TABERNACULO =TEMPLO DE SALOMON = KAABA = GIZE= VATICANO= WASHINGTON D.C = NUEVA JERUSALEN = JUAN MARCOS
CENACULO DE JERUSALEN=SAN MARCOS
"AGUJERO DE GUSANO MUNDIAL" ES VESICA PISCIS. NEXO CON EL CUBO
En diversos periodos de la historia ha sido tema de especulaciones místicas; probablemente los primeros fueron los Pitagóricos, que la consideraban una figura sagrada. La razón matemática de su anchura (medida por los puntos extremos del "cuerpo", sin incluir la "cola") por su altura fue aproximada por el cociente 265:153. Esta razón, que da 1,73203, se consideró un número sagrado llamado la medida del pez. Exactamente, la razón geométrica de estas dimensiones es la raíz cuadrada de 3, o 1,73205... (ya que si se traza la línea recta que une los centros de ambos círculos, junto con los dos puntos donde los círculos se intersecan, se obtienen dos triángulos equiláteros unidos por un lado). El cociente 265:153 es una aproximación a la raíz cuadrada de 3, y tiene la propiedad de que no se puede obtener ninguna aproximación mejor con números más pequeños. El número 153 aparece en el Evangelio de Juan (21:11) como el número de peces que Jesús hizo que se capturaran en la milagrosa captura de los peces, lo que algunos consideran como una referencia cifrada de las creencias pitagóricas.
APOCALIPSIS 21
NU-EVA J-ER-U-S-A-LE-N /JUAN
EVA (NUMERO NU-EVE)=MARIA MAGDALENA O MARIA LA GRANDE
JUAN MARCOS=SANTO GRIAL
9. Vino entonces a mí uno de los siete ángeles que tenían las siete copas llenas de las siete plagas postreras, y habló conmigo, diciendo: Ven acá, yo te mostraré la desposada, la esposa del Cordero. (Noten la relacion de la COPA CON LA ESPOSA DEL CORDERO)
10. Y me llevó en el Espíritu a un monte grande y alto, y me mostró la gran ciudad santa de Jerusalén, que descendía del cielo, de Dios,
11. teniendo la gloria de Dios. Y su fulgor era semejante al de una piedra preciosísima, como piedra de jaspe, diáfana como el cristal. (LA "GLORIA DE DIOS" es una clave sabatica en contexto a EXODO 24 Y 25. Se vuelve a repetir el patron del libro de EFESO EN SU CAPITULO 5.)
12. Tenía un muro grande y alto con doce puertas; y en las puertas, doce ángeles, y nombres inscritos, que son los de las doce tribus de los hijos de Israel;
13. al oriente tres puertas; al norte tres puertas; al sur tres puertas; al occidente tres puertas.
14. Y el muro de la ciudad tenía doce cimientos, y sobre ellos los doce nombres de los doce apóstoles del Cordero.
ESTRELLA DE DAVID ES LA ALQUIMIA, OSEA LA UNION ENTRE EL HOMBRE Y LA MUJER
(ABCD) Double Square in Solomons Temple
EL LUGAR SANTISIMO DEL TABERNACULO Y DEL TEMPLO DE SALOMON TENIA FORMA DE CUBO
NOTEN LA ESTRELLA DE 5 PUNTAS EN EL CENTRO DEL EXAGONO CENTRO DE LA ESTRELLA DE 6 PUNTAS
EL EXAGONO TAMBIEN ES UNA REFERENCIA AL CUBO.
NOTEN QUE EN ESTA ESTRELLA DE 6 PUNTAS HAY 13 TRIANGULOS DE 5 PUNTAS, OSEA QUE NOS DA UN NEXO CON LAS 12 CONSTELACIONES DEL ZODIACO, CON LAS 12 HORAS DEL DIA, CON LAS 12 LUNAS QUE HAY EN EL CALENDARIO, CON LA SANTA CENA EN EL CONTEXTO A LOS 12 APOSTOLES, CON LAS 12 TRIBUS DE ISRAEL, CON EL MERIDIANO DE GREENWICH E INCLUSO CON ROSE LINE, ETC,ETC. TODO TIENE COMO PATRON LA ESTRELLA DE 6 PUNTAS, OSEA LA UNION ENTRE EL HOMBRE Y LA MUJER QUE LA TRADICION RELIGIOSA "OLVIDO". ESTE ES EL PATRON ESOTERICO DETRAS DE APOCALIPSIS 22 EN SU RELACION CON VENUS.
Noten el MONSTRUOSO NUMERO 36, incluso con la FORMA DE ORION, en una estrella de 6 puntas. Son siete pelotitas, con 6 perimetrales. 6x6=36
AQUI ESTA EL ULTRA SECRETO DEL NEXO 666 CON LA PIRAMIDE DE LOUVRE, EN EL CODIGO DA VINCI. 1+2+3+ 4+5+6+7+8+9 +20+11+12+13 +14+15+16+17+18 +19+20+21+22+23 +24+25+ 26+27+28+29 +30+31 +32+33+ 34+35 +36=666
Kaaba, Mecca:
15. El que hablaba conmigo tenía una caña de medir, de oro, para medir la ciudad, sus puertas y su muro.
16. La ciudad se halla establecida en cuadro, y su longitud es igual a su anchura; y él midió la ciudad con la caña, doce mil estadios; la longitud, la altura y la anchura de ella son iguales. (LA CUBICACION DE UNA ESFERA. HAY UN OBVIO NEXO ALQUIMICO. LA GRAN CIUDAD ESTA DISEÑADA CON EL MISMO PATRON DE LA GRAN PIRAMIDE DE GIZE)
Figura 16. La relación geométrica entre el codo real y el metro.
ESTE ES EL SECRETO DEL NEXO "ROSE LINE", EN EL CONTEXTO AL METRO Y EN EL CONTEXTO A LA PIRAMIDE DE LOUVRE.
17. Y midió su muro, ciento cuarenta y cuatro codos, de medida de hombre, la cual es de ángel.
21. Las doce puertas eran doce perlas; cada una de las puertas era una perla. Y la calle de la ciudad era de oro puro, transparente como vidrio.
22. Y no vi en ella templo; porque el Señor Dios Todopoderoso es el templo de ella, y el Cordero.
23. La ciudad no tiene necesidad de sol ni de luna que brillen en ella; porque la gloria de Dios la ilumina, y el Cordero es su lumbrera.
Haz clic en la imagen para volver
INICIACIÓN A LOS NÚMEROS DE LA ARQUITECTURA O DE COMO DARLE FORMA A UN EDIFICIO
Los números pueden estar explicados matemáticamente en la “red” pero el problema que plantea el conocimiento de la arquitectura es: ¿cómo se le da forma con esos números a un edificio?. En arquitectura los números operan a partir de los polígonos estrellados formando concatenaciones, tal y como a continuación vamos a describir.
NÚMERO DE ORO - PENTÁGONO
El número de oro viene dado por la solución a la ecuación de segundo grado x + x² = 1 x = 1+√5 /2 = 1,618033989 Propiedades 1/ 1,618 = 0,618 1,618... x 1,618... = 2,618... Dado una circunferencia de radio 1 el lado del decágono inscrito en él es 0,618... Dado un pentágono de lado 1, las diagonales de ese pentágono = 1,618... La técnica con la que opera la arquitectura es la de las concatenaciones. Una de ellas, la más usual, es la que presentamos en el dibujo. Si la circunferencia en color azul tiene R=1 el radio de la roja es R= 2,618, correspondiente a la que presentamos en “El vitruvio” deLeonardo da Vinci en la portada de este trabajo.
Se aplicará en la restitución de una tabla de F. Brunelleschi Nº 6.
NÚMERO DE PLATA - EL OCTÓGONO
Así como el número de oro está asociado a la √5 el número de plata está asociado a √2 y presenta una serie de propiedades similares a las del número de oro. √2 = 1,414213562 tg. 22,5º = 0,414213562 tg.67,5º = 2,414213562 1/2,4142... = 0,4142... 2,4142... x 1,4142... = 3,4142... Observa nuevamente la concatenación, esta vez con el octógono, de la circunferencia en color azul sobre la de color rojo. Si el radio de la circunferencia azul es 1 la de color rojo es 2,4142.... Si el radio de la circunferencia azul es 0,4142... la de rojo es 1. Aquí tenéis un ejemplo.
Se aplicará en la Rix House de J. Soane Nº 3.
NÚMERO DE PLATINO - EL HEXÁGONO
De igual forma que el número de oro está relacionado con la √5 y el de plata con la √2, el de platino lo va a estar con la √3 √3 = tg.60º = 1,732050808 1,732... x 2,732... = 4,732... Combinación, esta, muy utilizada por Andrea Palladio. Observa la concatenación de la circunferencia azul sobre la de rojo, a través del hexágono, directamente a la circunferencia azul. Si el radio de la circunferencia color azul es 1 el de la circunferencia en color rojo es 2 y el lado del triángulo inscrito es 2 x 1,732... Este polígono es el más prolífico en la historia de arquitectura como vamos a verlo en los ejercicios. Aquí tenéis un ejemplo.
Se aplicará al resto de los trabajos Nº 1 - 2 - 4 y 5.
Todos los derechos reservados. Depósito Legal ZA - Nº 69 - 1998
Página web optimizada para ver en resolución de 1024 x 768 2006 - 2007
The cathedral was built under the direction of Lawrence Scanlan, the first bishop of Salt Lake City, who dedicated it to St. Mary Magdalene.[2] It was designed by architects Carl M. Neuhausen and Bernard O. Mecklenburg. The exterior is predominantly a Neo-Romanesque design, while the inside displays more Neo-Gothic details. Construction began in 1900 and was completed in 1909. It was dedicated by James Cardinal Gibbons, Archbishop of Baltimore.
It is theorized that Bishop Scanlan chose Mary Magdalene as the patron saint of the Diocese of Salt Lake because her feast day is on July 22, two days before Pioneer Day, a celebration commemorating the arrival of the Mormon pioneers in Salt Lake Valley, so that Catholics would have something to celebrate alongside the region's dominant faith.[3]
The interior of the cathedral was created under the direction of Joseph S. Glass, the second bishop of Salt Lake. Bishop Glass enlisted John Theodore Comes, one of the preeminent architects in the country, to decorate the interior of the cathedral. His plans for the interior were largely based upon the Spanish Gothic style. The colorful murals and polychrome were added at this time, as were the ornate shrines. In 1916, Bishop Glass also changed the name of the cathedral to the French spelling after visiting her purported tomb.[2]
In the 1970s, the exterior of the building was restored, and between 1991 and 1993, the interior of the cathedral was renovated and restored under Bishop William K. Weigand. This included not only the removal of dust and dirt and restoration of the interior but also changes to the liturgical elements of the cathedral to bring them into conformity with certain widespread changes in liturgical practice that developed after the Second Vatican Council.
This included constructing a new altar, moving the cathedra, creating a separate chapel for the Blessed Sacrament, and adding an ample baptismal font. The Blessed Sacrament Chapel also contains the tomb of Bishop Scanlan.[4] Resting atop the tomb is a case containing a small relic of Saint Mary Magdalene. The cathedral in Salt Lake City and the Basilica of Saint-Maximin-la-Sainte-Baume in France are the only cathedrals in the world holding first-class relics of the saint and are named in her honor.[5] The major restoration of the interior of the cathedral was accomplished through the vision of Monsignor M. Francis Mannion.[6]
The cathedral is home to the only co-educational Catholic Choir School in the United States. The Madeleine Choir School, established in 1996, now serves over 400 students in Pre-Kindergarten through Grade Eight.[7] The Cathedral Choir has recorded several CDs and routinely tours both nationally and internationally. In addition to singing daily services at the Cathedral of the Madeleine, choristers have sung at St. Peter's Basilica (Vatican City), Notre Dame de Paris (France), and in churches across the United States of America, Spain, Italy, France, Belgium, and Germany, among other places.[8]
Composer Amédée Tremblay notably served as the church's organist from 1920 to 1925.[9]
The cathedral was built under the direction of Lawrence Scanlan, the first bishop of Salt Lake City, who dedicated it to St. Mary Magdalene.[2] It was designed by architects Carl M. Neuhausen and Bernard O. Mecklenburg. The exterior is predominantly a Neo-Romanesque design, while the inside displays more Neo-Gothic details. Construction began in 1900 and was completed in 1909. It was dedicated by James Cardinal Gibbons, Archbishop of Baltimore.
It is theorized that Bishop Scanlan chose Mary Magdalene as the patron saint of the Diocese of Salt Lake because her feast day is on July 22, two days before Pioneer Day, a celebration commemorating the arrival of the Mormon pioneers in Salt Lake Valley, so that Catholics would have something to celebrate alongside the region's dominant faith.[3]
The interior of the cathedral was created under the direction of Joseph S. Glass, the second bishop of Salt Lake. Bishop Glass enlisted John Theodore Comes, one of the preeminent architects in the country, to decorate the interior of the cathedral. His plans for the interior were largely based upon the Spanish Gothic style. The colorful murals and polychrome were added at this time, as were the ornate shrines. In 1916, Bishop Glass also changed the name of the cathedral to the French spelling after visiting her purported tomb.[2]
In the 1970s, the exterior of the building was restored, and between 1991 and 1993, the interior of the cathedral was renovated and restored under Bishop William K. Weigand. This included not only the removal of dust and dirt and restoration of the interior but also changes to the liturgical elements of the cathedral to bring them into conformity with certain widespread changes in liturgical practice that developed after the Second Vatican Council.
This included constructing a new altar, moving the cathedra, creating a separate chapel for the Blessed Sacrament, and adding an ample baptismal font. The Blessed Sacrament Chapel also contains the tomb of Bishop Scanlan.[4] Resting atop the tomb is a case containing a small relic of Saint Mary Magdalene. The cathedral in Salt Lake City and the Basilica of Saint-Maximin-la-Sainte-Baume in France are the only cathedrals in the world holding first-class relics of the saint and are named in her honor.[5] The major restoration of the interior of the cathedral was accomplished through the vision of Monsignor M. Francis Mannion.[6]
The cathedral is home to the only co-educational Catholic Choir School in the United States. The Madeleine Choir School, established in 1996, now serves over 400 students in Pre-Kindergarten through Grade Eight.[7] The Cathedral Choir has recorded several CDs and routinely tours both nationally and internationally. In addition to singing daily services at the Cathedral of the Madeleine, choristers have sung at St. Peter's Basilica (Vatican City), Notre Dame de Paris (France), and in churches across the United States of America, Spain, Italy, France, Belgium, and Germany, among other places.[8]
Composer Amédée Tremblay notably served as the church's organist from 1920 to 1925.[9]
The cathedral was built under the direction of Lawrence Scanlan, the first bishop of Salt Lake City, who dedicated it to St. Mary Magdalene.[2] It was designed by architects Carl M. Neuhausen and Bernard O. Mecklenburg. The exterior is predominantly a Neo-Romanesque design, while the inside displays more Neo-Gothic details. Construction began in 1900 and was completed in 1909. It was dedicated by James Cardinal Gibbons, Archbishop of Baltimore.
It is theorized that Bishop Scanlan chose Mary Magdalene as the patron saint of the Diocese of Salt Lake because her feast day is on July 22, two days before Pioneer Day, a celebration commemorating the arrival of the Mormon pioneers in Salt Lake Valley, so that Catholics would have something to celebrate alongside the region's dominant faith.[3]
The interior of the cathedral was created under the direction of Joseph S. Glass, the second bishop of Salt Lake. Bishop Glass enlisted John Theodore Comes, one of the preeminent architects in the country, to decorate the interior of the cathedral. His plans for the interior were largely based upon the Spanish Gothic style. The colorful murals and polychrome were added at this time, as were the ornate shrines. In 1916, Bishop Glass also changed the name of the cathedral to the French spelling after visiting her purported tomb.[2]
In the 1970s, the exterior of the building was restored, and between 1991 and 1993, the interior of the cathedral was renovated and restored under Bishop William K. Weigand. This included not only the removal of dust and dirt and restoration of the interior but also changes to the liturgical elements of the cathedral to bring them into conformity with certain widespread changes in liturgical practice that developed after the Second Vatican Council.
This included constructing a new altar, moving the cathedra, creating a separate chapel for the Blessed Sacrament, and adding an ample baptismal font. The Blessed Sacrament Chapel also contains the tomb of Bishop Scanlan.[4] Resting atop the tomb is a case containing a small relic of Saint Mary Magdalene. The cathedral in Salt Lake City and the Basilica of Saint-Maximin-la-Sainte-Baume in France are the only cathedrals in the world holding first-class relics of the saint and are named in her honor.[5] The major restoration of the interior of the cathedral was accomplished through the vision of Monsignor M. Francis Mannion.[6]
The cathedral is home to the only co-educational Catholic Choir School in the United States. The Madeleine Choir School, established in 1996, now serves over 400 students in Pre-Kindergarten through Grade Eight.[7] The Cathedral Choir has recorded several CDs and routinely tours both nationally and internationally. In addition to singing daily services at the Cathedral of the Madeleine, choristers have sung at St. Peter's Basilica (Vatican City), Notre Dame de Paris (France), and in churches across the United States of America, Spain, Italy, France, Belgium, and Germany, among other places.[8]
Composer Amédée Tremblay notably served as the church's organist from 1920 to 1925.[9]
The Jordan River, in the state of Utah, United States, is a river about 51 miles (82 km) long. Regulated by pumps at its headwaters at Utah Lake, it flows northward through the Salt Lake Valley and empties into the Great Salt Lake. Four of Utah's six largest cities border the river: Salt Lake City, West Valley City, West Jordan, and Sandy. More than a million people live in the Jordan Subbasin, part of the Jordan River watershed that lies within Salt Lake and Utah counties. During the Pleistocene, the area was part of Lake Bonneville.
Members of the Desert Archaic Culture were the earliest known inhabitants of the region; an archaeological site found along the river dates back 3,000 years. Mormon pioneers led by Brigham Young were the first European American settlers, arriving in July 1847 and establishing farms and settlements along the river and its tributaries. The growing population, needing water for drinking, irrigation, and industrial use in an arid climate, dug ditches and canals, built dams, and installed pumps to create a highly regulated river.
Although the Jordan was originally a cold-water fishery with 13 native species, including Bonneville cutthroat trout, it has become a warm-water fishery where the common carp is most abundant. It was heavily polluted for many years by raw sewage, agricultural runoff, and mining wastes. In the 1960s, sewage treatment removed many pollutants. In the 21st century, pollution is further limited by the Clean Water Act, and, in some cases, the Superfund program. Once the home of bighorn sheep and beaver, the contemporary river is frequented by raccoons, red foxes, and domestic pets. It is an important avian resource, as are the Great Salt Lake and Utah Lake, visited by more than 200 bird species.
The Jordan River is Utah Lake's only outflow. It originates at the northern end of the lake between the cities of Lehi and Saratoga Springs. It then meanders north through the north end of Utah Valley for approximately 8 miles (13 km) until it passes through a gorge in the Traverse Mountains, known as the Jordan Narrows. The Utah National Guard base at Camp Williams lies on the western side of the river through much of the Jordan Narrows.[7][8] The Turner Dam, located 41.8 miles (67.3 km) from the river's mouth (or at river mile 41.8) and within the boundaries of the Jordan Narrows, is the first of two dams of the Jordan River. Turner Dam diverts the water to the right or easterly into the East Jordan Canal and to the left or westerly toward the Utah and Salt Lake Canal. Two pumping stations situated next to Turner Dam divert water to the west into the Provo Reservoir Canal, Utah Lake Distribution Canal, and Jacob-Welby Canal. The Provo Reservoir Canal runs north through Salt Lake County, Jacob-Welby runs south through Utah County. The Utah Lake Distribution Canal runs both north and south, eventually leading back into Utah Lake.[9] Outside the narrows, the river reaches the second dam, known as Joint Dam, which is 39.9 miles (64.2 km) from the river's mouth. Joint Dam diverts water to the east for the Jordan and Salt Lake City Canal and to the west for the South Jordan Canal.[10][11][12]
Map of the Salt Lake Valley
The river then flows through the middle of the Salt Lake Valley, initially moving through the city of Bluffdale and then forming the border between the cities of Riverton and Draper.[7] The river then enters the city of South Jordan where it merges with Midas Creek from the west. Upon leaving South Jordan, the river forms the border between the cities of West Jordan on the west and Sandy and Midvale on the east. From the west, Bingham Creek enters West Jordan. Dry Creek, an eastern tributary, combines with the main river in Sandy. The river then forms the border between the cities of Taylorsville and West Valley City on the west and Murray and South Salt Lake on the east. The river flows underneath Interstate 215 in Murray. Little and Big Cottonwood Creeks enter from the east in Murray, 21.7 miles (34.9 km) and 20.6 miles (33.2 km) from the mouth respectively. Mill Creek enters on the east in South Salt Lake, 17.3 miles (27.8 km) from the mouth. The river runs through the middle of Salt Lake City, where the river travels underneath Interstate 80 a mile west of downtown Salt Lake City and again underneath Interstate 215 in the northern portion of Salt Lake City. Interstate 15 parallels the river's eastern flank throughout Salt Lake County. At 16 miles (26 km) from the mouth, the river enters the Surplus Canal channel. The Jordan River physically diverts from the Surplus Canal through four gates and heads north with the Surplus Canal heading northwest. Parley's, Emigration, and Red Butte Creeks converge from the east through an underground pipe, 14.2 miles (22.9 km) from the mouth.[7] City Creek also enters via an underground pipe, 11.5 miles (18.5 km) from the river's mouth. The length of the river and the elevation of its mouth varies year to year depending on the fluctuations of the Great Salt Lake caused by weather conditions. The lake has an average elevation of 4,200 feet (1,300 m) which can deviate by 10 feet (3.0 m).[3] The Jordan River then continues for 9 to 12 miles (14 to 19 km) with Salt Lake County on the west and North Salt Lake and Davis County on the east until it empties into the Great Salt Lake.[7][8][11]
The United States Geological Survey maintains a stream gauge in Salt Lake City that shows annual runoff from the period 1980–2003 is just over 150,000 acre-feet (190,000,000 m3) per year or 100 percent of the total 800,000 acre-feet (990,000,000 m3) of water entering the Jordan River from all sources. The Surplus Canal carries almost 60 percent of the water into the Great Salt Lake, with various irrigation canals responsible for the rest. The amount of water entering the Jordan River from Utah Lake is just over 400,000 acre-feet (490,000,000 m3) per year. Inflow from the 11 largest streams feeding the Jordan River, sewage treatment plants, and groundwater each account for approximately 15 percent of water entering the river.[13]
Los Carmelitas descalzos obtuvieron un Breve apostólico de Paulo V para edificar conventos de su Orden en cualquier parte de la Cristiandad; fue este el primero que fundaron en la última parte del Monte Quirinal el año de 1606.
La iglesia se fundó en 1605 como una capilla dedicada a san Pablo para los carmelitas descalzos. La propia orden dotó de fondos a la obra del edificio hasta el descubrimiento en las excavaciones de la escultura conocida como el Hermafrodita Borghese. Scipione Borghese se apropió de ella, pero a cambio, y quizá para compensar su pérdida de influencia debido a la muerte de su tío y patrón, financió el resto de la obra de la fachada y prestó a la orden a su arquitecto, Giovanni Battista Soria. Estas concesiones, sin embargo, sólo se llevaron a efecto en 1624, aunque la obra se acabó dos años más tarde.
Después de la victoria católica en la batalla de la Montaña Blanca en 1620, que hizo retroceder la Reforma en Bohemia, la iglesia fue consagrada de nuevo a la Virgen María. Una imagen maltrecha había sido recuperada del ámbito de aquella batalla por Fray Domingo de Jesús María, de dicha Orden, de las ruinas de la casa de campo de un noble cristiano bohemio, a la cual se le atribuyó la victoria, llamándola Santa María de la Victoria. La imagen fue llevada a Roma por Fray Domingo, depositándose en Santa María la Mayor en presencia de Gregorio XV.
El nombre de Santa María de la Victoria, se dio ulteriormente, en conmemoración por haber reconquistado el emperador Fernando I la ciudad de Praga en 1671. Estandartes turcos capturados en el Sitio de Viena de 1683 cuelgan en la iglesia, como parte de este tema victorioso.
La iglesia es la única estructura diseñada y completada por el arquitecto del Barroco temprano, Carlo Maderno, aunque el interior padeció un fuego en 1833 y requirió una restauración. Su fachada, sin embargo, fue erigida por Soria en vida de Maderno (1624-1626), mostrando la inconfundible influencia de la cercana Santa Susanna de Maderno.
Su interior tiene una sola nave, amplia, bajo una bóveda segmentada baja, con tres capillas laterales interconectadas detrás de arcos separados por colosales pilastras corintias con capiteles dorados que apoyan un rico entablamento. Revestimientos de mármol que contrastan entre sí están enriquecidos con ángeles y putti de estuco blanco y dorado en bulto redondo. El interior fue enriquecido progresivamente después de la muerte de Maderno; su bóveda fue pintada al fresco en 1663 con temas triunfales dentro de compartimentos con marcos ficticios: La Virgen María triunfa sobre la Herejía y Caída de los ángeles rebeldes ejecutados por Giovanni Domenico Cerrini.
Sin duda, parte de la fama de este templo se debe a albergar una de las obras maestras del Barroco, la capilla Cornaro, espectacular y teatral espacio presidido por el grupo escultórico que representa el Éxtasis de Santa Teresa, de Gian Lorenzo Bernini, quizá la obra más conocida de este autor en el campo de la escultura. En la capilla situada frente a esta, dedicada a San José, se encuentra un grupo escultórico que representa el tema del Sueño de San José, obra del escultor Domenico Guidi, que se inspira en la obra de Bernini delante de la cual se halla.1
Looking east through nave on 23 June 1976, two days after the summer solstice Mary Magdalene's relics in the crypt
In 1976, Hugues Delautre, one of the Franciscan fathers charged with stewardship of the Vézelay sanctuary, discovered that beyond the customary east-west orientation of the structure, the architecture of La Madeleine incorporates the relative positions of the Earth and the Sun into its design. Every June, just before the feast day of Saint John the Baptist, the astronomical dimensions of the church are revealed as the sun reaches its highest point of the year, at local noon on the summer solstice, when the sunlight coming through the southern clerestory windows casts a series of illuminated spots precisely along the longitudinal center of the nave floor.[13][14][15][16][17]
Tema anterior
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