with pilgrimage churches, as they allow for the circulation of pilgrims around the relics, while the opus Dei is still being carried out in the chancel. However, in the case of Bois-Sainte-Marie, I could find no claims regarding possession of any relics at any point in time. Maybe they intended to procure some and didn’t succeed? Or maybe the concept of ambulatory was only being tested here for the first time, without any particular intent to obtain relics?
The rest of the church, dedicated to Notre-Dame de la Nativité, was built later, towards the end of the 11th century. It is very large as well (for a village church, that is), and abundantly decorated with a collection of extremely interesting historied capitals.
The church was listed as a Historic Landmark (“Monument historique”) in 1862.
Nikon Z7 II, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus, FTZ II adapter. Gitzo tripod, Benro geared head. Natural light.
Blue439
New member
The unbridled imagination of the Romanesque Age sculptors (2023)
The Age of the Romanesque (roughly between 1000 and 1200) was when Christian sculpture blossomed and spread to all parts of churches and monasteries. It did so especially on capitals, those trapeze-shaped stones inserted between a column shaft and whatever part of the building the said column is supporting. Moving away from the archaic, Pagan-inspired floral and labyrinthine abstract motifs (even though those continued to be used as well, to some extent), capitals became “historied”, meaning that they began to tell stories aimed at the members of the congregation, or at monks or nuns themselves when in a monastery.
Most times, significant leeway was given to the sculptors and the themes touched upon on those capitals were immensely diverse: religious scenes of course, meant to educate the immense majority of those who could not read, and would not have had access to the Gospels anyway, as books were so scarce and enormously expensive; but also scenes from daily life, as well as an astounding bestiary. Not to mention openly erotic, pornographic or even scatological...!
Of course, moral standards were very different back then, as well as the very way in which life was comprehended and envisioned.
To show how flourishing such sculpture was, below are four examples taken from just one humble parochial church in Burgundy.
All photos were taken with a Z7 II and the usual Gitzo tripod and Benro geared head. The first two with the Z 200-400mm, ƒ/4.5-5.6 S lens, the last two with the Micro-Nikkor 85mm, ƒ/2.8 D PC tilt-shift lens with an FTZ II adapter.
A scene from daily life: wrestlers during a village fair:
“If you do not live your as a good Christian, this is how your sins will be punished in Hell!” The sinner (probably someone who spread rumors), hands bound and legs immobilized by the weight of a dæmon, has his tongue pulled with large pincers:
A good bestiary example with lots of imagination thrown in: are these walruses? Lions? Elephants? Marine or land beasts?
Finally, a purely religious/teaching motif: a miser, bowed down under the weight of the heavy money purse attached to his neck, is being pulled into Hell by a dæmon. Of course, all of this is more educated guess based on the vague general shapes than anything else...
The Age of the Romanesque (roughly between 1000 and 1200) was when Christian sculpture blossomed and spread to all parts of churches and monasteries. It did so especially on capitals, those trapeze-shaped stones inserted between a column shaft and whatever part of the building the said column is supporting. Moving away from the archaic, Pagan-inspired floral and labyrinthine abstract motifs (even though those continued to be used as well, to some extent), capitals became “historied”, meaning that they began to tell stories aimed at the members of the congregation, or at monks or nuns themselves when in a monastery.
Most times, significant leeway was given to the sculptors and the themes touched upon on those capitals were immensely diverse: religious scenes of course, meant to educate the immense majority of those who could not read, and would not have had access to the Gospels anyway, as books were so scarce and enormously expensive; but also scenes from daily life, as well as an astounding bestiary. Not to mention openly erotic, pornographic or even scatological...!
Of course, moral standards were very different back then, as well as the very way in which life was comprehended and envisioned.To show how flourishing such sculpture was, below are four examples taken from just one humble parochial church in Burgundy.
All photos were taken with a Z7 II and the usual Gitzo tripod and Benro geared head. The first two with the Z 200-400mm, ƒ/4.5-5.6 S lens, the last two with the Micro-Nikkor 85mm, ƒ/2.8 D PC tilt-shift lens with an FTZ II adapter.
A scene from daily life: wrestlers during a village fair:
“If you do not live your as a good Christian, this is how your sins will be punished in Hell!” The sinner (probably someone who spread rumors), hands bound and legs immobilized by the weight of a dæmon, has his tongue pulled with large pincers:
A good bestiary example with lots of imagination thrown in: are these walruses? Lions? Elephants? Marine or land beasts?
Finally, a purely religious/teaching motif: a miser, bowed down under the weight of the heavy money purse attached to his neck, is being pulled into Hell by a dæmon. Of course, all of this is more educated guess based on the vague general shapes than anything else...
Blue439
New member
The Merovingian church of Civaux (2022)
The parish church in the small village of Civaux (old province of Poitou, central western France) is one of the oldest in France. It is dedicated to the saints Gervais and Protais (Gervasio and Protasio), twin Italian brothers martyred during the 1st century, who for some reason generated quite a strong following in the Poitou after their bones were discovered in Milan in 386.
The church is first mentioned in writing in 862, but it existed several centuries before that. Archæologists tell us that the base of the choir, the oldest part, is from around 400, possibly a little earlier, making this a building from the late Antiquity. It could have been a Christian mausoleum, hence the presence of the archaic stela of Æternalis and Servilla, found in the wall of the apse. There was also a Merovingian and Carolingian necropolis around the church, but all that area was fenced off and being worked on when I went. The nave and bell tower were built during the 11th and 12th centuries.
This photo shows the admirable heptagonal apse from the Merovingian times. The small, squarish stones are typical of that era.
I know it must not be easy to put this sort of thing in the proper perspective when one hasn’t grown up amongst very old monuments as we did in “Old Europe”, but to try and give you a comparison, get this: when Charlemagne was crowned Emperor (in Year 800, a very long time ago!), this apse was already as old as the Plymouth Rock Landing is to us today!
Nikon Z7 II, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus, FTZ II adapter. Gitzo tripod, Benro geared head.
The parish church in the small village of Civaux (old province of Poitou, central western France) is one of the oldest in France. It is dedicated to the saints Gervais and Protais (Gervasio and Protasio), twin Italian brothers martyred during the 1st century, who for some reason generated quite a strong following in the Poitou after their bones were discovered in Milan in 386.
The church is first mentioned in writing in 862, but it existed several centuries before that. Archæologists tell us that the base of the choir, the oldest part, is from around 400, possibly a little earlier, making this a building from the late Antiquity. It could have been a Christian mausoleum, hence the presence of the archaic stela of Æternalis and Servilla, found in the wall of the apse. There was also a Merovingian and Carolingian necropolis around the church, but all that area was fenced off and being worked on when I went. The nave and bell tower were built during the 11th and 12th centuries.
This photo shows the admirable heptagonal apse from the Merovingian times. The small, squarish stones are typical of that era.
I know it must not be easy to put this sort of thing in the proper perspective when one hasn’t grown up amongst very old monuments as we did in “Old Europe”, but to try and give you a comparison, get this: when Charlemagne was crowned Emperor (in Year 800, a very long time ago!), this apse was already as old as the Plymouth Rock Landing is to us today!
Nikon Z7 II, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus, FTZ II adapter. Gitzo tripod, Benro geared head.
Blue439
New member
Chiesa campestre and a Roman God’s acre marker (2018)
Chiesa campestre, literally “church in the fields”, that’s how they call in Sardinia those churches that are built in the middle of nowhere, at a good distance of, and sometimes quite far from, any human settlement, past or present. This one is San Antonio di Salvenero, built shortly after Year 1000 and augmented in size in the 12th and 13th centuries... still without any trace of a nearby village or even hamlet!
The southern side wall features a sheltered door, and a christianized Roman milestone stands in front of it.
Nikon D850, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus. Handheld.
Chiesa campestre, literally “church in the fields”, that’s how they call in Sardinia those churches that are built in the middle of nowhere, at a good distance of, and sometimes quite far from, any human settlement, past or present. This one is San Antonio di Salvenero, built shortly after Year 1000 and augmented in size in the 12th and 13th centuries... still without any trace of a nearby village or even hamlet!
The southern side wall features a sheltered door, and a christianized Roman milestone stands in front of it.
Nikon D850, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus. Handheld.
Blue439
New member
The Oratory of Souls (2018)
This is one of the most touching and old churches in all of Sardinia: the Byzantine, pre-Romanesque church known today as the Oratory of Souls, and formerly dedicated to San Niccolo Vescovo (“bishop”), in the village of Massama.
It was built mostly during the so–called ark Ages, in the 700s. In France, we would call it Merovingian, and it is very moving for any Mediævalist to find themselves beholding such a wonder that traveled through millennia to reach us in such a splendid condition, with minimal add-ons and restorations. One can clearly see the alternating layers and brick and stone, as well as some occurrences of opus spicatum (fishbone apparel), which are two techniques coming directly from the Romans and are signs of very old age in any building.
Yes, it is in overall mediocre condition, probably owing to lack of funds for its restoration, but I prefer seeing it like this, in its full authenticity, than “overhauled” as some of our churches were during the 19th century under the heavy hand of some holier-than-thou restorer (and in the UK as well under the Victorians!).
Nikon D850, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus. Handheld.
This is one of the most touching and old churches in all of Sardinia: the Byzantine, pre-Romanesque church known today as the Oratory of Souls, and formerly dedicated to San Niccolo Vescovo (“bishop”), in the village of Massama.
It was built mostly during the so–called ark Ages, in the 700s. In France, we would call it Merovingian, and it is very moving for any Mediævalist to find themselves beholding such a wonder that traveled through millennia to reach us in such a splendid condition, with minimal add-ons and restorations. One can clearly see the alternating layers and brick and stone, as well as some occurrences of opus spicatum (fishbone apparel), which are two techniques coming directly from the Romans and are signs of very old age in any building.
Yes, it is in overall mediocre condition, probably owing to lack of funds for its restoration, but I prefer seeing it like this, in its full authenticity, than “overhauled” as some of our churches were during the 19th century under the heavy hand of some holier-than-thou restorer (and in the UK as well under the Victorians!).
Nikon D850, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus. Handheld.
Blue439
New member
The castle chapel of Saint–Ilpize (2015)
Saint–Ilpize is a very small village in the province of Auvergne (central France). On a high hilltop, a castle was built and recorded as early as 1030; only ruins remain visible today. Within the sheet wall, a chapel was built around the same time, then remodeled, still in a very rustic manner, in the 1100s. Built in very big basalt stones (this is volcano country), it has withstood the test of time in a remarkable manner. It was listed as a Historic Landmark in 1907.
Nikon D810, Carl Zeiss Distagon T* 15mm, ƒ/2.8 ZF.2 lens, manual focus. Handheld.
Saint–Ilpize is a very small village in the province of Auvergne (central France). On a high hilltop, a castle was built and recorded as early as 1030; only ruins remain visible today. Within the sheet wall, a chapel was built around the same time, then remodeled, still in a very rustic manner, in the 1100s. Built in very big basalt stones (this is volcano country), it has withstood the test of time in a remarkable manner. It was listed as a Historic Landmark in 1907.
Nikon D810, Carl Zeiss Distagon T* 15mm, ƒ/2.8 ZF.2 lens, manual focus. Handheld.
Blue439
New member
The “Old Saint Vincent” in Mâcon, Burgundy (2023)
The “Old Saint Vincent”, as it is known today, is the original cathedral church of the city of Mâcon in Burgundy. Built mostly between 1000 and 1050, it is a very old and venerable monument. The cathedral was destroyed towards the end of the French Revolution, but for once not owing to the (unfortunately) usual revolutionary zeal, but simply because the building had become damaged and unsafe, and repairs were assessed as too expensive to be undertaken in those otherwise troubled times. Demolition began in 1799 and only the narthex and the bell towers were spared. Restoration of the remains began in 1850, and is still going on today.
The Romanesque portal that led into the nave is one of the oldest monumental portals remaining in the whole of Europe, possibly even the oldest. It has been very damaged but is still admirable. The manner of the sculpture is very similar to that of the altar of the Avenas church, which I have previously uploaded to the forum. American art historian Edson Armi ascribes them all to the anonymous artist he dubs “the Master of Avenas”.
Nikon Z7 II, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus, FTZ II adapter. Gitzo tripod, Benro geared head. Natural light.
The “Old Saint Vincent”, as it is known today, is the original cathedral church of the city of Mâcon in Burgundy. Built mostly between 1000 and 1050, it is a very old and venerable monument. The cathedral was destroyed towards the end of the French Revolution, but for once not owing to the (unfortunately) usual revolutionary zeal, but simply because the building had become damaged and unsafe, and repairs were assessed as too expensive to be undertaken in those otherwise troubled times. Demolition began in 1799 and only the narthex and the bell towers were spared. Restoration of the remains began in 1850, and is still going on today.
The Romanesque portal that led into the nave is one of the oldest monumental portals remaining in the whole of Europe, possibly even the oldest. It has been very damaged but is still admirable. The manner of the sculpture is very similar to that of the altar of the Avenas church, which I have previously uploaded to the forum. American art historian Edson Armi ascribes them all to the anonymous artist he dubs “the Master of Avenas”.
Nikon Z7 II, Nikkor 19mm, ƒ/4 PC-E tilt-shift lens, manual focus, FTZ II adapter. Gitzo tripod, Benro geared head. Natural light.