Skip to main content

More pictures of the oratory

This is a picture of my altar. It was here when we moved in, though I gave it a wash of dark paint, as one of the doors was a different tone from the other. The framing around the window will be covered over and painted the same dark brown, as will the triangular shape above it all, thus giving the appearance of a reredos. A sanctuary lamp will hang over the altar, on which will be two candlesticks and a tabernacle. A Crucifix will hang over the altar, fastened on the top of the window frames, and on either side of altar - to give the appearance of a diptych, will be icons of St. John and the Blessed Mother.



This is the door to the oratory, and the other source of light. As I do not want to cut a hole into it, I will have to leave it open to increase the light in the room. I will also have to construct a set of stairs or a ladder to make access easier. I currently have to climb in, making it very private.








This is a picture of the other side of the oratory. You can see the door to it. The small window below it is the only window to the "crypt" below (see previous post for explanation - there are no bodies down there!). Behind the oratory is our house. The red building the left are horse run-ins which the landlords use.




Another view of oratory. The building behind it and to left is my art studio. The one on the far left which you see part of the roofline of is our house.


Comments

便秘 said…
This comment has been removed by a blog administrator.

Popular posts from this blog

Some Observations About Light in Landscape Painting

As I slowly begin returning to painting landscapes the question of light arises. For most of my artistic career I have not been that interested in light in paintings, though I enjoy it in the works of other artists. However in landscape painting light is very important, so lately I've been examining the use of light by various landscapes painters, all of whom would be called "realists." What I found in closely studying their paintings is that they are not strict and mathematical, if you will, about where the light hits. In fact in many realist paintings – those of Andrew Wyeth come to mind – the light is very natural looking at a glance, but then upon closer examination is highly invented. I find nothing wrong with artists taking this liberty. The key to light in landscape painting seems to be to make an effort to simply include it in the work, and not obsess over where everything lines up and how it strikes each object in a uniform way... almost like a Bob Ross paintin

A Tale of Two Cathedrals

My wife and I just returned from vacation. While away, we got to visit the Basilica of the Assumption of the Blessed Virgin Mary in Baltimore, which had recently undergone a huge renovation. The last time I was there was to see the famous "Timla Relic" a few years ago. Unlike some horrific church renovations that have gone on in recent years that were supposedly meant to "update" the church, this restoration was meant to "return" the interior of the building to its original Federal-period design. And I must say that it a very tasteful renovation. They did a really good job. It looks almost like an old early Episcopal church - white washed interior, minimal designs, etc. The interior is now very bright because they removed the stained glass (dark blue Willet windows), and uncovered the original skylights in the dome. They kept all of the good stuff (the high altar, altar rails, etc.), and brought some cool old stuff back (e.g. the nation's first RC epi