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    Category: Church Construction


    Church architecture – Wikipedia - September 19, 2019 by admin

    Church architecture refers to the architecture of buildings of Christian churches. It has evolved over the two thousand years of the Christian religion, partly by innovation and partly by imitating other architectural styles as well as responding to changing beliefs, practices and local traditions. From the birth of Christianity to the present, the most significant objects of transformation for Christian architecture and design were the great churches of Byzantium, the Romanesque abbey churches, Gothic cathedrals and Renaissance basilicas with its emphasis on harmony. These large, often ornate and architecturally prestigious buildings were dominant features of the towns and countryside in which they stood. However, far more numerous were the parish churches in Christendom, the focus of Christian devotion in every town and village. While a few are counted as sublime works of architecture to equal the great cathedrals and churches, the majority developed along simpler lines, showing great regional diversity and often demonstrating local vernacular technology and decoration.

    Buildings were at first from those originally intended for other purposes but, with the rise of distinctively ecclesiastical architecture, church buildings came to influence secular ones which have often imitated religious architecture. In the 20th century, the use of new materials, such as steel and concrete, has had an effect upon the design of churches. The history of church architecture divides itself into periods, and into countries or regions and by religious affiliation. The matter is complicated by the fact that buildings put up for one purpose may have been re-used for another, that new building techniques may permit changes in style and size, that changes in liturgical practice may result in the alteration of existing buildings and that a building built by one religious group may be used by a successor group with different purposes.

    The simplest church building comprises a single meeting space, built of locally available material and using the same skills of construction as the local domestic buildings. Such churches are generally rectangular, but in African countries where circular dwellings are the norm, vernacular churches may be circular as well. A simple church may be built of mud brick, wattle and daub, split logs or rubble. It may be roofed with thatch, shingles, corrugated iron or banana leaves. However, church congregations, from the 4th century onwards, have sought to construct church buildings that were both permanent and aesthetically pleasing. This had led to a tradition in which congregations and local leaders have invested time, money and personal prestige into the building and decoration of churches.

    Within any parish, the local church is often the oldest building and is larger than any pre-19th-century structure except perhaps a barn. The church is often built of the most durable material available, often dressed stone or brick. The requirements of liturgy have generally demanded that the church should extend beyond a single meeting room to two main spaces, one for the congregation and one in which the priest performs the rituals of the Mass. To the two-room structure is often added aisles, a tower, chapels, and vestries and sometimes transepts and mortuary chapels. The additional chambers may be part of the original plan, but in the case of a great many old churches, the building has been extended piecemeal, its various parts testifying to its long architectural history.

    In the first three centuries of the Early Livia Christian Church, the practice of Christianity was illegal and few churches were constructed. In the beginning, Christians worshipped along with Jews in synagogues and in private houses. After the separation of Jews and Christians, the latter continued to worship in people's houses, known as house churches. These were often the homes of the wealthier members of the faith. Saint Paul, in his first letter to the Corinthians writes: "The churches of Asia send greetings. Aquila and Prisca, together with the church in their house, greet you warmly in the Lord."[1]

    Some domestic buildings were adapted to function as churches. One of the earliest of adapted residences is at Dura Europos church, built shortly after 200 AD, where two rooms were made into one, by removing a wall, and a dais was set up. To the right of the entrance a small room was made into a baptistry.[citation needed]

    Some church buildings were specifically built as church assemblies, such as that opposite the emperor Diocletian's palace in Nicomedia. Its destruction was recorded thus:

    When that day dawned, in the eighth consulship of Diocletian and seventh of Maximian, suddenly, while it was yet hardly light, the perfect, together with chief commanders, tribunes, and officers of the treasury, came to the church in Nicomedia, and the gates having been forced open, they searched everywhere for an idol of the Divinity. The books of the Holy Scriptures were found, and they were committed to the flames; the utensils and furniture of the church were abandoned to pillage: all was rapine, confusion, tumult. That church, situated on rising ground, was within view of the palace; and Diocletian and Galerius stood as if on a watchtower, disputing long whether it ought to be set on fire. The sentiment of Diocletian prevailed, who dreaded lest, so great a fire being once kindled, some part of the city might he burnt; for there were many and large buildings that surrounded the church. Then the Pretorian Guards came in battle array, with axes and other iron instruments, and having been let loose everywhere, they in a few hours leveled that very lofty edifice with the ground.[2]

    From the first to the early fourth centuries most Christian communities worshipped in private homes, often secretly. Some Roman churches, such as the Basilica of San Clemente in Rome, are built directly over the houses where early Christians worshipped. Other early Roman churches are built on the sites of Christian martyrdom or at the entrance to catacombs where Christians were buried.

    With the victory of the Roman emperor Constantine at the Battle of Milvian Bridge in 312 AD, Christianity became a lawful and then the privileged religion of the Roman Empire. The faith, already spread around the Mediterranean, now expressed itself in buildings. Christian architecture was made to correspond to civic and imperial forms, and so the Basilica, a large rectangular meeting hall became general in east and west, as the model for churches, with a nave and aisles and sometimes galleries and clerestories. While civic basilicas had apses at either end, the Christian basilica usually had a single apse where the bishop and presbyters sat in a dais behind the altar. While pagan basilicas had as their focus a statue of the emperor, Christian basilicas focused on the Eucharist as the symbol of the eternal, loving and forgiving God.

    The first very large Christian churches, notably Santa Maria Maggiore, San Giovanni in Laterano, and Santa Costanza, were built in Rome in the early 4th century.[3][full citation needed]

    The church building as we know it grew out of a number of features of the Ancient Roman period:

    When Early Christian communities began to build churches they drew on one particular feature of the houses that preceded them, the atrium, or courtyard with a colonnade surrounding it. Most of these atriums have disappeared. A fine example remains at the Basilica of San Clemente in Rome and another was built in the Romanesque period at Sant'Ambrogio, Milan. The descendants of these atria may be seen in the large square cloisters that can be found beside many cathedrals, and in the huge colonnaded squares or piazza at the Basilicas of St Peter's in Rome and St Mark's in Venice and the Camposanto (Holy Field) at the Cathedral of Pisa.

    Early church architecture did not draw its form from Roman temples, as the latter did not have large internal spaces where worshipping congregations could meet. It was the Roman basilica, used for meetings, markets and courts of law that provided a model for the large Christian church and that gave its name to the Christian basilica.[4]

    Both Roman basilicas and Roman bath houses had at their core a large vaulted building with a high roof, braced on either side by a series of lower chambers or a wide arcaded passage. An important feature of the Roman basilica was that at either end it had a projecting exedra, or apse, a semicircular space roofed with a half-dome. This was where the magistrates sat to hold court. It passed into the church architecture of the Roman world and was adapted in different ways as a feature of cathedral architecture.[3][full citation needed]

    The earliest large churches, such as the Cathedral of San Giovanni in Laterano in Rome, consisted of a single-ended basilica with one apsidal end and a courtyard, or atrium, at the other end. As Christian liturgy developed, processions became part of the proceedings. The processional door was that which led from the furthest end of the building, while the door most used by the public might be that central to one side of the building, as in a basilica of law. This is the case in many cathedrals and churches.[5][full citation needed]

    As numbers of clergy increased, the small apse which contained the altar, or table upon which the sacramental bread and wine were offered in the rite of Holy Communion, was not sufficient to accommodate them. A raised dais called a bema formed part of many large basilican churches. In the case of St. Peter's Basilica and San Paolo Fuori le Mura (St Paul's outside the Walls) in Rome, this bema extended laterally beyond the main meeting hall, forming two arms so that the building took on the shape of a T with a projecting apse. From this beginning, the plan of the church developed into the so-called Latin Cross which is the shape of most Western Cathedrals and large churches. The arms of the cross are called the transept.[6][full citation needed]

    One of the influences on church architecture was the mausoleum. The mausoleum of a noble Roman was a square or circular domed structure which housed a sarcophagus. The Emperor Constantine built for his daughter Costanza a mausoleum which has a circular central space surrounded by a lower ambulatory or passageway separated by a colonnade.Santa Costanza's burial place became a place of worship as well as a tomb. It is one of the earliest church buildings that was central, rather than longitudinally planned. Constantine was also responsible for the building of the circular, mausoleum-like Church of the Holy Sepulchre in Jerusalem, which in turn influenced the plan of a number of buildings, including that constructed in Rome to house the remains of the proto-martyr Stephen, San Stefano Rotondo and the Basilica of San Vitale in Ravenna.

    Ancient circular or polygonal churches are comparatively rare. A small number, such as the Temple Church, London were built during the Crusades in imitation of the Church of the Holy Sepulchre as isolated examples in England, France, and Spain. In Denmark such churches in the Romanesque style are much more numerous. In parts of Eastern Europe, there are also round tower-like churches of the Romanesque period but they are generally vernacular architecture and of small scale. Others, like St Martin's Rotunda at Visegrad, in the Czech Republic, are finely detailed.

    The circular or polygonal form lent itself to those buildings within church complexes that perform a function in which it is desirable for people to stand, or sit around, with a centralized focus, rather than an axial one. In Italy, the circular or polygonal form was used throughout the medieval period for baptisteries, while in England it was adapted for chapter houses. In France, the aisled polygonal plan was adopted as the eastern terminal and in Spain, the same form is often used as a chapel.

    Other than Santa Costanza and San Stefano, there was another significant place of worship in Rome that was also circular, the vast Ancient Roman Pantheon, with its numerous statue-filled niches. This too was to become a Christian church and lend its style to the development of Cathedral architecture.

    Most cathedrals and great churches have a cruciform groundplan. In churches of Western European tradition, the plan is usually longitudinal, in the form of the so-called Latin Cross, with a long nave crossed by a transept. The transept may be as strongly projecting as at York Minster or not project beyond the aisles as at Amiens Cathedral.

    Many of the earliest churches of Byzantium have a longitudinal plan. At Hagia Sophia, Istanbul, there is a central dome, the frame on one axis by two high semi-domes and on the other by low rectangular transept arms, the overall plan being square. This large church was to influence the building of many later churches, even into the 21st century. A square plan in which the nave, chancel and transept arms are of equal length forming a Greek cross, the crossing generally surmounted by a dome became the common form in the Eastern Orthodox Church, with many churches throughout Eastern Europe and Russia being built in this way. Churches of the Greek Cross form often have a narthex or vestibule which stretches across the front of the church. This type of plan was also to later play a part in the development of church architecture in Western Europe, most notably in Bramante's plan for St. Peter's Basilica.[3][full citation needed][6][full citation needed]

    Early Christian: House Church at Dura, Syria, domestic rooms around a courtyard were adapted as a meeting place and baptistry.

    The division of the Roman Empire in the fourth century AD, resulted in Christian ritual evolving in distinctly different ways in the eastern and western parts of the empire. The final break was the Great Schism of 1054.

    Eastern Christianity and Western Christianity began to diverge from each other from an early date. Whereas the basilica was the most common form in the west, a more compact centralized style became predominant in the east. These churches were in origin martyria, constructed as mausoleums housing the tombs of the saints who had died during the persecutions which only fully ended with the conversion of Emperor Constantine. An important surviving example is the Mausoleum of Galla Placidia in Ravenna, which has retained its mosaic decorations. Dating from the 5th century, it may have been briefly used as an oratory before it became a mausoleum.

    These buildings copied pagan tombs and were square, cruciform with shallow projecting arms or polygonal. They were roofed by domes which came to symbolize heaven. The projecting arms were sometimes roofed with domes or semi-domes that were lower and abutted the central block of the building. Byzantine churches, although centrally planned around a domed space, generally maintained a definite axis towards the apsidal chancel which generally extended further than the other apses. This projection allowed for the erection of an iconostasis, a screen on which icons are hung and which conceals the altar from the worshippers except at those points in the liturgy when its doors are opened.

    The architecture of Constantinople (Istanbul) in the 6th century produced churches that effectively combined centralized and basilica plans, having semi-domes forming the axis, and arcaded galleries on either side. The church of Hagia Sophia (now a museum) was the most significant example and had an enormous influence on both later Christian and Islamic architecture, such as the Dome of the Rock in Jerusalem and the Umayyad Great Mosque in Damascus. Many later Eastern Orthodox churches, particularly large ones, combine a centrally planned, domed eastern end with an aisled nave at the west.

    A variant form of the centralized church was developed in Russia and came to prominence in the sixteenth century. Here the dome was replaced by a much thinner and taller hipped or conical roof which perhaps originated from the need to prevent snow from remaining on roofs. One of the finest examples of these tented churches is St. Basil's in Red Square in Moscow.

    Participation in worship, which gave rise to the porch church, began to decline as the church became increasingly clericalized; with the rise of the monasteries church buildings changed as well. The 'two-room' church' became, in Europe, the norm. The first 'room', the nave, was used by the congregation; the second 'room', the sanctuary, was the preserve of the clergy and was where the Mass was celebrated. This could then only be seen from a distance by the congregation through the arch between the rooms (from late mediaeval times closed by a wooden partition, the Rood screen), and the elevation of the host, the bread of the communion, became the focus of the celebration: it was not at that time generally partaken of by the congregation. Given that the liturgy was said in Latin, the people contented themselves with their own private devotions until this point. Because of the difficulty of sight lines, some churches had holes, 'squints', cut strategically in walls and screens, through which the elevation could be seen from the nave. Again, from the twin principles that every priest must say his mass every day and that an altar could only be used once, in religious communities a number of altars were required for which space had to be found, at least within monastic churches.

    Apart from changes in the liturgy, the other major influence on church architecture was in the use of new materials and the development of new techniques. In northern Europe, early churches were often built of wood, for which reason almost none survive. With the wider use of stone by the Benedictine monks, in the tenth and eleventh centuries, larger structures were erected.

    The two-room church, particularly if it were an abbey or a cathedral, might acquire transepts. These were effectively arms of the cross which now made up the ground plan of the building. The buildings became more clearly symbolic of what they were intended for. Sometimes this crossing, now the central focus of the church, would be surmounted by its own tower, in addition to the west end towers, or instead of them. (Such precarious structures were known to collapse as at Ely and had to be rebuilt.) Sanctuaries, now providing for the singing of the offices by monks or canons, grew longer and became chancels, separated from the nave by a screen. Practical function and symbolism were both at work in the process of development.

    Across Europe, the process by which church architecture developed and individual churches were designed and built was different in different regions, and sometimes differed from church to church in the same region and within the same historic period.

    Among the factors that determined how a church was designed and built are the nature of the local community, the location in city, town or village, whether the church was an abbey church, whether the church was a collegiate church, whether the church had the patronage of a bishop, whether the church had the ongoing patronage of a wealthy family and whether the church contained relics of a saint or other holy objects that were likely to draw pilgrimage.

    Collegiate churches and abbey churches, even those serving small religious communities, generally demonstrate a greater complexity of form than parochial churches in the same area and of a similar date.

    Churches that have been built under the patronage of a bishop have generally employed a competent church architect and demonstrate in the design refinement of style unlike that of the parochial builder.

    Many parochial churches have had the patronage of wealthy local families. The degree to which this has an effect on the architecture can differ greatly. It may entail the design and construction of the entire building having been financed and influenced by a particular patron. On the other hand, the evidence of patronage may be apparent only in accretion of chantry chapels, tombs, memorials, fittings, stained glass, and other decorations.

    Churches that contain famous relics or objects of veneration and have thus become pilgrimage churches are often very large and have been elevated to the status of basilica. However, many other churches enshrine the bodies or are associated with the lives of particular saints without having attracted continuing pilgrimage and the financial benefit that it brought.

    The popularity of saints, the veneration of their relics, and the size and importance of the church built to honor them are without consistency and can be dependent upon entirely different factors. Two virtually unknown warrior saints, San Giovanni and San Paolo, are honoured by one of the largest churches in Venice, built by the Dominican Friars in competition to the Franciscans who were building the Frari Church at the same time. The much smaller church that contained the body of Saint Lucy, a martyr venerated by Catholics and Protestants across the world and the titular saint of numerous locations, was demolished in the late 19th century to make way for Venices railway station.

    The first truly baroque faade was built in Rome between 1568 and 1584 for the Church of the Ges, the mother church of the Society of Jesus (Jesuits). It introduced the baroque style into architecture. Corresponding with the Society's theological task as the spearhead of the Counter-Reformation, the new style soon became a triumphant feature in Catholic church architecture.

    After the second world war, modern materials and techniques such as concrete and metal panels were introduced in Norwegian church construction. Bod Cathedral for instance was built in reinforced concrete allowing a wide basilica to be built. During the 1960s there was a more pronounced break from tradition as in the Arctic Cathedral built in lightweight concrete and covered in aluminum sidings.

    In Norway, church architecture has been affected by wood as the preferred material, particularly in sparsely populated areas. Churches built until the second world war are about 90% wooden except medieval constructions.[7][pageneeded] During the Middle Ages all wooden churches in Norway (about 1000 in total) were constructed in the stave church technique, but only 271 masonry constructions.[8] After the Protestant reformation when the construction of new (or replacement of old) churches was resumed, wood was still the dominant material but the log technique became dominant.[9] The log construction gave a lower more sturdy style of building compared to the light and often tall stave churches. Log construction became structurally unstable for long and tall walls, particularly if cut through by tall windows. Adding transepts improved the stability of the log technique and is one reason why the cruciform floor plan was widely used during 1600 and 1700s. For instance the Old Olden Church (1759) replaced a building damaged by hurricane, the 1759 church was then constructed in cruciform shape to make it withstand the strongest winds.[10] The length of trees (logs) also determined the length of walls according to Sther.[11] In Samnanger church for instance, outside corners have been cut to avoid splicing logs, the result is an octagonal floor plan rather than rectangular.[12] The cruciform constructions provided a more rigid structure and larger churches, but view to the pulpit and altar was obstructed by interior corners for seats in the transept. The octagonal floor plan offers good visibility as well as a rigid structure allowing a relatively wide nave to be constructed - Hkon Christie believes that this is a reason why the octagonal church design became popular during the 1700s.[9] Vreim believes that the introduction of log technique after the reformation resulted in a multitude of church designs in Norway.[13][pageneeded]

    In Ukraine, wood church constructions originate from the introduction of Christianity and continued to be widespread, particularly in rural areas, when masonry churches dominated in cities and in Western Europe.[citation needed]

    Church architecture varies depending on both the sect of the faith, as well as the geographical location and the influences acting upon it. Variances from the typical church architecture as well as unique characteristics can be seen in many areas around the globe.

    The split between Eastern and Western Church Architecture extended its influence into the churches we see in America today as well. America's churches are an amalgamation of the many styles and cultures that collided here, examples being St. Constantine, a Ukrainian Greek Catholic Church in Minneapolis, Polish Cathedral style churches, and Russian Orthodox churches, found all across the country.[14] There are remnants of the Byzantine inspired architecture in many of the churches, such as the large domed ceilings, extensive stonework, and a maximizing of space to be used for religious iconography on walls and such.[14] Churches classified as Ukrainian or Catholic also seem to follow the trend of being overall much more elaborately decorated and accentuated than their Protestant counterparts, in which decoration is simple.[14]

    Specifically in Texas, there are remnants of the Anglo-American colonization that are visible in the architecture itself.[15] Texas in itself was a religious hotbed, and so ecclesiastical architecture developed at a faster pace than in other areas. Looking at the Antebellum period, (18351861) Church architecture shows the values and personal beliefs of the architects who created them, while also showcasing Texan cultural history.[15] Both the Catholic and Protestant buildings showed things such as the architectural traditions, economic circumstances, religious ordinances, and aesthetic tastes[15] of those involved. The movement to keep ethnicities segregated during this time was also present in the very foundations of this architecture. Their physical appearances vary wildly from area to area though, as each served its own local purpose, and as mentioned before, due to the multitude of religious groups, each held a different set of beliefs.[15]

    The history of England's churches is extensive, their style has gone through many changes and has had numerous influences such as 'geographical, geological, climatic, religious, social and historical, shape it.[16] One of the earliest style changes is shown in the Abbey Church of Westminster, which was built in a foreign style and was a cause for concern for many as it heralded change.[16] A second example is St Paul's Cathedral, which was one of the earliest Protestant Cathedrals in England. There are many other notable churches that have each had their own influence on the ever-changing style in England, such as Truro, Westminster Cathedral, Liverpool and Guildford.[16] Between the thirteenth and fourteenth centuries, the style of church architecture could be called 'Early English' and 'Decorated'. This time is considered to be when England was in its prime in the category of a church building. It was after the Black Death that the style went through another change, the 'perpendicular style', where ornamentation became more extravagant.[16]

    An architectural element that appeared soon after the Black Death style change and is observed extensively in Medieval English styles is fan vaulting, seen in the Chapel of Henry VII and the King's College Chapel in Cambridge.[16] After this, the prevalent style was Gothic for around 300 years but the style was clearly present for many years before that as well. In these late Gothic times, there was a specific way in which the foundations for the churches were built. First, a stone skeleton would be built, then the spaces between the vertical supports filled with large glass windows, then those windows supported by their own transoms and mullions.[16] On the topic of church windows, the windows are somewhat controversial as some argue that the church should be flooded with light and some argue that they should be dim for an ideal praying environment.[16] Most church plans in England have their roots in one of two styles, Basilican and Celtic and then we see the later emergence of a 'two-cell' plan, consisting of nave and sanctuary.[16]

    In the time before the last war, there was a movement towards a new style of architecture, one that was more functional than embellished.[16] There was an increased use of steel and concrete and a rebellion against the romantic nature of the traditional style. This resulted in a 'battle of the styles'[16] in which one side was leaning towards the modernist, functional way of design, and the other was following traditional Romanesque, Gothic, and Renaissance styles,[16] as reflected in the architecture of all buildings, not just churches.

    In the early Romanian territory of Wallachia, there were three major influences that can be seen. The first are the western influences of Gothic and Romanesque styles,[17] before later falling to the greater influence of the Byzantine styles. The early western influences can be seen in two places, the first is a church in Cmpulung, that showcases distinctly Romanesque styles, and the second are the remnants of a church in Drobeta-Turnu Severin, which has features of the Gothic style.[17] There are not many remaining examples of those two styles, but the Byzantine influence is much more prominent. A few prime examples of the direct Byzantine influence are the St. Nicoara and Domneasca in Curtea de Arges, and church at Nicopolis in Bulgaria. These all show the characteristic features such as sanctuaries, rectangular naves, circular interiors with non-circular exteriors, and small chapels.[17] The Nicopolis church and the Domneasca both have Greek-inspired plans, but the Domneasca is far more developed than the Nicopolis church. Alongside these are also traces of Serbian, Georgian, and Armenian influences that found their way to Wallachia through Serbia.[17]

    Gothic-era architecture, originating in 12th-century France, is a style where curves, arches, and complex geometry are highly emphasized. These intricate structures, often of immense size, required great amounts of planning, effort and resources; involved large numbers of engineers and laborers; and often took hundreds of years to completeall of which was considered a tribute to God.

    The characteristics of a Gothic-style church are largely in congruence with the ideology that the more breathtaking a church is, the better it reflects the majesty of God. This was accomplished through clever math and engineering. In a time period where complex shapes, especially in huge cathedrals, were not typically found in structures. Through this newly implemented skill of being able to design complex shapes churches consisted of namely pointed arches, curved lights and windows, and rib vaults.[18][19] Since these newly popular designs were implemented with respect to the width of the church rather than height, width was much more desired rather than height.[20]

    Gothic architecture in churches had a heavy emphasis on art. Just like the structure of the building, there was an emphasis on complex geometric shapes. An example of this is stained glass windows, which can still be found in modern churches. Stained glass windows were both artistic and functional in the way that they allowed colored light to enter the church and create a heavenly atmosphere.[21] Other popular art styles in the Gothic era were sculptures. Creating lifelike depictions of figures, again with the use of complex curves and shapes. Artists would include a high level of detail to best preserve and represent their subject.[22]

    The Gothic era, first referred to by historiographer Giorgio Vasari,[18] began in northeastern France and slowly spread throughout Europe. It was perhaps most characteristically expressed in the Rayonnant style, originating in the 13th century, known for its exaggerated geometrical features that made everything as astounding and eye-catching as possible. Gothic churches were often highly decorated, with geometrical features applied to already complex structural forms.[20] By the time the Gothic period neared its close, its influence had spread to residences, guild halls, and public and government buildings.

    Although having its roots in the traditions of Eastern Christianity especially the Syrian church as well as later being exposed to European influences the traditional architectural style of Ethiopian Orthodox churches has followed a path all its own. The earliest known churches show the familiar basilican layout. For example, the church of Debre Damo is organized around a nave of four bays separated by re-used monolithic columns; at the western end is a low-roofed narthex, while on the eastern is the maqdas, or Holy of Holies, separated by the only arch in the building.[23]

    The next period, beginning in the second half of the first millennium AD and lasting into the 16th century, includes both structures built of conventional materials, and those hewn from rock. Although most surviving examples of the first are now found in caves, Thomas Pakenham discovered an example in Wollo, protected inside the circular walls of later construction.[24] An example of these built-up churches would be the church of Yemrehana Krestos, which has many resemblances to the church of Debre Damo both in plan and construction.[25]

    The other style of this period, perhaps the most famous architectural tradition of Ethiopia, are the numerous monolithic churches. This includes houses of worship carved out of the side of mountains, such as Abreha we Atsbeha, which although approximately square the nave and transepts combine to form a cruciform outline leading experts to categorize Abreha we Atsbeha as an example of cross-in-square churches. Then there are the churches of Lalibela, which were created by excavating into "a hillside of soft, reddish tuff, variable in hardness and composition". Some of the churches, such as Bete Ammanuel and the cross-shaped Bete Giyorgis, are entirely free-standing with the volcanic tuff removed from all sides, while other churches, such as Bete Gabriel-Rufael and Bete Abba Libanos, are only detached from the living rock on one or two sides. All of the churches are accessed through a labyrinth of tunnels.[26]

    The final period of Ethiopian church architecture, which extends to the present day, is characterized by round churches with conical roofs quite similar to the ordinary houses the inhabitants of the Ethiopian highlands live in. Despite this resemblance, the interiors are quite different in how their rooms are laid out, based on a three-part division of:

    In the early 16th century, the Reformation brought a period of radical change to church design. On Christmas Day 1521, Andreas Karlstadt performed the first reformed communion service. In early January 1522, the Wittenberg city council authorized the removal of imagery from churches and affirmed the changes introduced by Karlstadt on Christmas. According to the ideals of the Protestant Reformation, the spoken word, the sermon, should be central act in the church service. This implied that the pulpit became the focal point of the church interior and that churches should be designed to allow all to hear and see the minister.[28][pageneeded] Pulpits had always been a feature of Western churches. The birth of Protestantism led to extensive changes in the way that Christianity was practiced (and hence the design of churches).

    During the Reformation period, there was an emphasis on "full and active participation". The focus of Protestant churches was on the preaching of the Word, rather than a sacerdotal emphasis. Holy Communion tables became wood to emphasise that Christ's sacrifice was made once for all and were made more immediate to the congregation to emphasise man's direct access to God through Christ. Therefore catholic churches were redecorated when they became reformed: Paintings and statues of saints were removed and sometimes the altar table was placed in front of the pulpit, as in Strasbourg Cathedral in 1524. The pews were turned towards the pulpit. Wooden galleries were built to allow more worshippers to follow the sermon.

    The first newly built protestant church was the court chapel of Neuburg Castle in 1543, followed by the court chapel of Hartenfels Castle in Torgau, consecrated by Martin Luther on 5 October 1544.

    Images and statues were sometimes removed in disorderly attacks and unofficial mob actions (in the Netherlands called the Beeldenstorm). Medieval churches were stripped of their decorations, such as the Grossmnster in Zrich in 1524, a stance enhanced by the Calvinist reformation, beginning with its main church, St. Pierre Cathedral in Geneva, in 1535. At the Peace of Augsburg of 1555, which ended a period of armed conflict between Roman Catholic and Protestant forces within the Holy Roman Empire, the rulers of the German-speaking states and Charles V, the Habsburg Emperor, agreed to accept the principle Cuius regio, eius religio, meaning that the religion of the ruler was to dictate the religion of those ruled.

    In the Netherlands the Reformed church in Willemstad, North Brabant was built in 1607 as the first Protestant church building in the Netherlands, a domed church with an octagonal shape, according to Calvinism's focus on the sermon.[29] The Westerkerk of Amsterdam was built between 1620 and 1631 in Renaissance style and remains the largest church in the Netherlands that was built for Protestants.

    By the beginning of the 17th century, in spite of the cuius regio principle, the majority of the peoples in the Habsburg Monarchy had become protestant, sparking the Counter-Reformation by the Habsburg emperors which resulted in the Thirty Years' War in 1618. In the Peace of Westphalia treaties of 1648 which ended the war, the Habsburgs were obliged to tolerate three protestant churches in their province of Silesia, where the counter-reformation had not been completely successful, as in Austria, Bohemia and Hungary, and about half of the population still remained protestant. However, the government ordered these three churches to be located outside the towns, not to be recognisable as churches, they had to be wooden structures, to look like barns or residential houses, and they were not allowed to have towers or bells. The construction had to be accomplished within a year. Accordingly, the protestants built their three Churches of Peace, huge enough to give space for more than 5,000 people each. When Protestant troops under Swedish leadership again threatened to invade the Habsburg territories during the Great Northern War, the Habsburgs were forced to allow more protestant churches within their empire with the Treaty of Altranstdt (1707), however limiting these with similar requirements, the so-called Gnadenkirchen (Churches of Grace). They were mostly smaller wooden structures.

    In Britain during the seventeenth and eighteenth centuries, it became usual for Anglican churches to display the Royal Arms inside, either as a painting or as a relief, to symbolise the monarch's role as head of the church.[30]

    During the 17th and 18th centuries protestant churches were built in the baroque style that originated in Italy, however consciously more simply decorated. Some could still become fairly grand, for instance the Katarina Church, Stockholm, St. Michael's Church, Hamburg or the Dresden Frauenkirche, built between 1726 and 1743 as a sign of the will of the citizen to remain Protestant after their ruler had converted to Catholicism.

    Some churches were built with a new and genuinely Protestant alignment: the transept became the main church while the nave was omitted, for instance at the Ludwigskirche in Saarbrcken; this building scheme was also quite popular in Switzerland, with the largest being the churches of Wdenswil (1767) and Horgen (1782). A new protestant interior design scheme was established in many German Lutheran churches during the 18th century, following the example of the court chapel of Wilhelmsburg Castle of 1590: The connection of altar with baptismal font, pulpit and organ in a vertical axis. The central painting above the altar was replaced with the pulpit.

    Neo-Lutheranism in the early 19th century criticized this scheme as being too profane. The German Evangelical Church Conference therefore recommended the Gothic language of forms for church building in 1861. Gothic Revival architecture began its triumphal march. With regard to protestant churches it was not only an expression of historism, but also of a new theological programme which put the Lord's supper above the sermon again. Two decades later liberal Lutherans and Calvinists expressed their wish for a new genuinely protestant church architecture, conceived on the basis of liturgical requirements. The spaces for altar and worshippers should no longer be separated from each other. Accordingly, churches should not only give space for service, but also for social activities of the parish. Churches were to be seen as meeting houses for the celebrating faithful. The Ringkirche in Wiesbaden was the first church realised according to this ideology in 1892-94. The unity of the parish was expressed by an architecture that united the pulpit and the altar in its circle, following early Calvinist tradition.

    The idea that worship was a corporate activity and that the congregation should be in no way excluded from sight or participation derives from the Liturgical Movement. Simple one-room plans are almost of the essence of modernity in architecture. In France and Germany between the first and second World Wars, some of the major developments took place. The church at Le Raincy near Paris by Auguste Perret is cited as the starting point of process, not only for its plan but also for the materials used, reinforced concrete. More central to the development of the process was Schloss Rothenfels-am-Main in Germany which was remodelled in 1928. Rudolf Schwartz, its architect, was hugely influential on later church building, not only on the continent of Europe but also in the United States of America. Schloss Rothenfels was a large rectangular space, with solid white walls, deep windows and a stone pavement. It had no decoration. The only furniture consisted of a hundred little black cuboid moveable stools. For worship, an altar was set up and the faithful surrounded it on three sides.

    Corpus Christi in Aachen was Schwartz's first parish church and adheres to the same principles, very much reminiscent of the Bauhaus movement of art. Externally it is a plan cube; the interior has white walls and colourless windows, a langbau i.e. a narrow rectangle at the end of which is the altar. It was to be, said Schwartz not 'christocentric' but 'theocentric'. In front of the altar were simple benches. Behind the altar was a great white void of a back wall, signifying the region of the invisible Father. The influence of this simplicity spread to Switzerland with such architects as Fritz Metzger and Dominikus Bhm.

    After the Second World War, Metzger continued to develop his ideas, notably with the church of St. Franscus at Basel-Richen. Another notable building is Notre Dame du Haut at Ronchamp by Le Corbusier (1954). Similar principles of simplicity and continuity of style throughout can be found in the United States, in particular at the Roman Catholic Abbey church of St. Procopius, in Lisle, near Chicago (1971).

    A theological principle which resulted in change was the decree Sacrosanctum Concilium of the Second Vatican Council issued in December 1963. This encouraged 'active participation' (in Latin: participatio actuosa) by the faithful in the celebration of the liturgy by the people and required that new churches should be built with this in mind (para 124) Subsequently, rubrics and instructions encouraged the use of a freestanding altar allowing the priest to face the people. The effect of these changes can be seen in such churches as the Roman Catholic Metropolitan Cathedrals of Liverpool and the Braslia, both circular buildings with a free-standing altar.

    Different principles and practical pressures produced other changes. Parish churches were inevitably built more modestly. Often shortage of finances, as well as a 'market place' theology suggested the building of multi-purpose churches, in which secular and sacred events might take place in the same space at different times. Again, the emphasis on the unity of the liturgical action, was countered by a return to the idea of movement. Three spaces, one for the baptism, one for the liturgy of the word and one for the celebration of the Eucharist with a congregation standing around an altar, were promoted by Richard Giles in England and the United States. The congregation were to process from one place to another. Such arrangements were less appropriate for large congregations than for small; for the former, proscenium arch arrangements with huge amphitheatres such as at Willow Creek Community Church in Chicago in the United States have been one answer.

    As with other Postmodern movements, the Postmodern movement in architecture formed in reaction to the ideals of modernism as a response to the perceived blandness, hostility, and utopianism of the Modern movement. While rare in designs of church architecture, there are nonetheless some notable examples as architects have begun to recover and renew historical styles and "cultural memory" of Christian architecture. Notable practitioners include Dr. Steven Schloeder, Duncan Stroik, and Thomas Gordon Smith.

    The functional and formalized shapes and spaces of the modernist movement are replaced by unapologetically diverse aesthetics: styles collide, form is adopted for its own sake, and new ways of viewing familiar styles and space abound. Perhaps most obviously, architects rediscovered the expressive and symbolic value of architectural elements and forms that had evolved through centuries of buildingoften maintaining meaning in literature, poetry and artbut which had been abandoned by the modern movement. Church buildings in Nigeria evolved from its foreign monument look of old to the contemporary design which makes it look like a factory.[31]

    Santa Mara, Cambre, Galicia, Spain

    San Pedro de Dozn, Spain

    St Gregory the Great, Kirknewton, Scotland

    Wooroolin Church, Queensland, Australia

    Collegiate Church of St Vitus

    San Bartolo, San Gimignano

    Alexander Nevsky Cathedral, Sofia, Bulgaria

    Sant'Agostino, San Gimignano, Tuscany

    St Martin's in the Fields, London

    Presbyterian church, Washington, Georgia, 1826

    Rococo choir of Church of Saint-Sulpice, Fougres, Brittany, 16th 18th century

    Saint John the Baptist of Saint-Jean-de-Luz, France

    Romanesque interior, Schngrabern, Austria

    St Bartholomew-the-Great, London

    Interior of a Medieval Welsh church c.1910

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    Church architecture - Wikipedia

    Church Builder Walker Design & Construction - May 20, 2019 by admin

    For more then 10 years, South Florida-based Walker Design & Construction has been an affiliate builder for Building Gods Way (www.bgwservices.com), a national organization that assists churches in the design and construction of churches.

    As you may know, church construction projects are frequently disruptive and result in unpleasant experiences for congregations. But it doesnt have to be that way if its done by building Gods way. By following the Scriptures, churches find that through Building Gods Way the process can be one of education, harmony, and financial success, which all combine to build a ministry.

    Headed by company president Lee Walker, this company has built more than 20 church facilities from Orlando to Key West. His staff of architects, draftsmen, and craftsmen has delivered quality facilities on time and on budget, using blueprints that are clearly outlined in the Bible.

    These professionals, however, are about much more than just building a building. They work closely with congregations to make sure the new structure meets the needs of a church in terms of building Gods ministry. Through Building Gods Way, Walker Design & Construction engages the members of the church, helping them establish a church vision and mission statement so that they can more clearly envision what type of facility they need.

    The Building Gods Way delivery system also advises congregations on fundraising strategies, financial management, banking relationships, and the formation of construction ministries.

    Walker Design & Constructions reputation is supported by the fact that Walker and Jeff Bercaw, Director of Development, are regular columnists for two prestigious national publications Church Solutions Magazine and Church Executive Magazine.

    These column topics include financial management, establishing a vision, formulating an accurate timeline for construction, and others.

    We hope youll take a few minutes to read these articles by clicking on the appropriate links. Please feel free to use them as a resource as you explore the possibilities of expanding your church campuses and your ministries.

    Please feel free to contact us by filling out the form to the right or at:561-998-0001Lee Walker/President: leewdc@bellsouth.netPatrick Graham/Vice President: patrickwdc@bellsouth.net

    Useful Links

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    Capote Baptist Church Sustainable Construction-1 | Everett … - May 15, 2019 by admin

    The Capote Black settlement of Guadalupe County, Texas is a classic example of the origin, evolution and transition of African Americans from life as slaves into lives as American citizens. The church is one hundred and forty years old. I have been working with the Capote Restoration Committee since fall of 2012 to preserve the structure and document its construction.

    There are many lessons of sustainable construction integrated into the structure. I thought it would be appropriate to share one for Earth Day 2013. A significant amount of history has been gathered regarding the pottery works that members of the Wilson family operated from ca.1857 to 1903. The African American business produced things such as storage jars, urns, and churns. One of the reasons for the success of the pottery was the availability of native clay soil with inherent plastic and adhesive qualities.

    In the process of systematically disassembling deteriorating parts of the church I asked the general contractor, Earl Greenwood, to excavate to the base of some of the brick piers. At the bottom, we discovered hand formed concrete footings. After some research I found out that a White medical physician and chemist, Dr. John E. Park, had developed a formula for load bearing limecrete in the Seguin area in the 1850s. Dr. Park used native materials from central Texas, including the same type of clay soil that the Wilsons used in their pottery. Various historical sources also, verify that Dr. Park used African American slaves as labor to build a number of limecrete structures in Guadalupe County before the Civil War. The African Americans who worked for Dr. Park are not given much credit for knowing how to mix the limecrete. But none of the thirty five limecrete footings at the church have disintegrated or cracked over more than 100 years of service. Limecrete has the ability to absorb and release moisture as the moisture content of the surrounding soil changes. The footings are even specifically shaped according to their particular locations, interior, corner and perimeter. Its obvious that African American knowledge of local construction materials and techniques has been underestimated. Surely there are other similar untold stories across America.

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    Capote Baptist Church Sustainable Construction-1 | Everett ...

    St Patricks Construction and Opening St Patrick’s … - March 10, 2019 by admin

    The earliest known photograph of St Patricks, taken around 1868,when the Marist Fathers were given care of the parish

    Built in the early 1840s, St Patricks stands in Sydneys historic Rocks area, with a history reaching back to the very beginnings of Catholic life in Australia. Inseparably linked with St Patricks history is the name of William Davis, an Irishman transported for his part in anti-British uprisings in Ireland in 1798. Davis obtained land in The Rocks in 1809, and in the early years of the colony, when there was no resident priest in Sydney, his home became a centre of Catholic prayer.

    In 1840 William Davis donated the land on which St Patricks is built, gifting that section of his 1809 grant bounded by Gloucester and Grosvenor Streets. The foundation stone was blessed on 25 August 1840, and the now elderly Davis astonished everyone when he came forward and placed a cheque for 1000 on the stone, an incredible sum in those days. Davis had prospered over the years through his business ventures, which included interests in grazing and licensed premises. Davis donation was matched by an equal grant from the colonial government.

    The plans for St Patricks may have been loosely modelled on St Anthonys Church (1833) in Liverpool UK, and were drawn by William Fernyhough, a Sydney draughtsman. Unfortunately the design did not fit the site, so the architect John Frederick Hilly was employed to re-design the church and supervise its construction. Even then, the church porch extended beyond the street building line, and a special Act had to be passed through the NSW Legislative Council in 1840 to legitimise the encroachment.

    Built by Andrew Ross & Co., the church was officially opened on 18 March, 1844, a date chosen in preference to March 17, the feast of St Patrick; organisers were persuaded to avoid St Patricks day itself, lest the opening be marred by inebriated revellers and religious bigotry. Davis did not live to see the building completed, having died the previous August.

    William Davis place in early Catholic history in Sydney rests not only on his substantial contribution to the construction of St Patricks, but also on his association with the inept and short-lived ministry of Fr Jeremiah OFlynn, who arrived in the colony in November, 1817. At that time there were no resident Catholic priests in Sydney, and the only clergy sanctioned by the British Government were Anglican ministers appointed primarily to provide religious services for the colonys convicts.

    OFlynn had letters of appointment from the Holy See to minister in Sydney, but had been unsuccessful in obtaining authorisation from the British Government. On arrival in Sydney he told the colonys governor, Lachlan Macquarie, that appropriate permissions would shortly be forthcoming from the British Colonial Office, and commenced a semi-clandestine ministry to Catholic convicts and free settlers. Since there were no Catholic churches in Sydney, he used private homes for the celebration of Masses; two such venues were Davis cottage near the corner of Grosvenor Street and Harrington Street, and the home of James Dempsey, another Irish convict from the 1798 troubles, who lived nearby in Kent Street.

    When no official papers arrived to authorise OFlynns ministry, Macquarie had OFlynn arrested in May, 1818, and deported him as an illegal immigrant. Whether by accident or design is unknown, but OFlynn left the consecrated communion sacrament in a pyx in Davis home prior to his capture. It became a focus of prayer for a small group of Sydney Catholics, who kept daily vigil before the eucharistic sacrament for a period of 18 months; in November, 1819, the Catholic chaplain on a visiting French naval ship celebrated Mass for local Catholics, and most probably retrieved the sacrament.

    Among historians there is some dispute as to whether OFlynn left the sacrament at Dempseys home or at Davis home. There is convincing evidence in support of both traditions, and perhaps the best explanation for the existence of two parallel traditions is that OFlynn left the sacrament at both locations.

    Certainly the site of Davis cottage at St Patricks has been consistently revered by generations of Sydney Catholics because of its link with the early ministry of Fr Jeremiah OFlynn, and the tradition of the veneration of the eucharistic sacrament there during 1818-19.

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    Harmon Cove station – Wikipedia - October 31, 2018 by admin

    Harmon Cove is an abandoned train station in the Harmon Cove section of Secaucus, New Jersey. The station was a former stop on the Bergen County Line which runs from Hoboken Terminal to Suffern. Train service was discontinued in 2003 when Secaucus Junction was opened.

    The station was built to serve the gated community known as Harmon Cove which was developed in the 1970s with townhouses and highrise residential buildings.[1][2][3] The station was built adjacent to the development at Meadowlands Parkway[4] for $150,000. The station opened on June 26, 1978,[5] to serve the community. The station had a 100-car parking lot and could shelter 50 passengers.[6] The station closed on August 4, 2003, in anticipation of the opening of Secaucus Junction station. To allow Bergen County Line and Pascack Valley Line trains to stop there, a curving track was built between the HX Draw at the Hackensack River and the Main Line north of Secaucus Junction. This station was located on a section of the old Erie Main Line.[7][8][9]

    To replace train service, a bus shuttle, was implemented, running between Harmon Cove and Secaucus, connecting with Bergen County Line trains.[10] This shuttle was operated by Academy Express and was labeled bus route 972.[11] This route was replaced by route 129 on April 3, 2004.[12] This station had been the only privately financed and constructed rail station in New Jersey.[13]

    Coordinates: 404653N 740444W / 40.7813N 74.0790W / 40.7813; -74.0790

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    Church Buildings For Sale In Florida | ABS - October 7, 2018 by admin

    Alternative Building Solutions, Inc. offers modular building solutions for every churchs needs.

    No matter what your churchs plans are, we can help you find the right modular building for your church organization. Alternative Building Solutions, Inc. will work alongside you in the designing of the modular church floor plans and construction of your prefabricated modular buildings to ensure you are completely satisfied. We can provide permanent or portable modular church buildings for sale in Florida, including:

    Our buildings are typically 70%- 90% complete before arriving at your property. With the site work and construction of your permanent or portable modular building being completed simultaneously, your organization saves a lot of time and money. Depending on your interior and exterior finishes and size of your prefabricated modular building, you can expect your church project to be completed in as little as 2-3 weeks once we arrive on your modular building site.

    We pride ourselves on providing all of our clients with the education, honesty, and quality that they deserve. That is why from your first meeting with us, you will know exactly what to expect from the Alternative Building Solutions team. Find out how we can assist you in planning and constructing your next modular building project with, undoubtedly the most economical and quickest form of construction available today.

    Alternative Building Solutions has many existing modular floor plans for you to choose from.

    Contact us to discuss the specifics of your church building project

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    Church Buildings For Sale In Florida | ABS

    The Aftermath of a Church Building Program: Six Keys to … - September 29, 2018 by admin

    I find great joy in hearing the stories of churches that had successful building programs. By successful I do not mean just the adequate funding and completion of the project. I mean that the church continues to have a momentum in ministry, outward focus, and internal unity.

    Unfortunately, a number of churches complete a building program only to see more challenges than opportunities. They often become discouraged and disillusioned. The building program was perceived to be a significant answer to their needs. Instead the church finds itself with declining ministries and attendance, and with greater debt and facilities to underwrite.

    So what is the difference between the successful and unsuccessful churches in building programs? Why do some thrive in the aftermath, while others hit difficult times? Allow me to offer six keys to successful programs.

    A church building project is a huge investment of money, ministry, and time. The aftermath of such an endeavor can be new momentum in ministry and unity. Conversely, those churches that approach a building program poorly may see significant problems in the months that follow.

    Let me hear from you about your experiences in church building programs. The readers of this blog have some really great insights. I hope to hear some of yours.

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    The Aftermath of a Church Building Program: Six Keys to ...

    Building a Church: Baragoi | A2Africa - September 29, 2018 by admin

    Posted on September 14, 2012 by Andrew in Uncategorized

    One of my favorite things that I do is working with our church planters in Northern Kenya. It feels almost like taking a vacation, getting away from the busyness of ministry and actually doing ministry. To me it is all about preaching the gospel to people who may have never heard before.

    Pastor Pokisa baptizing new believers last month!!!

    In reaching out to the lost, you see that the scripture is uniquely powerful in different ways in different areas and contexts. In the town of Baragoi, peace and reconciliation are extremely relevant.

    Tribal conflicts have been a part of life in Africa for thousands of years. This reality becomes clear as you drive through the center of Baragoi. The left side of the town is Turkana and the right side is Samburu. The main road serves as in imaginary uncrossable line. As we teach Gods Word, we take every chance possible to show that we are ALL created in the image of God, and that Jesus died to save everyone.

    Upper Left: The old kitchen for the feeding program.

    Upper Right: Women from the church preparing the plates of food.

    Bottom: Enjoying a good meal!

    Part of our plan is to develop a strategic ministry center in Baragoi. We have acquired 5 acres from the government which we pray will be a key site to reaching surrounding communities with the message of reconciliation. We have started a satellite branch of our Bible institute there to train pastors who can reach into new areas. We are also working on designing the property in a way that will bring the different communities together. We feed children from both major tribes over the weekend and are working on setting up soccer and volleyball on the property.

    Youth from the community preparing the ground for volleyball. The are a lot of rocks and thorns in Baragoi.

    The first step after getting the plot was building the church building. Since Baragoi is a 2 days drive offroad from where Abby and I live, making sure the leadership was prepared to oversee construction in my absence was an important step. To help, one of the founding, Kenyan missionaries, Stephen Pokisa, moved with his family to Baragoi.

    This was a huge step of faith because security is not as good and access to essential resources is much more of a challenge, but Pastor Pokisa was essential in leading the project. In addition to overseeing the church construction, he is providing spiritual mentorship for the local church leaders, and as a Maasai (a sister tribe to the Samburu), he is helping the mostly Turkana leadership reach out to the Samburu people.

    The church building is now complete and is really helping boost the ministry in Baragoi. The room that the church use to rent was even too small to hold everyone. I am looking forward to seeing the church in person when we have the official dedication next month, but until then, here are some of my pictures and then ones that Pastor Pokisa gave to me (Note the only camera he has is a cell phone).

    A special thanks to Cielo Vista Church in El Paso, Texas for providing the needed funding (www.cielovista.org), and to everyone who has been faithfully praying for our ministry and the work in Northern Kenya.

    Mixing the first batch of cement as construction begins.

    Paul, the contractor, showing the workers how to do a good job.

    Pastor Pokisa practicing taking pictures on his phone.

    This elderly lady was collecting stones in her bucket to sell and get something to eat. Life can be very hard in Baragoi.

    All the water for the project will be carried up the hill by ladies from the community. It may be faster and less strenuous to use a vehicle, but this provides jobs.

    Concrete does not come premixed. You buy stones, sand, water, and cement and mix them all by hand.

    With the footers poured, this is the last I have seen of the project. Baragoi town in the background.

    Putting the final touches on the foundation.

    The walls are starting to go up.

    Ready to pour the upper ring beam.

    Trusses in place.

    Roof on and time to work on the front veranda.

    The only hiccup in the project was a slight miscalculation on cement for the plaster. Overall, a very smooth project!

    The colored windows add some beauty.

    Raised pulpit in the front. No windows in the back to give a good backdrop and a few translucent panels in the roof for natural lighting. (these are some of the finer details I have picked up about designing a church in Kenya)

    The completed church from the side.

    Completed church from the front.

    More:
    Building a Church: Baragoi | A2Africa

    Church of the Holy Sepulchre – Wikipedia - September 24, 2018 by admin

    The Church of the Holy Sepulchre[b] (Arabic: Kansatu al-Qiymah; Greek: Naos tes Anastaseos; Armenian: Surb Harut'yan taar; Latin: Ecclesia Sancti Sepulchri; Hebrew: , Knesiyat ha-Kever; also called the Church of the Resurrection or Church of the Anastasis by Orthodox Christians) is a church[1] in the Christian Quarter of the Old City of Jerusalem. The church contains, according to traditions dating back to at least the fourth century, the two holiest sites in Christianity: the site where Jesus of Nazareth was crucified,[2] at a place known as "Calvary" or "Golgotha", and Jesus's empty tomb, where he is said to have been buried and resurrected.[3] The tomb is enclosed by the 19th-century shrine, called the Aedicule (Edicule). The Status Quo, a 150-year-old understanding between religious communities, applies to the site.[4][5]

    Within the church proper are the last four (or, by some definitions, five) Stations of the Via Dolorosa, representing the final episodes of Jesus' Passion. The church has been a major Christian pilgrimage destination since its creation in the fourth century, as the traditional site of the Resurrection of Christ, thus its original Greek name, Church of the Anastasis.

    Today, the wider complex accumulated during the centuries around the Church of the Holy Sepulchre also serves as the headquarters of the Greek Orthodox Patriarch of Jerusalem, while control of the church itself is shared among several Christian denominations and secular entities in complicated arrangements essentially unchanged for over 160 years, and some for much longer. The main denominations sharing property over parts of the church are the Greek Orthodox, Armenian Apostolic and Roman Catholic, and to a lesser degree the Coptic Orthodox, Syriac Orthodox and Ethiopian Orthodox. Meanwhile, Protestants, including Anglicans, have no permanent presence in the Church. Some Protestants prefer The Garden Tomb, elsewhere in Jerusalem, as a more evocative site to commemorate Jesus' crucifixion and resurrection.

    According to Eusebius of Caesarea, the Roman emperor Hadrian in the 2nd century AD built a temple dedicated to the goddess Venus in order to bury the cave in which Jesus had been buried.[6][7] The first Christian emperor, Constantine the Great, ordered in about 325/326 that the temple be replaced by a church.[8] During the building of the Church, Constantine's mother, Helena, is believed to have rediscovered the tomb (although there are some discrepancies among authors).[6] Socrates Scholasticus (born c. 380), in his Ecclesiastical History, gives a full description of the discovery.[9]

    Constantine's church was built as two connected churches over the two different holy sites, including a great basilica (the Martyrium visited by Egeria in the 380s), an enclosed colonnaded atrium (the Triportico) with the traditional site of Golgotha in one corner, and a rotunda, called the Anastasis ("Resurrection" in Greek), which contained the remains of a rock-cut room that Helena and Macarius identified as the burial site of Jesus.[citation needed]

    According to tradition, Constantine arranged for the rockface to be removed from around the tomb, without harming it, in order to isolate the tomb; in the centre of the rotunda is a small building called the Kouvouklion in Greek[10] or the Aedicula in Latin,[c] which encloses this tomb. The remains are completely enveloped by a marble sheath placed some 500 years before[when?] to protect the ledge from Ottoman attacks. However, there are several thick window wells extending through the marble sheath, from the interior to the exterior that are not marble clad. They appear to reveal an underlying limestone rock, which may be part of the original living rock of the tomb.

    The church was built starting in 325/326, and was consecrated on 13 September 335. From pilgrim reports it seems that the chapel housing the tomb of Jesus was freestanding at first, and that the Rotunda was only erected around the chapel in the 380s.[citation needed]

    Each year, the Eastern Orthodox Church celebrates the anniversary of the consecration of the Church of the Resurrection (Holy Sepulchre) on 13 September.[11]

    This building was damaged by fire in May of 614 when the Sassanid Empire, under Khosrau II, invaded Jerusalem and captured the True Cross. In 630, the Emperor Heraclius restored it and rebuilt the church after recapturing the city. After Jerusalem came under Arab rule, it remained a Christian church, with the early Muslim rulers protecting the city's Christian sites. A story reports that the Caliph Umar ibn al-Khattab visited the church and stopped to pray on the balcony; but at the time of prayer, he turned away from the church and prayed outside. He feared that future generations would misinterpret this gesture, taking it as a pretext to turn the church into a mosque. Eutychius added that Umar wrote a decree prohibiting Muslims from praying at this location. The building suffered severe damage due to an earthquake in 746.[12]

    Early in the ninth century, another earthquake damaged the dome of the Anastasis. The damage was repaired in 810 by Patriarch Thomas. In the year 841, the church suffered a fire. In 935, the Orthodox Christians prevented the construction of a Muslim mosque adjacent to the Church. In 938, a new fire damaged the inside of the basilica and came close to the rotunda. In 966, due to a defeat of Muslim armies in the region of Syria, a riot broke out, which was followed by reprisals. The basilica was burned again. The doors and roof were burnt, and the Patriarch John VII was murdered.[citation needed]

    On 18 October 1009, Fatimid caliph Al-Hakim bi-Amr Allah ordered the complete destruction of the church as part of a more general campaign against Christian places of worship in Palestine and Egypt.[13] The damage was extensive, with few parts of the early church remaining.[14] Christian Europe reacted with shock and expulsions of Jews (for example, Cluniac monk Rodulfus Glaber blamed the Jews, with the result that Jews were expelled from Limoges and other French towns[citation needed]) and an impetus to later Crusades.[15][16]

    In wide-ranging negotiations between the Fatimids and the Byzantine Empire in 102728, an agreement was reached whereby the new Caliph Ali az-Zahir (Al-Hakim's son) agreed to allow the rebuilding and redecoration of the Church.[17] The rebuilding was finally completed with the financing at a huge expense by Emperor Constantine IX Monomachos and Patriarch Nicephorus of Constantinople in 1048.[18] As a concession, the mosque in Constantinople was re-opened and the khutba sermons were to be pronounced in az-Zahir's name.[17] Muslim sources say a by-product of the agreement was the recanting of Islam by many Christians who had been forced to convert under Al-Hakim's persecutions. In addition, the Byzantines, while releasing 5,000 Muslim prisoners, made demands for the restoration of other churches destroyed by Al-Hakim and the re-establishment of a Patriarch in Jerusalem. Contemporary sources credit the emperor with spending vast sums in an effort to restore the Church of the Holy Sepulchre after this agreement was made.[17] Despite the Byzantines spending vast sums on the project, "a total replacement was far beyond available resources. The new construction was concentrated on the rotunda and its surrounding buildings: the great basilica remained in ruins."[14] The rebuilt church site consisted of "a court open to the sky, with five small chapels attached to it."[19] The chapels were to the east of the court of resurrection, where the wall of the great church had been. They commemorated scenes from the passion, such as the location of the prison of Christ and of his flagellation, and presumably were so placed because of the difficulties of free movement among shrines in the streets of the city. The dedication of these chapels indicates the importance of the pilgrims' devotion to the suffering of Christ. They have been described as 'a sort of Via Dolorosa in miniature'...since little or no rebuilding took place on the site of the great basilica. Western pilgrims to Jerusalem during the eleventh century found much of the sacred site in ruins."[14] Control of Jerusalem, and thereby the Church of the Holy Sepulchre, continued to change hands several times between the Fatimids and the Seljuk Turks (loyal to the Abbasid caliph in Baghdad) until the arrival of the Crusaders in 1099.[20]

    Many historians maintain that the main concern of Pope Urban II, when calling for the First Crusade, was the threat to Constantinople from the Turkish invasion of Asia Minor in response to the appeal of Byzantine Emperor Alexios I Komnenos. Historians agree that the fate of Jerusalem and thereby the Church of the Holy Sepulchre was of concern if not the immediate goal of papal policy in 1095. The idea of taking Jerusalem gained more focus as the Crusade was underway. The rebuilt church site was taken from the Fatimids (who had recently taken it from the Abassids) by the knights of the First Crusade on 15 July 1099.[14]

    The First Crusade was envisioned as an armed pilgrimage, and no crusader could consider his journey complete unless he had prayed as a pilgrim at the Holy Sepulchre. Crusader Prince Godfrey of Bouillon, who became the first crusader monarch of Jerusalem, decided not to use the title "king" during his lifetime, and declared himself "Advocatus Sancti Sepulchri" ("Protector [or Defender] of the Holy Sepulchre"). By the crusader period, a cistern under the former basilica was rumoured to have been the location where Helena had found the True Cross, and began to be venerated as such; although the cistern later became the "Chapel of the Invention of the Cross," there is no evidence of the rumour before the 11th century, and modern archaeological investigation has now dated the cistern to 11th century repairs by Monomachos.[citation needed]

    According to the German clergyman and orient pilgrim Ludolf von Sudheim, the keys of the Chapel of the Holy Sepulchre were in hands of the "ancient Georgians" and the food, alms, candles and oil for lamps were given them by the pilgrims in the south door of the church.[21]

    William of Tyre, chronicler of the Crusader Kingdom of Jerusalem, reports on the renovation of the Church in the mid-12th century. The crusaders investigated the eastern ruins on the site, occasionally excavating through the rubble, and while attempting to reach the cistern, they discovered part of the original ground level of Hadrian's temple enclosure; they decided to transform this space into a chapel dedicated to Helena (the Chapel of Saint Helena), widening their original excavation tunnel into a proper staircase. The crusaders began to refurnish the church in a Romanesque style and added a bell tower.[22] These renovations unified the small chapels on the site and were completed during the reign of Queen Melisende in 1149, placing all the Holy places under one roof for the first time. The church became the seat of the first Latin Patriarchs, and was also the site of the kingdom's scriptorium. The church was lost to Saladin,[22] along with the rest of the city, in 1187, although the treaty established after the Third Crusade allowed for Christian pilgrims to visit the site. Emperor Frederick II (r. 122050) regained the city and the church by treaty in the 13th century while he himself was under a ban of excommunication, with the curious consequence that the holiest church in Christianity was laid under interdict. The church seems to have been largely in Greek Orthodox Patriarch Athanasius II of Jerusalem's hands, c. 123147, during the Latin control of Jerusalem.[23] Both city and church were captured by the Khwarezmians in 1244.[22]

    The Franciscan friars renovated it further in 1555, as it had been neglected despite increased numbers of pilgrims. The Franciscans rebuilt the Aedicule, extending the structure to create an ante-chamber.[24] After the renovation of 1555, control of the church oscillated between the Franciscans and the Orthodox, depending on which community could obtain a favorable "firman" from the "Sublime Porte" at a particular time, often through outright bribery, and violent clashes were not uncommon. There was no agreement about this question, although it was discussed at the negotiations to the Treaty of Karlowitz in 1699.[25] In 1767, weary of the squabbling, the "Porte" issued a "firman" that divided the church among the claimants.

    A fire severely damaged the structure again in 1808, causing the dome of the Rotunda to collapse and smashing the Aedicule's exterior decoration. The Rotunda and the Aedicule's exterior were rebuilt in 18091810 by architect Nikolaos Ch. Komnenos of Mytilene in the then current Ottoman Baroque style. The fire did not reach the interior of the Aedicule, and the marble decoration of the Tomb dates mainly to the 1555 restoration, although the interior of the ante-chamber, now known as the "Chapel of the Angel," was partly rebuilt to a square ground-plan, in place of the previously semi-circular western end. Another decree in 1853 from the sultan solidified the existing territorial division among the communities and set a "status quo" for arrangements to "remain forever," causing differences of opinion about upkeep and even minor changes,[26] including disagreement on the removal of the "Immovable Ladder", an exterior ladder under one of the windows; this ladder has remained in the same position since then.

    The cladding of red marble applied to the Aedicule by Komnenos has deteriorated badly and is detaching from the underlying structure; since 1947 it has been held in place with an exterior scaffolding of iron girders installed by the British authorities. A careful renovation is undergoing, funded by a $4 million gift from King Abdullah II of Jordan and a $1.3-million gift from Mica Ertegun.[27]

    The current dome dates from 1870, although it was restored between 19941997, as part of extensive modern renovations to the church which have been ongoing since 1959. During the 19701978 restoration works and excavations inside the building, and under the nearby Muristan, it was found that the area was originally a quarry, from which white meleke limestone was struck.[28] To the east of the Chapel of Saint Helena, the excavators discovered a void containing a 2nd-century drawing of a Roman ship, two low walls which supported the platform of Hadrian's 2nd-century temple, and a higher 4th-century wall built to support Constantine's basilica.[24][29] After the excavations of the early 1970s, the Armenian authorities converted this archaeological space into the Chapel of Saint Vartan, and created an artificial walkway over the quarry on the north of the chapel, so that the new Chapel could be accessed (by permission) from the Chapel of Saint Helena.[29]

    In 2016, restoration works were performed in the Aedicule. For the first time since at least 1555, marble cladding which protected the estimated burial bed of Jesus from vandalism and souvenir takers[30] was removed.[31][32] When the cladding was first removed on 26 October, an initial inspection by the National Technical University of Athens team showed only a layer of fill material underneath. By the night of 28 October, the original limestone burial bed was revealed intact. This suggested that the tomb location has not changed through time and confirmed the existence of the original limestone cave walls within the Aedicule. The tomb was resealed shortly thereafter.[31]

    The courtyard facing the entrance to the church is known as the parvis.

    Located around the parvis are a few smaller structures.[citation needed]

    South of the parvis, opposite the church:

    On the eastern side of the parvis, south to north:

    North of the parvis, in front of the church faade or against it:

    A group of three chapels is bordering the parvis on its west side. They originally formed the baptistery complex of the Constantinian church. The southernmost chapel was the vestibule, the middle chapel the actual baptistery, and the north chapel the chamber in which the patriarch chrismated the newly baptized before leading them into the rotunda north of this complex.[citation needed] Now they are dedicated as (from south to north)

    The church's bell tower is located to the left of the faade. It is currently almost half its original size.[33]

    The entrance to the church, a single door in the south transeptthrough the crusader faadeis found past a group of streets winding through the outer Via Dolorosa, by way of a local souq in the Muristan. This narrow way of access to such a large structure has proven to be hazardous at times. For example, when a fire broke out in 1840, dozens of pilgrims were trampled to death.[34]

    The "Immovable Ladder", in its latest incarnation, stands beneath a window on the faade.

    Historically, two large, arched doors allowed access to the church. However, only the left-hand entrance is currently accessible, as the right door has long since been bricked up. These entrances are located in the parvis of a larger courtyard, or plaza.[citation needed]

    Just inside the church is a stairway climbing to Calvary (Golgotha), traditionally regarded as the site of Jesus' crucifixion and the most lavishly decorated part of the church. The exit is via another stairway opposite the first, leading down to the ambulatory. The Golgotha and its chapels are just south of the main altar of the Catholicon.

    On the ground floor, underneath the Golgotha chapel proper, are the Chapel of Adam and the Treasury of the Greek Orthodox Patriarchate, holding many relics including an alleged fragment of the Holy Cross.

    The raised Chapel of the Calvary, or Golgotha Chapel, contains the apex of the Rock of Calvary (12th Station of the Cross). It is split into two halves, one Greek Orthodox and one Catholic, each one with its own altar. The northern half with the main altar belongs to the Greek Orthodox. The rock can be seen under glass on both sides of the altar, and beneath the altar there is a hole in the rock, said to be the place where the cross was raised. Due to the significance of this, it is the most visited site in the Church of the Holy Sepulchre along with the Tomb of Jesus. The Roman Catholic (Franciscan) Chapel of the Nailing of the Cross (11th Station of the Cross) stretches south of it. Between the Catholic and the Orthodox altar, there is a statue of Mary, believed by some to be miraculous. It marks the 13th Station of the Cross, where Jesus' body was removed from the cross and given to his family and disciples.[citation needed]

    Beneath the Calvary and the two chapels there, on the main floor, there is the Chapel of Adam. According to tradition, Jesus was crucified over the place where Adam's skull was buried. According to some, at the crucifixion, the blood of Christ ran down the cross and through the rocks to fill the skull of Adam.[35] The Rock of Calvary appears cracked through a window on the altar wall, with the crack traditionally claimed to be caused by the earthquake that occurred when Jesus died on the cross, while some scholars claim it to be the result of quarrying against a natural flaw in the rock.[36]

    Just inside the entrance to the church is the Stone of Anointing (also Stone of the Anointing or Stone of Unction), which tradition believes to be the spot where Jesus' body was prepared for burial by Joseph of Arimathea. However, this tradition is only attested since the crusader era (notably by the Italian Dominican pilgrim Riccoldo da Monte di Croce in 1288), and the present stone was only added in the 1810 reconstruction.[24]

    The wall behind the stone is defined by its striking blue balconies and tau cross-bearing red banners (depicting the insignia of the Brotherhood of the Holy Sepulchre), and is decorated with lamps. The modern three-part mosaic along the wall depicts the anointing of Jesus' body, preceded on the right by the Descent from the Cross, and succeeded on the left by the Burial of Jesus.[citation needed]

    The wall was a temporary addition to support the arch above it, which had been weakened after the damage in the 1808 fire; it blocks the view of the rotunda, separates the entrance from the Catholicon, sits on top of the now-empty and desecrated graves of four 12th-century crusader kingsincluding Godfrey of Bouillon and Baldwin I of Jerusalemand is no longer structurally necessary. There is a difference of opinion as to whether it is to be seen as the 13th Station of the Cross, which others identify as the lowering of Jesus from the cross and locate between the 11th and 12th stations on Calvary.[citation needed]

    The lamps that hang over the Stone of Unction, adorned with cross-bearing chain links, are contributed by Armenians, Copts, Greeks and Latins.[citation needed]

    Immediately to the left of the entrance is a bench that has traditionally been used by the church's Muslim doorkeepers, along with some Christian clergy, as well as electrical wiring. To the right of the entrance is a wall along the ambulatory containing, to the very right, the staircase leading to Golgotha. Further along the same wall is the entrance to the Chapel of Adam.[citation needed]

    The Rotunda is located in the centre of the Anastasis, beneath the larger of the church's two domes. In the center of the Rotunda is the chapel called the Aedicule, which contains the Holy Sepulchre itself. The Aedicule has two rooms, the first holding the Angel's Stone, which is believed to be a fragment of the large stone that sealed the tomb; the second is the tomb itself. Possibly due to the fact that pilgrims laid their hands on the tomb or to prevent eager pilgrims from removing bits of the original rock as souvenirs, a marble plaque was placed in the fourteenth century on the tomb to prevent further damage to the tomb.[37]

    Under the status quo, the Eastern Orthodox, Roman Catholic, and Armenian Apostolic Churches all have rights to the interior of the tomb, and all three communities celebrate the Divine Liturgy or Holy Mass there daily. It is also used for other ceremonies on special occasions, such as the Holy Saturday ceremony of the Holy Fire led by the Greek Orthodox Patriarch (with the participation of the Coptic and Armenian patriarchs).[38] To its rear, in a chapel constructed of iron latticework upon a stone base semicircular in plan, lies the altar used by the Coptic Orthodox.[citation needed] Historically, the Georgians also retained the key to the Aedicule.[39][40][41]

    From May 2016 to March 2017, the Aedicule underwent restoration and repairs after the Israel Antiquities Authority declared the structure unsafe. Much of the $3 million project was funded by the World Monuments Fund.[42]

    West of the Aedicule, to the rear of the Rotunda, is a chapel (see "Syriac Chapel with Tomb of Joseph of Arimathea") located in a Constantinian apse and containing an opening to a rock-cut ancient Jewish tomb. This chapel is where the Syriac Orthodox celebrate their Liturgy on Sundays.

    To the right of the Sepulchre on the northwestern edge of the Rotunda is the Chapel of the Apparition, which is reserved for Roman Catholic use (see "Franciscan area north of the Aedicule").[43]

    East of this is a large iconostasis demarcating the Orthodox sanctuary before which is set the throne of the Greek Orthodox Patriarch of Jerusalem on the south side facing the throne of the Greek Orthodox Patriarch of Antioch on the north side.[citation needed]

    Further to the east in the ambulatory are three chapels (from south to north):[citation needed]

    It is accessed from the Rotunda, by a door west of the Aedicule. On the far side of the chapel is the low entrance to an almost complete 1st-century Jewish tomb, initially holding six kokh-type funeral shafts radiating from a central chamber, of which two are still exposed. Although this space was discovered recently[when?] and contains no identifying marks, many Christians believe[vague] that Saints Joseph of Arimathea and Nicodemus were buried here.

    Since Jews always buried their dead outside the city, the presence of this tomb proves that the Holy Sepulchre site was outside the city walls at the time of the crucifixion.

    South of the Aedicule is the "Place of the Three Marys", marked by a stone canopy and a large modern wall mosaic. From here one can enter the Armenian monastery which stretches over the ground and first upper floor of the church's southeastern part.

    The Sultan's firman (decree) of 1853, known as the "status quo", pinned down the now permanent statutes of property and the regulations concerning the roles of the different denominations and other custodians.[47]

    The primary custodians are the Greek Orthodox, Armenian Apostolic, and Roman Catholic Churches, with the Greek Orthodox Church having the lion's share. In the 19th century, the Coptic Orthodox, the Ethiopian Orthodox and the Syriac Orthodox acquired lesser responsibilities, which include shrines and other structures in and around the building. Times and places of worship for each community are strictly regulated in common areas.[citation needed] The Greek Orthodox act through the Greek Orthodox Patriarchate as well as through the Brotherhood of the Holy Sepulchre. The Roman Catholics act through the Franciscan Custody of the Holy Land.

    The establishment of the 1853 status quo did not halt controversy and sometimes violence, which continues to break out occasionally. On a hot summer day in 2002, a Coptic monk moved his chair from its agreed spot into the shade. This was interpreted as a hostile move by the Ethiopians, and eleven were hospitalized after the resulting fracas.[48]

    In another incident in 2004, during Orthodox celebrations of the Exaltation of the Holy Cross, a door to the Franciscan chapel was left open. This was taken as a sign of disrespect by the Orthodox and a fistfight broke out. Some people were arrested, but no one was seriously injured.[49]

    On Palm Sunday, in April 2008, a brawl broke out when a Greek monk was ejected from the building by a rival faction. Police were called to the scene but were also attacked by the enraged brawlers.[50] On Sunday, 9 November 2008, a clash erupted between Armenian and Greek monks during celebrations for the Feast of the Cross.[51][52]

    A less grave sign of this state of affairs is located on a window ledge over the church's entrance. A wooden ladder was placed there at some time before 1852, when the status quo defined both the doors and the window ledges as common ground. This ladder, the "Immovable Ladder", in its latest incarnation, remains to this day, in almost exactly the same position it occupied in century-old photographs and engravings,[53][54] as it must be replaced whenever it falls apart. An engraving by David Roberts in 1839 also shows the same ladder in the same position.[55]

    No one controls the main entrance. In 1192, Saladin assigned door-keeping responsibilities to the Muslim Nuseibeh family. The wooden doors that compose the main entrance are the original, highly carved doors.[56] The Joudeh Al-Goudia family were entrusted as custodian to the keys of the Holy Sepulchre by Saladin in 1187.[57]

    Despite occasional disagreements, the religious services take place in the Church with regularity and coexistence is generally peaceful. An example of concord between the Church custodians is the recent (201617) full restoration of the Aedicule.

    In late February 2018 after a tax dispute over 152 million euros of uncollected taxes on church properties the Church had closed until further notice. The city hall stressed that the Church of the Holy Sepulchre and all other churches are exempt from the taxes, with the changes only affecting establishments like "hotels, halls and businesses" owned by the churches.[58] NPR had reported that the Greek Orthodox Church calls itself the second-largest landowner in Israel, after the Israeli government.[59]

    There was a lock in protest against an Israeli legislative proposal which would expropriate church lands that had been sold to private companies since 2010, a measure which church leaders assert constitutes a serious violation of their property rights and the status quo. In a joint official statement the church authorities protested what they considered to be the peak of a systematic campaign in

    'a discriminatory and racist bill that targets solely the properties of the Christian community in the Holy Land,' adding, 'This reminds us all of laws of a similar nature which were enacted against the Jews during dark periods in Europe.'[60]

    The 2018 Taxation affair does not cover any church buildings or religious related facilities (because they are exempt by law),[61] but commercial facilities such as the Notre Dame Hotel which was not paying the arnona tax, and any land which is owned and used as a commercial land.[61] The church hold the rights to land where private homes have been constructed, and some of the disagreement had been raised after the Knesset had proposed a bill that will make it harder for a private company not to extend a lease for land used by homeowners.[62] According to the JPost

    'The stated aim of the bill is to protect homeowners against the possibility that private companies will not extend their leases of land on which their houses or apartments stand.'

    The church leaders have said that such a bill will make it harder for them to sell church owned lands.[62]

    The site of the Church had been a temple of Venus before Constantine's edifice was built. Hadrian's temple had actually been located there because it was the junction of the main north-south road with one of the two main east-west roads and directly adjacent to the forum (which is now the location of the (smaller) Muristan); the forum itself had been placed, as is traditional in Roman towns, at the junction of the main north-south road with the (other) main east-west road (which is now El-Bazar/David Street). The temple and forum together took up the entire space between the two main east-west roads (a few above-ground remains of the east end of the temple precinct still survive in the Alexander Nevsky Church complex of the Russian Mission in Exile)."Church of the Holy Sepulcher". Generation Word. Retrieved 31 May 2018.

    From the archaeological excavations in the 1970s, it is clear that construction took over most of the site of the earlier temple enclosure and that the Triportico and Rotunda roughly overlapped with the temple building itself; the excavations indicate that the temple extended at least as far back as the Aedicule, and the temple enclosure would have reached back slightly further. Virgilio Canio Corbo, a Franciscan priest and archaeologist, who was present at the excavations, estimated from the archaeological evidence that the western retaining wall of the temple itself would have passed extremely close to the east side of the supposed tomb; if the wall had been any further west any tomb would have been crushed under the weight of the wall (which would be immediately above it) if it had not already been destroyed when foundations for the wall were made.[63]

    Other archaeologists have criticized Corbo's reconstructions. Dan Bahat, the former city archaeologist of Jerusalem, regards them as unsatisfactory, as there is no known temple of Aphrodite matching Corbo's design, and no archaeological evidence for Corbo's suggestion that the temple building was on a platform raised high enough to avoid including anything sited where the Aedicule is now; indeed Bahat notes that many temples to Aphrodite have a rotunda-like design, and argues that there is no archaeological reason to assume that the present rotunda was not based on a rotunda in the temple previously on the site.[64]

    The New Testament describes Jesus's tomb as being outside the city wall,[65] as was normal for burials across the ancient world, which were regarded as unclean.[66] Today, the site of the Church is within the current walls of the old city of Jerusalem. It has been well documented by archaeologists that in the time of Jesus, the walled city was smaller and the wall then was to the east of the current site of the Church.[citation needed] In other words, the city had been much narrower in Jesus' time, with the site then having been outside the walls; since Herod Agrippa (4144) is recorded by history as extending the city to the north (beyond the present northern walls), the required repositioning of the western wall is traditionally attributed to him as well.[citation needed]

    The area immediately to the south and east of the sepulchre was a quarry and outside the city during the early 1st century as excavations under the Lutheran Church of the Redeemer across the street demonstrated.[67]

    The church is a part of the UNESCO World Heritage Site Old City of Jerusalem.

    The Christian Quarter and the (also Christian) Armenian Quarter of the Old City of Jerusalem are both located in the northwestern and western part of the Old City, due to the fact that the Holy Sepulchre is located close to the northwestern corner of the walled city. The adjacent neighbourhood within the Christian Quarter is called the Muristan, a term derived from the Persian word for hospitalChristian pilgrim hospices have been maintained in this area near the Holy Sepulchre since at least the time of Charlemagne.

    From the 9th century, the construction of churches inspired in the Anastasis was extended across Europe.[68] One example is Santo Stefano in Bologna, Italy, an agglomeration of seven churches recreating shrines of Jerusalem.[citation needed]

    Several churches and monasteries in Europe, for instance, in Germany and Russia, and at least one church in the United States have been modeled on the Church of the Resurrection, some even reproducing other holy places for the benefit of pilgrims who could not travel to the Holy Land. They include the Heiliges Grab of Grlitz, constructed between 1481 and 1504, the New Jerusalem Monastery in Moscow Oblast, constructed by Patriarch Nikon between 1656 and 1666, and Mount St. Sepulchre Franciscan Monastery built by the Franciscans in Washington, DC in 1898.[citation needed]

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    Cologne Cathedral – Wikipedia - September 24, 2018 by admin

    Church in Cologne, Germany

    Cologne Cathedral (German: Klner Dom, officially Hohe Domkirche Sankt Petrus, English: Cathedral Church of Saint Peter) is a Catholic cathedral in Cologne, Northrhine-Westfalia, Germany. It is the seat of the Archbishop of Cologne and of the administration of the Archdiocese of Cologne. It is a renowned monument of German Catholicism and Gothic architecture and was declared a World Heritage Site[3] in 1996.[4] It is Germany's most visited landmark, attracting an average of 20,000 people a day,[5] and currently the tallest twin-spired church at 157m (515ft) tall.

    Construction of Cologne Cathedral commenced in 1248 and was halted in 1473, leaving it unfinished. Work restarted in the 19th century and was completed, to the original plan, in 1880.[6] The cathedral is the largest Gothic church in Northern Europe and has the second-tallest spires. The towers for its two huge spires give the cathedral the largest faade of any church in the world. The choir has the largest height to width ratio, 3.6:1, of any medieval church.[7]

    Cologne's medieval builders had planned a grand structure to house the reliquary of the Three Kings and fit its role as a place of worship for the Holy Roman Emperor. Despite having been left incomplete during the medieval period, Cologne Cathedral eventually became unified as "a masterpiece of exceptional intrinsic value" and "a powerful testimony to the strength and persistence of Christian belief in medieval and modern Europe".[3]

    When construction began on the present Cologne Cathedral in 1248, the site had already been occupied by several previous structures. The earliest may have been for grain storage, and possibly was succeeded by a Roman temple built by Mercurius Augustus. From the 4th century on, however, the site was occupied by Christian buildings, including a square edifice known as the "oldest cathedral" that was commissioned by Maternus, the first bishop of Cologne. A free-standing baptistery dating back to the 7th century was located at the east end of the present cathedral but was demolished in the 9th century to build the second cathedral. During excavations of the present cathedral, graves were discovered in the location of the oldest portion of the building; including that of a boy that was richly adorned with grave goods and another of a woman, popularly thought to be Wisigard. Both graves are thought to be from the 6th century. Only ruins of the baptistery and the octagonal baptismal font remain today.[citation needed]The second church, called the "Old Cathedral", was completed in 818. It was destroyed by fire on 30 April 1248, during demolition work to prepare for a new cathedral.[8]

    In 1164, the Archbishop of Cologne, Rainald of Dassel, acquired the relics of the Three Kings which the Holy Roman Emperor, Frederick Barbarossa, had taken from the Basilica of Sant'Eustorgio, Milan, Italy. (Parts of the relics have since been returned to Milan.) The relics have great religious significance and drew pilgrims from all over Christendom. It was important to church officials that they be properly housed, and thus began a building program in the new style of Gothic architecture, based in particular on the French cathedral of Amiens.[citation needed]

    The foundation stone was laid on 15 August 1248,[9] by Archbishop Konrad von Hochstaden. The eastern arm was completed under the direction of Master Gerhard, was consecrated in 1322 and sealed off by a temporary wall so it could be in use as the work proceeded. Eighty four misericords in the choir date from this building phase.In the mid 14th century work on the west front commenced under Master Michael. This work halted in 1473, leaving the south tower complete up to the belfry level and crowned with a huge crane that remained in place as a landmark of the Cologne skyline for 400 years.[10]

    Some work proceeded intermittently on the structure of the nave between the west front and the eastern arm, but during the 16th century this ceased.[11]

    With the 19th century romantic enthusiasm for the Middle Ages, and spurred on by the discovery of the original plan for the faade, it was decided, with the commitment of the Protestant Prussian Court, to complete the cathedral. It was achieved by civic effort; the Central-Dombauverein, founded in 1842, raised two-thirds of the enormous costs, while the Prussian state supplied the remaining third.[citation needed] The state saw this as a way to improve its relations with the large number of Catholic subjects it had gained in 1815.[citation needed]

    Work resumed in 1842 to the original design of the surviving medieval plans and drawings, but utilizing more modern construction techniques, including iron roof girders. The nave was completed and the towers were added. The bells were installed in the 1870s. The largest bell is St. Petersglocke.

    The completion of Germany's largest cathedral was celebrated as a national event on 14 August 1880, 632 years after construction had begun.[12] The celebration was attended by Emperor Wilhelm I. At 157.38 Meters or 515 feet tall, it was the tallest building in the world for four years until the completion of Washington Monument.[citation needed]

    The cathedral suffered fourteen hits by aerial bombs during World War II. Badly damaged, it nevertheless remained standing in an otherwise completely flattened city. The twin spires were an easily recognizable navigational landmark for Allied aircraft bombing.

    The cathedral and the immediate area surrounding it was the site of intense tank combat between American tanks of the 3rd Armored Division and a Panther Ausf. A of Panzerbrigade 106 on 6 March 1945. The Panther successfully knocked out two Shermans killing three men before it was destroyed by a T26E3 Pershing hours later. The destroyed Panther was later put on display at the base of the cathedral for the remainder of the war in Europe.[citation needed]

    Repairs were completed in 1956. An emergency repair on the northwest tower's base carried out in 1944 using poor-quality brick taken from a nearby ruined building remained visible until 2005 as a reminder of the war, when it was decided to restore the section to its original appearance. The brick-filling can be seen in the photograph on the right.

    Repair and maintenance work is constantly being carried out in one or another section of the building, which is rarely completely free of scaffolding, as wind, rain, and pollution slowly eat away at the stones. The Dombauhtte, established to build the cathedral and keep it in repair, is said to employ the best stonemasons of the Rhineland. There is a common joke in Cologne that the leader of the Dombauhtte, the Dombaumeister (master builder of the cathedral), has to be Catholic and free from giddiness. Half the costs of repair and maintenance are still borne by the Dombauverein.[citation needed]

    On 25 August 2007, the cathedral received a new stained glass window in the south transept. With 113 square metres (1,220sqft) of glass, the window was created by the German artist Gerhard Richter. It is composed of 11,500 identically sized pieces of colored glass resembling pixels, randomly arranged by computer, which create a colorful "carpet". Since the loss of the original window in World War II, the space had been temporarily filled with plain glass.[13] The then archbishop of the cathedral, Joachim Cardinal Meisner, who had preferred a figurative depiction of 20th-century Catholic martyrs for the window, did not attend the unveiling.[14] Current holder of the office is Rainer Maria Cardinal Woelki (since 2014).On 5 January 2015, the cathedral remained dark as floodlights were switched off to protest a demonstration by PEGIDA.[15]

    In 1996, the cathedral was added to the UNESCO World Heritage List of culturally important sites. In 2004 it was placed on the "World Heritage in Danger" list, as the only Western site in danger, due to plans to construct a high-rise building nearby, which would have visually impacted the site. The cathedral was removed from the List of In Danger Sites in 2006, following the authorities' decision to limit the heights of buildings constructed near and around the cathedral.

    As a World Heritage Site, and with its convenient position on tourist routes, Cologne Cathedral is a major tourist attraction, the visitors including many who travel there as a Christian pilgrimage.

    Visitors can climb 533 stone steps of the spiral staircase to a viewing platform about 100m (330ft) above the ground.[16] The platform gives a scenic view over the Rhine.

    On 18 August 2005, Pope Benedict XVI visited the cathedral during his apostolic visit to Germany, as part of World Youth Day 2005 festivities. An estimated one million pilgrims visited the cathedral during this time. Also as part of the events of World Youth Day, Cologne Cathedral hosted a televised gala performance of Beethoven's Missa Solemnis, performed by the Royal Philharmonic Orchestra and the London Philharmonic Choir conducted by Sir Gilbert Levine.

    As of 1 March 2017, a ban on bags was brought in by the German authorities in light of recent terrorist attacks in the country, meaning visitors are not allowed to carry bags inside the cathedral.[17]

    The design of Cologne Cathedral was based quite closely on that of Amiens Cathedral in terms of ground plan, style and the width to height proportion of the central nave. The plan is in the shape of a Latin Cross, as is usual with Gothic cathedrals. It has two aisles on either side, which help to support one of the very highest Gothic vaults in the world, being nearly as tall as that of the Beauvais Cathedral, much of which collapsed. Externally the outward thrust of the vault is taken up by flying buttresses in the French manner. The eastern end has a single ambulatory, the second aisle resolving into a chevet of seven radiating chapels.[citation needed]

    Internally, the medieval choir is more varied and less mechanical in its details than the 19th century building. It presents a French style arrangement of very tall arcade, a delicate narrow triforium gallery lit by windows and with detailed tracery merging with that of the windows above. The clerestory windows are tall and retain some old figurative glass in the lower sections. The whole is united by the tall shafts that sweep unbroken from the floor to their capitals at the spring of the vault. The vault is of plain quadripartite arrangement.

    The choir retains a great many of its original fittings, including the carved stalls, which is made the more surprising by the fact that French Revolutionary troops had desecrated the building. A large stone statue of St Christopher looks down towards the place where the earlier entrance to the cathedral was, before its completion in the late 19th century.

    The nave has many 19th century stained glass windows. A set of five on the south side is called the Bayernfenster, and were a gift from Ludwig I of Bavaria, and strongly represent the painterly German style of that date.

    Externally, particularly from a distance, the building is dominated by its huge spires, which are entirely Germanic in character, being openwork like those of Ulm, Vienna, Strasbourg and Regensburg Cathedrals.[18]

    A "Bird's eye view" shows the cruciform plan

    The cathedral from the south

    The exterior of one of the spires

    The main entrance shows the 19th century decoration.

    "Bird's eye view" from the east

    The flying buttresses and pinnacles of the Medieval east end.

    Interior of the Medieval east end, showing the extreme height.

    This "swallows' nest" organ was built into the gallery in 1998, to celebrate the cathedral's 750 years.

    19th century cross-section, south elevation of the choir

    One of the treasures of the cathedral is the High Altar, which was installed in 1322. It is constructed of black marble, with a solid slab 15 feet (4.6m) long forming the top. The front and sides are overlaid with white marble niches into which are set figures, with the Coronation of the Virgin at the centre.[19]

    The most celebrated work of art in the cathedral is the Shrine of the Three Kings, commissioned by Philip von Heinsberg, archbishop of Cologne from 1167 to 1191 and created by Nicholas of Verdun, begun in 1190. It is traditionally believed to hold the remains of the Three Wise Men, whose relics were acquired by Frederick Barbarossa at the conquest of Milan in 1164. The shrine takes the form a large reliquary in the shape of a basilican church, made of bronze and silver, gilded and ornamented with architectonic details, figurative sculpture, enamels and gemstones. The shrine was opened in 1864 and was found to contain bones and garments.

    Near the sacristy is the Gero-Kreuz,[20] a large crucifix carved in oak and with traces of paint and gilding. Believed to have been commissioned around 960 for Archbishop Gero, it is the oldest large crucifix north of the Alps and the earliest-known large free-standing Northern sculpture of the medieval period.[21][full citation needed]

    In the Sacrament Chapel is the Mailnder Madonna ("Milan Madonna"), dating from around 1290, a wooden sculpture depicting the Blessed Virgin Mary and the infant Jesus. The altar of the patron saints of Cologne with an altar piece by the International Gothic painter Stefan Lochner is in the Marienkapelle ("St. Mary's Chapel"). Other works of art are in the Cathedral Treasury. The altar also houses the relics of Saint Irmgardis.

    Embedded in the interior wall are a pair of stone tablets on which are carved the provisions formulated by Archbishop Englebert II (126267) under which Jews were permitted to reside in Cologne.[22]

    Cologne Cathedral has two pipe organs by Klais Orgelbau, the Transept Organ built in 1948 and the Nave Organ built in 1998. Cathedral organists have included Josef Zimmermann, Clemens Ganz (19852001) and Winfried Bnig (2001).

    The cathedral has eleven church bells, four of which are medieval. The first was the 3.8-ton Dreiknigsglocke ("Bell of the Three Kings"), cast in 1418, installed in 1437, and recast in 1880. Two of the other bells, the Pretiosa (10.5tons; at that time the largest bell in the Western world) and the Speciosa (5.6tons) were installed in 1448 and remain in place today.

    During the 19th century, as the building neared completion, there was a desire to extend the number of bells. This was facilitated by Kaiser Wilhelm I who gave French bronze cannon, captured in 187071, for this purpose. The 22 pieces of artillery were displayed outside the Cathedral on 11 May 1872. Andreas Hamm in Frankenthal used them to cast a bell of over 27,000 kilos on 19 August 1873. The tone was not harmonious and another attempt was made on 13 November 1873. The Central Cathedral Association, which had agreed to take over the costs, did not want this bell either. Another attempt took place on 3 October 1874. The colossal bell was shipped to Cologne and on 13 May 1875, installed in the Cathedral. This Kaiserglocke was eventually dismantled in 1918 to support the German war effort.

    The 24-ton St. Petersglocke ("Bell of St. Peter", "Decke Pitter" in the Klsch language), was cast in 1922 and is the largest free-swinging bell in the world.[23]

    Original post:
    Cologne Cathedral - Wikipedia

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