The Cloister in Bressanone - Brixen
Church & Abbey,
39042
Brixen / Bressanone
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The Cloister in Bressanone - Brixen
The frescos on the ceilings shine out of the diagonal ribbing. External light comes in through the arched windows, thus illuminating the cloister with colours. Visitors find themselves plunged into a variety of colour nuances, figures and faces.
In the XIV and XV centuries some local painters from the region managed to create a rich cycle of depictions taken from the scenes of the Bible. This made the Holy Scriptures accessible also to those who could not read.
The most ancient representations were made by masters Hans, Erasmus and Cristoph from Bruneck, who belonged to the school of the Val Pusteria valley. In 1446 the painter Jakob von Seckau introduced a new language form in painting: faithful and detailed representations, scenes filled with pathos and the strong emphasis on countenance achieved an unprecedented dramatic apex.
The archways from 16 to 20 are not depicted. They were part of the profane area of the cloister and were reserved to the students attending the school of the cathedral and to the peddlers who did their business here.
On an almost square plane, the corridor frames an idyllic internal yard enriched by plants and flowers. The contemplative atmosphere of the place is still lingering around. In the past the garden was, in fact, a place of retreat and meditation for the members of the religious order. Nowadays, visitors have free access to it.
In the XIV and XV centuries some local painters from the region managed to create a rich cycle of depictions taken from the scenes of the Bible. This made the Holy Scriptures accessible also to those who could not read.
The most ancient representations were made by masters Hans, Erasmus and Cristoph from Bruneck, who belonged to the school of the Val Pusteria valley. In 1446 the painter Jakob von Seckau introduced a new language form in painting: faithful and detailed representations, scenes filled with pathos and the strong emphasis on countenance achieved an unprecedented dramatic apex.
The archways from 16 to 20 are not depicted. They were part of the profane area of the cloister and were reserved to the students attending the school of the cathedral and to the peddlers who did their business here.
On an almost square plane, the corridor frames an idyllic internal yard enriched by plants and flowers. The contemplative atmosphere of the place is still lingering around. In the past the garden was, in fact, a place of retreat and meditation for the members of the religious order. Nowadays, visitors have free access to it.
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