View allAll Photos Tagged BaroqueArchitecture
Under the Creative Commons Attribution-Share Alike CC BY-SA 4.0 license commons.wikimedia.org/wiki/File:Nuruosmaniye_Camii.jpg
Newel post with basket of fruit and flowers from the staircase at Ham House. The core of the house was built by Thomas Vavasour, a naval captain, between 1608 and 1610. It had an H-plan and was of standard Jacobean type, built of brick with stone dressings, but was much altered in the later seventeenth century. In 1626 the house was acquired by William Murray, a courtier close to Charles I, who modernised it in 1637-39. The staircase and suite of first floor rooms leading from it date from this period (the Round Gallery, North Drawing Room, Long Gallery and Green Closet). The design and furnishing of these rooms was directed by Franz Cleyn, the Danish artist who worked for Charles I. The woodwork of the hall and staircase is decorated with panels containing trophies of arms, such as halbards, muskets and blunderbusses. The newel posts have baskets of fruit. The doorcases with broken pediments and busts are by the joiner, Thomas Carter. Murray supported the king during the Civil War and was created earl of Dysart in 1651 but died in 1655 before the Restoration. Following the death of Murray's wife, Katherine Bruce, in 1649, the house passed to their eldest daughter, Elizabeth Dysart, who had married Sir Lionel Tollemache in 1648. After his death in 1669 she married John Maitland, 2nd earl of Lauderdale, a member of Charles II's cabal, and Secretary of State for Scotland. Between 1672 and 1674 they employed the gentleman architect Sir William Samwell to add a new south front to Ham with matching suites of apartments for themselves on the ground floor and a state apartment for Catherine of Braganza on the floor above.
The Formal Gardens of Blenheim Palace owe much to the 9th Duke of Marlborough who, in the 1920’s, with the help of the French landscape architect Achille Duchêne, redesigned the previously uninspiring gardens to provide the Palace with the formal majestic setting that visitors see today.
The Old Town of Salzburg, Austria has been inscribed on the UNESCO list of World Heritage Sites since 1996. In recognizing it as a Heritage Center UNESCO pointed to several factors:
1) "Salzburg played a crucial role in the interchange between Italian and German cultures, resulting in a flowering of the two cultures and a long-lasting exchange between them."
2) "Salzburg is an exceptionally important example of a European ecclesiastical city-state, with a remarkable number of high-quality buildings, both secular and ecclesiastical, from periods ranging from the late Middle Ages to the 20th century"
3) Salzburg is noteworthy for its associations with the arts, and in particular with music, in the person of its famous son, Wolfgang Amadeus Mozart.
The British Columbia Parliament Building was completed in 1897. It is a beautiful example of the Baroque and Romanesque Revival styles of architecture.
Salzburger Dom (Salzburg Cathedral), in Altstadt the historic centre of Salzburg, Austria.
St Rupert the 1st Bishop of Salzburg founded the church in 774 on the remnants of a Roman town Juvavu. The Cathedral is dedicated to him and to the St Virgil the Irish born 2nd Bishop of Salzburg.
The city was set on fire in 1167 by the Counts of Plain, followers of the emperor Friedrick Barbarossa, also destroying the cathedral. The cathedral was rebuilt ten years later under the rule of Archbishop Conrad III of Wittelsbach and became more beautiful, more magnificent and more impressive than ever, making it the mightiest Romanesque cathedral north of the Alps, its size even surpassing the emperor's cathedral in Speyer.
Another fire raged and destroyed large sections of the cathedral in 1598. This gave Archbishop Wolf Dietrich the opportunity to tear down the damaged cathedral and to make plans for its reconstruction. The Salzburg residents were extremely outraged at the archbishop's ruthless actions.
Not only were valuable sculptures and gravestones of the archbishops destroyed but the cathedral cemetery ploughed under and the bones of the dead dumped on the debris.
After Wolf Dietrich's death the architect Santino Solari was commissioned by Archbishop Markus Sittikus to rebuild the Cathedral, which became the first early Baroque church north of the Alps.
As the archbishop’s church, it’s the most important out of over 20 churches in the old town. It’s the burial spot of most archbishops, the place where Mozart was baptized, one of only a few churches equipped with five organs, and the first baroque church in Austria.
Information sources:
en.wikipedia.org/wiki/Salzburg_Cathedral
freewalkingtoursalzburg.com/salzburg-cathedral/
www.panoramatours.com/en/salzburg/salzburg-highlights/sig...
Canted bay with sash windows on the north front of Ham House. The core of the house was built by Thomas Vavasour, a naval captain, between 1608 and 1610. It had an H-plan and was of standard Jacobean type, built of brick with stone dressings, but was much altered in the later seventeenth century. In 1626 the house was acquired by William Murray, a courtier close to Charles I, who modernised it in 1637-39. Murray supported the king during the Civil War and was created earl of Dysart in 1651 but died in 1655 before the Restoration. Following the death of Murray's wife, Katherine Bruce, in 1649, the house passed to their eldest daughter, Elizabeth Dysart, who had married Sir Lionel Tollemache in 1648. After his death in 1669 she married John Maitland, 2nd earl of Lauderdale, a member of Charles II's cabal, and Secretary of State for Scotland. Between 1672 and 1674 they employed the gentleman architect Sir William Samwell to add a new south front to Ham with matching suites of apartments for themselves on the ground floor and a state apartment for Catherine of Braganza on the floor above. Some of Vavasour's house remains visible on the north front. The lead busts in oval niches below the first-floor windows on this front were inserted c.1800 having been removed from the forecourt wall. Some of the windows on the north front retain their stone mullions and transoms. The modillion cornice replaced the original gables. The canted bays (that replaced earlier turrets ending with ogee caps) on this front have sash windows, as do those on the south front (1672-74) which has sashes dating from the 1730s.
Blenheim Palace is home to the 11th Duke and Duchess of Marlborough and the birthplace of Sir Winston Churchill.
Set in 2100 acres of beautiful parkland landscaped by ‘Capability’ Brown, the magnificent Palace is surrounded by sweeping lawns, award-winning formal gardens and the great Lake, offering a unforgettable day out for all.
The Old Royal Naval College is the architectural centrepiece of Maritime Greenwich (London, UK).
Listed as UNESCO World Heritage Site.
The buildings were originally constructed to serve as the Royal Hospital for Seamen at Greenwich, now generally known as Greenwich Hospital, which was designed by Christopher Wren, and built between 1696 and 1712.
Follow me:
Colegio de San Ignacio de Loyola Vizcaínas: established in the mid 18th century in a Baroque building that occupies an entire city block in the historic center of Mexico City. The building occupies an entire city block bordered by Las Vizcaínas, Manuel Aldaco and San Ignacio Streets with the Plaza de Vizcaínas to the south. Along the east, west and south sides, the ground level was a series of compartments which opened to the street but not to the interior. These compartments were rented as living quarters and as commercial spaces. These were planned to serve two functions. First they provided rental income to the school and they also offered a barrier on this level between the busy streets and the girls and women inside. The building was designed this way because at the time seclusion was considered an integral part of the formation of women. However, almost all of these compartments are now closed.
Mexico City ● Ciudad de México
27 January 2014
2014-Mexico 1242
Visit to the Austrian National Library on Wednesday May 21st, 2025 during the Joint Meeting Vienna. We went as a group before our gala dinner. The library in German is Österreichische Nationalbibliothek and is located at Josefsplatz 1, 1015 Wien. This is truly one of the most stunning libraries I have ever visited. The public area is the State Hall, built in the Baroque style in the 18th century by Emperor Charles the VI whose statue sits in the middle of the space.
Chiesa del Gesù
built 1590 to 1636 by the Jesuits, vaults restored after World War II
Palermo, Italy
IMG_2421
Looking over St Mark's Basin towards St Mark's Square from San Giorgio Maggiore.
The Palazzo Ducale (Doge’s Palace) is the most beautiful building in Venice, befitting its status as the centuries-long home of the Doges, rulers of the Venetian Republic.
The political and judicial hub of the empire, it was both the residence of the Doge – the head of state of the Republic – and where the offices of state were located, all the matters of empire being tended to within its walls.
The building in its present state dates back to 1340AD, when a grand hall for the Great Council was built, with the Veneto-Gothic façade surviving fires over the following centuries. The faced runs from the adjoining Basilica di San Marco, along the Piazetta and to the waterfront on St Mark’s Basin.
The building is still home to various offices of city government, but is mainly a grand tourist attraction, with visitors queuing from the early hours of the morning to take a wondrous tour through many of the state rooms and take a glimpse at the amazing treasures within.
The campanile (bell tower) is the tallest structure in Venice, topping out at 99m high and offering grand views of the entire city – though, bizarrely, not a single canal.
The 10th century original, which was both a bell tower and a lighthouse, was modified over subsequent centuries, with Bartolomeo Bon carrying out extensive work between 1511 and 1514, when the spire and gilded angel were added.
The structure was not particularly sound, however, and it collapsed entirely on July 14, 1902, the area having been cleared of people and the only victim being the custodian’s cat. It was rebuilt brick for brick a decade later and is now a popular attraction for the many thousands of tourists who swarm to St Mark’s Square every day.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
Castle chamber of Maréchal de Villars, not as decorated like the other rooms along the longitudinal corridor on the first floor that leads to several rooms. Fouquet's apartment, courtyard side, and his wife's garden side, twelve meters thick, with an antechamber, a bedroom (main room of an apartment where the relatives have free access, it is the place of sociability where they sleep, receive guests, take meals and study.
Currently, Ms. Fouquet's room is divided into two rooms, a Louis XV cabinet and a Louis XV bedroom. The right part of the first floor is only briefly worked on.
---
Details
Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
---
About Pixels - #architecture #castle #monument #room - #VLV #Maincy #FR
The church of Santa Maria della Salute rises high over the Grand Canal in Venice, seen from the top of the Campanile in St Mark's Square.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
The Grand Canal (Il Canal Grande or the Canalazzo) is the main waterway in Venice, dividing the city in two and crossed by only four bridges in its entire near-four kilometre length.
It is much wider than any of the other canals in Venice – between 30m and 70m across – but less than 5m deep and is lined with a number of palaces and churches.
The number one and number two vaporetto services take both locals and (mainly) tourists along its length, allowing them the chance to admire the sights from the water.
Kaplica Hochberga - Hochberg Chapel - Hochbergkapelle
Part of Church of saint Vincent , Greek Catholic cathedral.
Location: pl. Nankiera 15, Old Town, Wrocław, Poland
Built: 1723-1728
Architect: Christoph Hackner
Renovation: 2000-2013
Follow me on:
All Rights Reserved/Wszystkie Prawa Zastrzeżone - Maciek Lulko
19, Fournier Street, London, is an early eighteenth-century house of 1725. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. The lease of No. 19 was granted by Wood and Michell on 30 March 1725 to William Tayler, joiner, witnessed by Marmaduke Smith of Princes (Princelet) Street, carpenter. The house was described as newly built by the lessee. No. 19 has a rebuilt yellow brick front with red brick dressings. It is three windows wide, and has three storeys with basement and attic. The sash windows are in flush frames and have segmental arches of rubbed red brick. There are external shutters at ground-floor level. The wooden doorcase has carved brackets, a panelled soffit to the hood and fluted pilasters that are much broader than the brackets they support. The listing document of 1969 describes a 'plain stucco surround to entrance with cornice above', so the doorcase is presumably largely reconstructed on the model provided by Nos 17 and 27.
Baroque Painted Hall, part of Greenwich Hospital (London, UK).
Painted by Sir James Thornhill.
The Old Royal Naval College is the architectural centrepiece of Maritime Greenwich (London, UK).
Listed as UNESCO World Heritage Site.
The buildings were originally constructed to serve as the Royal Hospital for Seamen at Greenwich, now generally known as Greenwich Hospital, which was designed by Christopher Wren, and built between 1696 and 1712.
Follow me:
Elder Street in Spitalfields was leased for building in 1722, and No. 15 was built in 1727. It was originally only one room deep but was given an extension with staircase during building. The house is built of dark-red brick with rubbed brick dressings. The wooden doorcase has panelled reveals, and fluted Doric pilasters as seen here (but described as plain in the 1950 listing document).
In 1701 Louis XIV moved his bedchamber into the drawing room lying east-west in the Palace, facing the rising sun. The three glazed doors into the Hall of Mirrors at the back were blocked off so as to form an alcove for the bed, with a carved and gilded wood balustrade separating the alcove from the rest of the chamber and over the bed a stucco allegory of France watching over the King in his slumber by Nicolas Coustou. It was in this chamber, become the visible sanctuary of the monarchy, that Louis XIV lunched en petit couvert (in relative privacy) and the ceremonies of the King’s rising and retiring took place every day. It was likewise in this chamber that Louis XIV died on 1 September 1715 after reigning for 72 years.
The chamber’s opulent decor of gold and silver brocade on a crimson ground forms a backdrop to paintings chosen by Louis XIV: The Four Evangelists and Paying Caesar’s Taxes by Le Valentin and Giovanni Lanfranco on the upper walls, Saint John the Baptist by Giovanni Battista Caracciolo above the door, Mary Magdalene by Le Dominiquin and two portraits of Antoon Van Dyck. On the two mantelpieces installed during the reign of Louis XV stand a bust of Louis XIV by Antoine Coysevox and a barometer clock and four candelabra that belonged to the Comte de Provence, Louis XVI’s brother.
[Versailles website]
The Palace of Versailles was created at the instruction of Louis XIV, and was the centre of French government and power from 1682, when Louis XIV moved from Paris, until Louis XVI and the royal family was forced to return to the capital in 1789.
The chateau is built around a hunting lodge established by by Louis XIII, and was created in four phases: 1664–68, 1669–72, 1678–84 and 1699–1710, by the architects Le Vau, Le Nôtre, and Le Brun.
No. 14 Wilkes Street (known as Wood Street up to the late nineteenth century) was part of the Wood-Michell Estate, developed by Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple between 1718 and 1728. No 14 (then 8 Wood Street) was built by James Pitman, citizen and carpenter of London, under a lease granted by Wood and Mitchell in March 1723/24 (O.S.) This house formed part of a development of four together with 16 Wilkes Street (then 9 Wood Street), and 18, 20, and 22 Hanbury Street (then nos 10 Wood Street and 8 Brown's Lane). In September 1725 Pitman assigned the lease and houses to a mercer for £1,540. In 1750 and 1773 No 14 Wilkes Street was occupied by John Freemount and Company, weavers, a reflection of the popularity of Spitalfields for the silk industry in the eighteenth century. However, these were not strictly-speaking "weavers' houses" as such, since the occupants were generally wealthy merchants and silk masters. The glazed weavers' garrets found in these houses today were added later when the area declined. No. 14 was substantially refaced in the nineteenth century (while retaining the fenestration pattern), when the terracotta bands between storeys were inserted, but its interior survives. It is two rooms deep with a hall to the south side. The sash windows are six over six and largely modern replacements.
11 and 11 and a half, Fournier Street, London, are early eighteenth-century houses of around 1722, but altered in the nineteenth century and with substantial later reconstruction. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. Each house seen here is built of yellow brick, is two windows wide, and has three storeys with basement and attic. The windows have stucco lined reveals, and, at ground-floor level, modern exterior shutters. In 1972 the two houses were listed as one and then had three entrances.
14, Fournier Street, London (first known as Church Street), was built under a lease of 1726. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. On 26 July 1726 the lease for No. 14 was granted by Wood and Michell to William Tayler, joiner, witnessed by Samuel Worrall. The lease required Tayler to ’pave before the same in Church Street with broad paving stones or Common Square ragg stones four foot wide or more and from thence to the middle of the street where the Kennel is to runn with common paving stones’. He was to ’enclose a footway of four foot wide or more before the front… with posts proper for the purpose’. Tayler was also the first occupant. By 1743 Judith Signeratt was resident. No. 14 is constructed of varied stock brick with red brick dressings. It is four windows wide, with one window flanking the door to the east and two the west. It has three storeys with a basement and attic. The sash windows, with exposed flush frames, have segmental arches of rubbed red brick with triple keystones below moulded brick bands. The wooden doorcase has eight panels (probably reduced to insert the fanlight) and panelled reveals. It has Ionic three-quarter columns which are fluted and carry a curved hood with coffering.
31, Fournier Street, London, is an early eighteenth-century house of 1725. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. No. 31 was built in 1725 by Samuel Worrall, a carpenter, under a ninety-eight-year lease granted by Wood and Michell to him on the same day as the lease of No. 27 (14 December 1725). The lease of No. 31 was witnessed by Marmaduke Smith and William Taylor, both carpenters. The house is constructed of brown brick with red brick dressings. It is three windows wide, and has three storeys with basement and attic. The sash windows are in flush frames and have segmental arches of rubbed red brick with stone keystones. The wooden doorcase has fluted pilasters and an architrave swept up at the centre to a dentilled cornice.
St George, Bloomsbury, was designed by Nicholas Hawksmoor and built between 1716 and 1731. It was created following the Fifty New Churches Act of 1711 for the parishoners of St-Giles-in-the Fields, London. In the interior, coupled columns project from the side walls and the architrave runs above a segmental arch over an apse for the altar at the east end. The moulded ceiling of the apse, visible at far right, is decorated with pelicans and scallop shells flanked by mitres, croziers and winged cherubs, the work of Isaac Mansfield (also responsible for the plasterwork in the Long Library at Blenheim), who was recorded at St George's on 24 September 1724. Between 25 March 1725 and 31 December 1726 the plasterer - presumably Mansfield - was paid for the ‘Ceiling of…Church…portico…Ovolo Enriched with Egg…Anchor…Roses between...Modilions’, ‘Foliage with mitres, Cherubs Head…Ceiling of…Altar with…Enriched ovolo’ £16 12s. 6d., ‘Glory…Dove 6 Ft by 3 F: 6 Inch Embost’ £3 13s. 6d., ‘Shell over...Nich 5 : 4 In Diameter’ £3, ‘Middle Flower 5 Foot Diamt. £4', see Terry Friedman, 'The Eighteenth-Century Church in Britain', New Haven and London, 2011, documents on CD-rom, pp. 592-593
Salamanca, Spain
the cloister of the former Jesuit Real Colegio del Espíritu Santo de la Compañía de Jesús. The Jesuit college was sponsored by Queen Margarita de Austria of Spain and her husband King Felipe III; they even planned to be buried in the church. The cloister's architect was Andrés García de Quiñones and it is dated to 1730.
Since 1940, this complex has housed the Universidad Pontificia de Salamanca.
Accessible by a brief and well conducted tour.
DSCN8433
Great Ormond Street was developed by Nicholas Barbon from 1686 onwards, and continued after his death by Sir William Millman. The houses at the east end of the street date from 1710-15. No. 5 was built by John Cooper and Edward Chapman. It is of brown brick with red brick dressings, and has four storeys with a basement. The windows have gauged brick flat arches and later recessed sash windows with exposed boxing. There are brick bands at first- and second-floor levels, and a stone cornice at third-floor level. The wooden doorcase has fluted pilasters and an entablature. The door is panelled and has a rectangular radial overlight.
43, King Street, Westminster, was built for Admiral Russell, 1st earl of Orford, in 1716-17, probably to designs by Thomas Archer. The admiral's social connections may have helped him break the uniformity of Inigo Jones's Covent Garden piazza which the house overlooks. The house is of brick with stone dressings, the painted stucco being added at a later date. It has three storeys with an attic and basement. The facade has four giant Composite fluted pillasters on rusticated piers at ground-floor level. The centre is three windows wide, with narrower flanking bays containing two windows (2:3:2). The entablature comes forward above capitals with dosserets (blocks of stone placed above the capitals). The attic storey has a cornice, and its central section was raised in the nineteenth century, probably in 1871, when two iron vases were placed at either end. This replaced a parapet that was ramped up to a central window. The ground floor has a reinstated central three-bay porch in antis with columns on pedestals (not seen here, these date from a restoration of 1977 by Fitzroy Robinson Partnership). The windows in the outer bays have segmental arches with keystones. Those at the centre have elliptical arches and impost strings at first and second-floor levels, but originally they were divided by sunken strips. The original staircase in the double-height hall was removed around 1932 and re-erected at South Walsham Hall, Norfolk.
Detail of a carved trophy of arms on the staircase at Ham House. The core of the house was built by Thomas Vavasour, a naval captain, between 1608 and 1610. It had an H-plan and was of standard Jacobean type, built of brick with stone dressings, but was much altered in the later seventeenth century. In 1626 the house was acquired by William Murray, a courtier close to Charles I, who modernised it in 1637-39. The staircase and suite of first floor rooms leading from it date from this period (the Round Gallery, North Drawing Room, Long Gallery and Green Closet). The design and furnishing of these rooms was directed by Franz Cleyn, the Danish artist who worked for Charles I. The woodwork of the hall and staircase is decorated with panels containing trophies of arms (as seen here), as well as modern weapons such as halbards, muskets and blunderbusses. The newel posts have baskets of fruit. Murray supported the king during the Civil War and was created earl of Dysart in 1651 but died in 1655 before the Restoration. Following the death of Murray's wife, Katherine Bruce, in 1649, the house passed to their eldest daughter, Elizabeth Dysart, who had married Sir Lionel Tollemache in 1648. After his death in 1669 she married John Maitland, 2nd earl of Lauderdale, a member of Charles II's cabal, and Secretary of State for Scotland. Between 1672 and 1674 they employed the gentleman architect Sir William Samwell to add a new south front to Ham with matching suites of apartments for themselves on the ground floor and a state apartment for Catherine of Braganza on the floor above.
Formerly known as Maalat (derived from the salty waters near it), the first Malate Church was built by the Augustinians in 1588. However, it was later destroyed in 1667 by the orders of Governor-General Sabiniano Manrique de Lara over fears of an attack by the Chinese pirate Li Ma Hong. The structure was rebuilt in 1677-79 by Fr. Dionisio Suarez. The church underwent various renovations from catastrophes that swept the area number of times. The first structure built in 1591 was heavily damaged by the 1645 earthquake. The second structure, which was made of brick stone, was put up in 1680 and was used by the British forces as a form of refuge and base when they ruled Manila for 18 months. In 1868, the brick church was destroyed by another earthquake and a subsequent typhoon. The church that remains standing today was constructed in 1864 under the supervision of Rev. Francisco Cuadrado. It was razed by a fire during World War II but was restored by the Columbans in the 1950s.
French Baroque castle (Est.1658) garden front facade, almost the whole day facing the sun overlooking the park and gardens.
---
Details
Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
---
About Pixels - #castle #architecture #monument - #VLV #Maincy #FR
7, Fournier Street, London, an early eighteenth-century house of around 1722, but altered in the nineteenth century. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. No. 7 is built of yellow brick. It is two windows wide, and has three storeys with basement and attic. The 1973 listing document describes shop fronts at ground floor which have now gone so most of what is seen here is reconstruction.
27, Fournier Street, London, was built for Peter Bourdon, an eminent silk-weaver, in 1725. His initials are on a rainwater-head on the front of the building. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. The lease was granted by Wood and Michell on 14 December 1725 when the house was said to have been lately built by Bourdon. The witness was William Tayler of Spitalfields, carpenter. Bourdon was recorded as occupant of the house in 1743 and 1750. He was included in a list of Eminent Merchants and Traders in London in 1744, and in the following year he undertook to raise a body of twenty-six workmen to resist the Young Pretender. In 1759 the house was occupied by Obadiah Agace, a weaver of silk mixed with worsted. No. 27 is constructed of yellow brick with red brick dressings. It is five windows wide, and has three storeys with basement and attic. The sash windows at first and second floors are in flush frames and have segmental arches of rubbed red brick with stone keystones. The windows at ground-floor level are recessed. The wooden doorcase has carved brackets, a panelled soffit to the hood and curved and fluted Doric pilasters thart are much broader than the brackets they support. From 1829 to 1946 this house was used as the London Dispensary.