Deutsch Touring - Part 19
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Deutsch Touring- Part 19
2013
: Fion Chang , 2552-4411
19 10/8() 20 20 OBERAMMERGAU25 25
WIESKIRCHE26 30 FUSSEN
Schloss Hotel, Linerhof
4Grand Hotel Sonnenbichl, Garmisch
Schloss Linderhof
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Oberammergau 1874~78
8,460,937
BassinKaskadeGartenterrasse
Karl von EffnerMaurischer Kioske
1867
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U( Herrenchiemsee')
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( )Carl von Effner
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Neptunus "Fama".
"Amor with dolphins". majolica
24 " Amor shooting an arrow". " Venus andAdonis"
. 25 m. " Flora andputtos"
" Naiad fountain" . Marie AntoinetteAntoine Watteau The Embarkation for Cythera
http://en.wikipedia.org/wiki/Carl_von_Effnerhttp://en.wikipedia.org/wiki/Carl_von_Effnerhttp://en.wikipedia.org/wiki/Phemehttp://en.wikipedia.org/wiki/Cupidhttp://en.wikipedia.org/wiki/Tin-glazed_potteryhttp://en.wikipedia.org/wiki/Venus_(mythology)http://en.wikipedia.org/wiki/Adonishttp://en.wikipedia.org/wiki/Flora_(mythology)http://en.wikipedia.org/wiki/Puttohttp://en.wikipedia.org/wiki/Naiadhttp://en.wikipedia.org/wiki/Antoine_Watteauhttp://en.wikipedia.org/wiki/Antoine_Watteauhttp://en.wikipedia.org/wiki/Naiadhttp://en.wikipedia.org/wiki/Puttohttp://en.wikipedia.org/wiki/Flora_(mythology)http://en.wikipedia.org/wiki/Adonishttp://en.wikipedia.org/wiki/Venus_(mythology)http://en.wikipedia.org/wiki/Tin-glazed_potteryhttp://en.wikipedia.org/wiki/Cupidhttp://en.wikipedia.org/wiki/Phemehttp://en.wikipedia.org/wiki/Carl_von_Effner -
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Hall of Mirrors : 16
:Ivory chandelier
The middle table has a top withlapis-lazuli,amethystandchalcedonyinlay work and shows the Bavarian coat of arms in glassmosaic.A carpet made of ostrich plumes.An ivory candelabra in the alcove with 16 branches.
Two mantelpieces clad with lapis-lazuli and decorated with gilded bronze ornaments. Tapestry Chambers
The two tapestry chambers are almost identical and have no specific function. The western one is sometimes called "Music Room"because of the Aeolodion(an instrument combining piano and harmonium) in it. Only the curtains and the coverings on the furnitureare real products of the Parisian Gobelin Manufactory. The scenes on the walls are painted on rough canvas in order to imitate realtapestries.
The audience chamber is located to the west of the palace and is flanked by the yellow and lilac cabinets. The cabinets were onlyused as antechambers to the larger rooms. Ludwig II never used this room to hold an audience. This would have contradicted to theprivate character of Linderhof and the chamber would have been much too small for it. He rather used it as a study where he thoughtabout new building projects. That there isan audience chamber in Linderhof, however, reminds us of the demand of the king on anabsolute monarchy.Two round tables withmalachitetops, gift of Grand DuchessMaria Alexandrovnaof Russia to King Ludwig II.
Thronebaldachinwith ostrich feather bunches (as an oriental symbol of royal power).
This room is located to the east and is flanked by the pink and blue cabinets. The pink cabinet, unlike the other cabinets, had a realfunction. The king used it as a robing room. The dining room is famous for its disappearing dumb-waiter called "Tischlein deck dich".This table was installed so that Ludwig could dine alone here. Yet the staff had to lay the table for at least four persons because it issaid that the king used to talk to imaginary people likeLouis XV,Mme de PompadourorMarie Antoinettewhile he was eating. ForLudwig II enjoyed the company of those people and admired them. You can find portraits of them in the cabinets, and scenes of theirlives everywhere in the palace's rooms.Meissen porcelain centrepiece with china flowers.
The model for this room was not Louis XIV's bedchamber in Versailles but the bedroom of the Rich Rooms inMunich Residence.This room was completely rebuilt in 1884 and could not be totally finished until the king's death two years later. The position of thebed itself on steps in the alcove that is closed off by a gilded balustrade gives it the appearance of an altar and thereby glorifies
Ludwig II as he slept during the day.A glass candelabra with 108 candles.Two console tables of Meissen porcelain (which was the king's favorite china)
http://en.wikipedia.org/wiki/Lapis-lazulihttp://en.wikipedia.org/wiki/Lapis-lazulihttp://en.wikipedia.org/wiki/Lapis-lazulihttp://en.wikipedia.org/wiki/Amethysthttp://en.wikipedia.org/wiki/Amethysthttp://en.wikipedia.org/wiki/Amethysthttp://en.wikipedia.org/wiki/Chalcedonyhttp://en.wikipedia.org/wiki/Chalcedonyhttp://en.wikipedia.org/wiki/Chalcedonyhttp://en.wikipedia.org/wiki/Malachitehttp://en.wikipedia.org/wiki/Malachitehttp://en.wikipedia.org/wiki/Malachitehttp://en.wikipedia.org/wiki/Grand_Duchess_Maria_Alexandrovna_of_Russiahttp://en.wikipedia.org/wiki/Grand_Duchess_Maria_Alexandrovna_of_Russiahttp://en.wikipedia.org/wiki/Grand_Duchess_Maria_Alexandrovna_of_Russiahttp://en.wikipedia.org/wiki/Baldachinhttp://en.wikipedia.org/wiki/Baldachinhttp://en.wikipedia.org/wiki/Baldachinhttp://en.wikipedia.org/wiki/Louis_XV_of_Francehttp://en.wikipedia.org/wiki/Louis_XV_of_Francehttp://en.wikipedia.org/wiki/Louis_XV_of_Francehttp://en.wikipedia.org/wiki/Madame_de_Pompadourhttp://en.wikipedia.org/wiki/Madame_de_Pompadourhttp://en.wikipedia.org/wiki/Madame_de_Pompadourhttp://en.wikipedia.org/wiki/Marie_Antoinettehttp://en.wikipedia.org/wiki/Marie_Antoinettehttp://en.wikipedia.org/wiki/Marie_Antoinettehttp://en.wikipedia.org/wiki/Residenz,_Munichhttp://en.wikipedia.org/wiki/Residenz,_Munichhttp://en.wikipedia.org/wiki/Residenz,_Munichhttp://en.wikipedia.org/wiki/Residenz,_Munichhttp://en.wikipedia.org/wiki/Marie_Antoinettehttp://en.wikipedia.org/wiki/Madame_de_Pompadourhttp://en.wikipedia.org/wiki/Louis_XV_of_Francehttp://en.wikipedia.org/wiki/Baldachinhttp://en.wikipedia.org/wiki/Grand_Duchess_Maria_Alexandrovna_of_Russiahttp://en.wikipedia.org/wiki/Malachitehttp://en.wikipedia.org/wiki/Chalcedonyhttp://en.wikipedia.org/wiki/Amethysthttp://en.wikipedia.org/wiki/Lapis-lazuli -
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Tannhuser
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Large-leaved Lime (Tilia platyphyllos)
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Ivy( Parthenocissus tricuspidata )
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Wieskirche 1983 UNESCO
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Wallfahrtskirche zum Gegeielten Heiland auf der Wies.
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31 Wieskirche Mnchner Hofmaler Balthasar August Albrecht.
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38 SteingadenWieskirche( Wies Church) 1730 Pater
Magnus Straub Lukas Schweiger
Maria Lory1738 6
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Balthasar August Albrecht
http://zh.wikipedia.org/wiki/%E8%81%96%E5%A3%87http://zh.wikipedia.org/wiki/%E6%85%95%E5%B0%BC%E9%BB%91http://zh.wikipedia.org/wiki/%E6%85%95%E5%B0%BC%E9%BB%91http://zh.wikipedia.org/wiki/%E8%81%96%E5%A3%87 -
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17 Dominikus Zimmermann Bruder Johann Baptist
Zimmermann Wessobrunner Schule1745~54 1766
UNESCO
Wieskirche
180,000 19831985~91 1060
UNESCO
The sanctuary of Wies, a pilgrimage church miraculously preserved in the beautiful setting of an Alpine valley, is a perfect masterpiece ofRococo art and a masterpiece of creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, near Steingaden in Bavaria, was the setting of a miracle in 1738: a simple wooden image of Christ mounted on acolumn, which was no longer venerated by the Premonstratensians, appeared to some of the faithful to be in tears. A wooden chapelconstructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italybecame so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary. Accordingly, workbegan in 1745 under the direction of the celebrated architect, Dominikus Zimmermann, who was to construct in this pastoral setting in thefoothills of the Alps one of the most polished creations of Bavarian Rococo. The choir was consecrated in 1749 and the remainder of the churchfinished by 1754. That year Dominikus Zimmermann left the city of Landsberg where he lived to settle in Wies near his masterpiece, in a newhouse where he died in 1766.
The church, which is oval in plan, is preceded to the west by a semi-circular narthex. Inside, twin columns placed in front of the wallssupport the capriciously cut-out cornice and the wooden vaulting with its flattened profile; this defines a second interior volume where the lightfrom the windows and the oculi is cleverly diffused both directly and indirectly. To the east, a long deep choir is surrounded by an upper and alower gallery.
The prodigious stucco decoration is the work of Dominikus Zimmermann, assisted by his brother Johann Baptist, who was the painter of
the Elector of Bavaria, Max-Emmanuel, from 1720. The lively colours of the paintings bring out the sculpted detail and, in the upper zones, thefrescoes and stuccowork interpenetrate to produce a light and living decor of an unprecedented richness and refinement. The abundance ofmotifs and of figures, the fluidity of the lines, the skilful opening of surfaces, and the 'lights' continually offer the observer fresh surprises. Theceilings, painted as trompe-l'il, appear to open on an iridescent sky, across which angels fly; these, too, contribute to the lightness of thewhole.
http://de.wikipedia.org/wiki/UNESCO-Welterbehttp://de.wikipedia.org/wiki/Deutsche_Markhttp://de.wikipedia.org/wiki/Deutsche_Markhttp://de.wikipedia.org/wiki/UNESCO-Welterbe -
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Moreover, the preservation is perfect: the colours have retained all their freshness and nothing is lacking in the Rococo whole that is Wies- the splendid asymmetrical ironwork of the choir, the pews of sculpted wood for the faithful, the pulpit, and the elegant and amply modelledsaints that inhabit the architecture.
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St. Augustinus
HieronymusAmbrosius St. Augustinus Gregor der Groe Tiroler
Anton Sturm
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2010Orgel von Orgelbaumeister Claudius Winterhalter Oberharmersbach
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Steingaden Oberammergau
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Oberammergau FrescoPassion Play
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Oberammergau
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Oberammergau
( 2010)
1633 Oberammergau
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