Sanctuary of Saint Ludgerus Priory Church in Billerbeck, North Rhine-Westphalia, Germany
Isaac Israels - Procession in the Old Catholic Church to the Hague; Rijksmuseum Amsterdam, Netherlands; 1881
(Note how the priest is wearing a chasuble instead of cope)
High Altar of Saint John the Baptist Catholic church, Riemsloh, Osnabruck, Germany. This Altar, contrary to appearances, was only built in 1908— when the church was undergoing restoration— by a certain Heinrich Seling of Osnabruck.
The stunning choir screen and Great Rood of the Cathedral of Saint Cecilia in Albi, France, seat of the Archbishop of Albi-Castres-Lavaur. The rather squat, dull exterior—Albi Cathedral was originall built as a fortress—belies a truly sumptuous interior bathed in rich blues.
Another shot of the Royal Chapel at Versailles— this time focusing on the fabulous artworks in the ceiling, taken from the Royal Tribune (the balcony where Lous XIV and his family(ies?) heard Mass
EDIT: Per a follower,
Louis Quatorze and the Princes of the Blood attended Mass just near the altar and knelt on purple, silk hassocks.
Royal Chapel of the Chateau de Versailles, bathed in golden light
The Mystical Mill of the village church of Restchow, Mecklenburg, Germany
The Four Evangelists stand at the centre of the altarpiece and are pouring the contents of four great bags into a grinder… They are grinding quotes from the Gospels (on the white strips) that refer to man’s creation from the Word: In the beginning was the Word… Symbolically, the apostles’ words undergo a transformation - the four strips become one, and this one strip joins with the figure of the Christ Child in a chalice. The mill, normally used for the manufacture of food, points to the scene’s meaning: through the grinding stone the Word becomes flesh, from the grinding stone comes the food of life, and in the grinding stone Christ is sacrificed.
- Edward Norman
Capilla de la Virgen del Sagrario (Chapel of the Virgin of the Tabernacle), Toledo Cathedral, Spain
A rather striking crucifix from Kloster Marienburg, a former Catholic monastery, in Helmstedt, Lower Saxony, Germany. Following the Reformation, it passed on the Lutheran hands.
From what I gather, this piece, dated to around 1350, is what is called in German as “Schmerzensmannkreuz”— an iconographic type midway between the traditional Man of Sorrows and the Crucifix.
The staggeringly tall reredos of the High Altar of the Church of Our Lady of the Snows, New Town, Prague. Built in 1397 by Charles IV, it was originally intended to rival Prague’s cathedral, Saint Vitus, in height; however, Charles’s plan was not followed, and today the church’s proportions are a bit off, much higher than ought be for its length.
High Altar of Gothenburg Cathedral, Gothenburg, Sweden
Nuestra Señora de los Desamparados— Our Lady of the Abandoned, Patroness of Valencia, Spain.
Triumphal Crucifix of Oja church, Gotland, Sweden. This magnificent piece of Gothic sculpture is the only standing triumphal crucifix in Sweden— the usual practice is to suspend them from the ceiling.
Interior of Kloster Zwiefalten, a Benedictine abbey near Reutlingen, Badem-Wurttemburg, Germany, one of the finest examples of the German Baroque.
The exquisite tabernacle of Maria am Gestade (Saint Mary on the Shore), which features both Gothic and Baroque elements.