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Asam Church, 1733. Munich. Germany.
St. Johann Nepomuk, better known as the Asam Church (German: Asamkirche), is a Baroque church in Munich, southern Germany, built from 1733 to 1746 by the brothers, sculptor Egid Quirin Asam, and painter Cosmas Damian Asam as their private church. It is considered to be one of the most important buildings of the southern German Late Baroque. - wikipedia
The magnificent Basilica della Salute, built as a tribute to the Virgin Mary for saving the city from a devastating plague in the 17th century. It is one of the most iconic landmarks of Venice, and a masterpiece of Baroque architecture.
The basilica stands on a narrow strip of land between the Grand Canal and the Giudecca Canal, offering a stunning view of the Piazza San Marco and the Doge’s Palace. It is supported by more than a million wooden piles, and its façade is decorated with 125 statues of saints, angels, and biblical figures.
Often described as the best example of Baroque in Prague this beautiful church was designed and built by Christoph Dientzenhofer the member of famous German architect family. Just to the left we can see the Charles Bridge, the lit up building on the right - National Museum and the tower on the hills - Zizkov Television Tower.
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The small town of Edelstetten in the district of Günzburg has around 550 inhabitants. It is a district of the municipality of Neuburg an der Kamel.
The defining building of this village is the monastery complex including the church of St. John the Baptist and John the Evangelist.
Between 1709 and 1712 the church was built by Simpert Kraemer according to plans by Christoph Vogt. Simpert Kraemer also carries out the stucco work.
Johann Arbogast Thalheimer painted the numerous frescoes between 1710/11.
Johann Michael Fischer from Dillingen made the high altar. The altarpiece is taken from the previous altar, painted by Johann Christoph Storer. It shows the Assumption of Mary. The two figures represent the two church patrons.
The two side altars are also by Fischer and the altarpieces are by Storer.
It is no longer possible to determine who made the pulpit, but in 1728 it was installed in the church.
Ponte Sant'Angelo, once upon a time known as Pons Aelius, built by Mr Hadrian the Roman Emperor in 134 AD. In the background we see the imposing Baroque masterpiece of St Peter's Basilica and further still the Gianicolo Hill.
Note the little rowing boat and all the debris on the bridge, there Tiber must have risen quite a bit.
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Santa Maria della Salute in Venice is part of the parish of the Gesuati and I learned that it is the most recent of the so-called plague churches.
In 1630, Venice experienced a devastating outbreak of the plague and as a votive offering for the city's deliverance from the pestilence, the Republic of Venice vowed to build and dedicate a church to Our Lady of Health.
The church was designed in the Baroque style by Baldassare Longhena. Construction began in 1631. Most of the objects of art housed in the church bear references to the Black Death.
The Salute is a majestic, octagonal building with two domes and a pair of bell-towers at the back. At the apex of the pediment stands a statue of the Virgin Mary who presides over the church which was erected in her honour. The façade is decorated with figures of Saint George, Saint Theodore, the Evangelists, the Prophets and Judith with the head of Holofernes.
Here we see the front entrance and I took the shot looking upward - I wanted to imagine looking up as the people of Venice had done all those centuries ago, as they entered these mighty doors during their time of suffering and struggle and the inspiration they sought from entering such a building of faith and hope.
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The cathedral is built in Baroque architecture, and its groundplan has the shape of a Latin cross. The building's façade is similar to that of the Church of the Gesù in Rome. The cathedral has a bell tower on its north-east side.
The interior of the cathedral is well-proportioned, containing pilasters raised on tall platforms. The building has an aperture for a dome, but this is roofed over with a flat ceiling containing a trompe-l'œil painting.
Blienhiem Palace - Baroque architecture.
Home of 12th Duke and Duchess of Malborough and Birthplace of Winston Churchill.
St John the Evangelist, Westminster!
Designed by Thomas Archer.
Built between 1714-1728.
Badly damaged during the 1941 blitz, it was restored & is now a fine concert hall.
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The pilgrimage church of Our Lady, also known as the Frauenkirche, is located in the Bavarian market town of Münsterhausen, in the district of Günzburg.
In 1659 the Heidenheimer family took over the fief in which Münsterhausen is located. In 1695, Baroness Johanna Franziska von Heidenheim fell ill in childbirth. The doctors had already given her up when she went on a pilgrimage as a last resort to the miraculous image in Altötting. There she finds help. She was so taken with it that she asked for a consecrated copy of the miraculous image. She receives this. The baroness then had a chapel built with the same dimensions as the Altötting octagon. A pilgrimage begins, and in order to be able to cope with the stream of pilgrims, a nave is added to the chapel. Construction began in 1699 and was consecrated in October 1708. Master builder is Valerian Brenner from Vorarlberg, plasterer is Hans-Jörg Brix.
The chapel is only connected to the nave by a door and a window, this changes in 1901/02. You break through into the chapel. This has served as the choir of the church ever since. The high altar also dates from 1901/02. In it, the miraculous image from the previous age has been taken over, framed by relief panels made of gold and silver sheet. Both side altars are original from the time of origin. The pulpit is made in 1708. The ceiling paintings are oil on canvas and also date from 1708.
Ottobeuren is a municipality in the Bavarian district of Unterallgäu and belongs to Upper Swabia. The village is dominated by its double-towered monastery church of St. Alexander and St. Theodor, which has the rank of a basilica minor. It is one of the main sights of the Upper Swabian Baroque Route. The church axis does not run from east to west, but from north to south.
In 1711 the new convent building was started. On the plans of the new monastery building by P. Christoph Vogt, a new church is planned which is to be connected to the north of the building. The model is the collegiate church inaugurated in Salzburg in 1707. Vogt died in 1725, the new monastery building, under the supervision of Simpert Kramer, was almost completed. In 1731 the convent rejects a new church building, only in 1736 the new building according to Kramer's plans is approved. The foundation stone is laid on October 27, 1737, but the old church is not demolished until 1748.
Abbot Ruppert II, however, commissions other master builders to draw up plans for the new church: Carlo Andrea Maini, Kaspar Radmiller, Dominikus Zimmermann and Joseph Schmuzer deliver plans.
The original plan envisages a tambour dome as in Weingarten, but Abbot Ruppert II has doubts and so the dome is discarded. The master builder Kramer is strongly criticized by competing architects, but Ruppert keeps his hand over him until the abbot dies in 1740.
His successor, Abbot Anselm, appoints the master builder Johann Michael Fischer, who worked in Zwiefalten. Fischer takes over the construction management, Kramer asks to be dismissed and leaves the site. Fischer is a stroke of luck for Ottobeuren. He abandons the tambour dome in favor of flat domes and he extends the crossing.
In 1748 Fischer's construction team takes over the building site. The old church is now demolished. In 1755 the church is vaulted, and in 1760 the two towers are completed. 1757 Fischer leaves the building site, there must have been differences of opinion concerning the furnishings.
Abbot Anselm hires Johann Michael Feichtmayr as plasterer. Feichtmayr not only furnished the church with rich rocaille stucco, but was also the creator of most of the altars, the pulpit and the stucco marble columns. Johann Joseph Christian from Riedlingen supplied the figures for the altars and created the choir stalls and the organ prospect. Johann Jakob Zeiller painted the dome frescoes. He coordinated the colors with those of the stucco marble columns. He also painted the high altarpiece. 1The two choir organs were ordered by Abbot Anselm in 1757 from the organ builder Karl Joseph Riepp, and were completed by 1764. They are the only original organs by Riepp that have survived. The silver chandeliers from an Augsburg workshop are unfortunately no longer preserved.
The new church was consecrated in 1766 with an eight-day festival.
The magnificent and lavishly stuccoed St. Sebastian's Chapel is a baroque gem. It was built by the Jesuits between 1668 and 1671 above the sacristy. It contains the bust reliquary with the skull of St. Sebastian.
in the silence of midnight, porto holds its breath. a single bell tower looms against the void, its clock frozen like a heartbeat between dreams. the church rises from shadow like a relic of stillness, lit only by the reverence of light.
as seen from an upper-floor window in the Belvedere Palace. [Explore 21.04.2022]
"Belvedere" - nice outlook indeed!
Do zoom in and press your nose to the window-pane! You can find St Stephan's Cathedral, and to the right in the baroque garden you can find two white sphinxes. If you look around a bit more, you'll see a few umbrellas, but there weren't many tourists outside - they were inside having a "museum day" looking at the paintings in the galleries.
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Apart from cropping, SOOC.
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The Immaculate Conception Church (Spanish: Iglesia de Nuestra Señora de la Inmaculada Concepción de María) is a Baroque church located in Poblacion, Upper Jasaan in Misamis Oriental, Philippines. It was declared by the National Museum as a National Cultural Treasure in Northern Mindanao due to its artistic design and cultural values.
The church was a provincial attempt to mimic the famous San Ignacio Church of Intramuros in Manila. The Jesuit brothers Francisco Rivera and Juan Cuesta are credited with the construction of the original church.[1] At present, the church is undergoing repair and restoration pursuant to the National Cultural Heritage Act otherwise known as the "Cultural Properties Preservation and Protection Act".
en.m.wikipedia.org/wiki/Immaculate_Conception_Parish_Church_(Jasaan)
Between 1320 and 1370 the construction of the new Gothic church in Biberach an der Riss began. This new building replaces the previous Romanesque church.
The Reformation does not stop at Biberach either. In 1531, during the iconoclasm, many of the church's furnishings were destroyed (high altar, some pulpit, side altars). The catholic knife was banned until 1548, but in 1548 it was allowed again by the Augsburg interim of Emperor Karl V. Since that time the church has been used by both denominations, it is a so-called simultaneous church.
Between 1746 and 1748 the interior was redesigned in Baroque style by Johann Zick from Munich, who also painted the frescoes. While the nave was used by both Protestants and Catholics, the choir remained in Catholic hands, which is also reflected in the Themes reflecting the frescoes. While the frescos in the main and side aisles have biblical stories as their theme, the frescoes in the choir have a Catholic program of images. The nave fresco shows the life story of Jesus from his birth to his death.
A stunning view of the Basilica of Our Lady of the Pillar, beautifully illuminated as it reflects on the waters of the Ebro River in Zaragoza, Spain. Captured from the riverbank, this shot showcases the grandeur of the baroque architecture and the serene atmosphere of the historic cityscape.
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...
above the eternal city, a bird floats in silence, framed by forgotten blooms and the domes of centuries past. it’s a fleeting moment — but time seems to pause just long enough to breathe.
Maihingen is a municipality in the Bavarian district of Donau-Ries. The former Minorite monastery with the monastery church of Maria Immaculata is located there.
In the 15th century, plans were made to begin construction of the monastery in Maihingen to stimulate pilgrimages. Initially, the Augustinian Order was persuaded to support the founding and construction of the monastery. However, the site proved too difficult, and the Augustinians abandoned the project. The same applied to the Benedictines and the Servite Brothers who followed them.
The Birgittine Order, which was still little known at the time, entered the conversation. After several guarantees and documents from the count, the bishop, and even Pope Pius II, the Birgittines agreed to build and occupy a monastery.
In 1473, the first sisters moved into the makeshift convent buildings and church.
The order enjoyed a flourishing until the mid-16th century. A steady influx of visitors and economic prosperity. But the Reformation and several wars took their toll on the monastery. A decline began. The last remaining nuns moved to Altomünster.
The founding family then entrusted the Minorites, a branch of the Franciscan Order, with the administration of the monastery. In 1607, the monastery was handed over to the Franciscans, but the Birgittine Order refused to accept this, sued, and lost.
The monastery buildings were in poor condition, both the convent building and the church.
After the Thirty Years' War, an economic upswing began. Guardian Hermann Partenschlag, chairman of the monastery, laid the foundation stone of the new convent building in 1703. The master builder was the Minorite brother Ulrich Beer, a member of the Beer dynasty of master builders from Vorarlberg.
In 1712, the Guardian laid the foundation stone for the new church. Cajetan Kegelsperger, a fellow brother of Beer, carried out the construction according to Beer's plans. In 1714, Kegelsperger died, and master mason Kaspar Buchmüller and carpenter Johann Sonderhalter took over construction supervision. The shell was completed in 1717. Buchmüller also oversaw the stuccoing work, but his efforts were unsuccessful and he was dismissed from his position. Other stucco workers, Sebastian Bluemb and Hans Gabriel, took over the work. In 1718, the stucco on the ceiling was severely damaged and crumbling. It was decided to remove it entirely and paint the exposed areas with frescoes. Stuccoing the ceiling was abandoned. The painter Martin Speer carried out the work.
A special feature of the church are the altars, both the high altar and the side altars. These are similarly constructed, with two columns to the left and right of the excerpt, as well as the white cornice and frieze. These friezes on the high altar visually continue the side galleries. The red trim is also the same on the altars. This color scheme is also found on the pulpit. This creates a harmonious overall impression.
A highlight of the church is the Baumeister organ on the west gallery. Built by Johann Martin Baumeister between 1734 and 1737, it is considered the most original Baroque organ in Germany.
This Pavillon was built in the early 18th century in the Dresden Baroque style under Augustus the Strong, who was Elector of Saxony as well as King of Poland and Grand Duke of Lithuania.
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...
The small village of Pürten is part of the municipality of Waldkraiburg in Upper Bavaria. The municipality's most important building is the Pilgrimage Church of the Assumption of Mary.
A late Gothic church was built in Pürten around 1400 and is still preserved today, albeit with baroque painting and furnishings.
Pürten was an important place of pilgrimage to the Virgin Mary. The special feature of the pilgrimage is the healing book, a gospel book of the blessed Alta of Pürten. In 1075 she bequeathed the precious gospel book to the church. Sick people could borrow the book and it is said that they were healed. But the use of the book is not always successful.
Four baroque altars and a rococo pulpit decorate the interior. The painting of the vault was done by Johann Martin Seltenhorn. It is his only major commission. The paintings are considered to be outstanding work.
The axis of the choir is shifted by six degrees to the axis of the main nave. It is intended to symbolize the bowed head of Christ on the cross.
Christmas lights
Palazzo Estense is a Baroque palace built in 1760 for the duke Francesco III d'Este (also governor of the Austrian Lombardy) and residence of Este in Varese.
Bits and pieces of the Roman Forum in the foreground and Trajan's Market in the backrgound. Love those trees!
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Just some long exposure fun with my neutral density filter. Sorry for my absence, didn't have anything interesting to post. Here we have the famous Old Royal Naval College just before the Blue Hour.
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A black-and-white postcard from 1940 showcasing multiple views of Melk Abbey, Austria, with detailed architecture and scenic surroundings.
Irsee is a small community in the Ostallgäu with approx. 1400 inhabitants. The most important building in the community is the baroque monastery complex with its double-towered monastery church that can be seen from afar.
In 1699 the dilapidated bell tower of the monastery church collapsed, damaging the Romanesque choir.
Romanus Knöpfle, elected Abbot of Irsee in 1692, was already working on the construction of a new church when the disaster happened and was thus a trigger for it.
Franz Beer II "von Bleichten" begins on August 25, 1699 with his construction team with the construction of the new church. It is his first major church building, before that he worked as a parlier with Christian Thumb in Obermarchtal and in Tannheim. The architecture is committed to the Vorarlberg cathedral building scheme, a wall pillar church with a gallery and the so-called light frame layer. The plasterer from Wessobrunn, Joseph Schmutzer, also received his first major order.
The ceiling paintings are a specialty. They are not frescoes but stretched oil paintings on canvas, painted by Frater Magnus Remy. The high altar sheet "The Assumption of Mary" also comes from Remy.
Four side altars are taken from the previous church, these altar leaves are also painted by Frater Magnus Remy.
Another special feature of the monastery church is the pulpit in the shape of a ship's bow, created 1724 - 1725 by Ignaz Hillenbrand. The sound cover is formed by an inflated sail, puttos climb the rigging, the figure of the Archangel Michael is on the bow in front, and Satan was attached to his feet until 1834. However, this is removed because it is said to have been in the way of people's processions in the church.
The pulpit refers to the naval battle of Lepanto on October 7, 1571, when the Holy Alliance defeated the Turks in the naval battle of Lepanto. However, the pulpit is also considered an allegory of the church as a ship at sea and in the storms of time.
The organ by Balthasar Freiwiss is also a masterpiece, as is the organ brochure. Both the organ and the prospectus have been preserved in the original.
One should also keep an eye on the cheeks of the pews, Baroque carving is of great value, but the master is not known.
The consecration of the church takes place on October 12, 1704.
After secularization, the monastery church became a parish church, and from 1849 the monastery complex was converted into a district insane asylum.
The mental institution experienced a dark chapter between 1940 and 1945. 2000 inmates were murdered by the Nazis.
In 1965 it is decided to demolish the entire monastery complex. But it took until 1972 until the last inmates of the asylum were relocated, and in the meantime the cultural heritage of the monastery complex is being considered, fortunately demolition is no longer an option. However, the church is closed due to the risk of collapse.
From 1974 to 1976 the church was statically refurbished and secured and then restored until 1981.
At the same time, the monastery complex is being renovated, and an education center is now moving into the rooms.
If you visit the beautiful town of Grassau in the Chiemgau, you should definitely not miss the parish church of the Assumption of the Virgin Mary. It is characterized by its lush stucco and frescoes from different eras.
The origins of the church are Romanesque, but only parts of the perimeter walls and the basement of the tower have survived. The church building was remodeled and extended in the Gothic style in the 14th and 15th centuries, and the flat-roofed interior with star-ribbed vaulting was redesigned in the 16th century.
But the Baroque period also left its clearly visible traces in this church. In 1705 the remodeling begins. The rib vaults are knocked down to make room for frescoes and stucco. Guillo Zuccalli was commissioned to do the stucco work, and he didn't skimp on it. At the same time, Jakob Carnutsch painted the frescoes, which were overpainted with rococo paintings by Johann Nepomuk della Croce in 1766/67. In the 1970s, some of the Carnutsch frescoes were uncovered again.
The seven – refuges – chapel is attached to the southern aisle. It is an amalgamation of two chapels.
In the choir there is an early baroque high altar, built between 1640 and 1642. Inside is an altarpiece, which has the Assumption of Mary as its theme. It is a work by Peter Candids d.Ä. It is a smaller and slightly modified copy of the altarpiece from the Munich Frauenkirche. The two side altars probably come from the same workshop as the high altar. The painter of the altarpieces is Johann Nepomuk della Croce.
In Witzighausen, a district of Senden in the Neu-Ulm district, there is the magnificent pilgrimage church of the Birth of the Virgin.
In 1738 the foundation stone for the new church in Witzighausen is laid. The completion is two years later, in 1740. In that year Christoph Thomas Scheffler signed his frescoes. Gottlieb Finsterwalder needed 13.5 weeks for the stuccoing of the church interior, probably with the help of his brother Ignaz.
On September 12, 1748, the Augsburg auxiliary bishop consecrated the church, but the church is still without altars. The money for the purchase is scarce, the coffers empty. But in 1757/58 Franz Josef Bergmüller erects the altars, but without altar leaves due to financial difficulties. Franz Huber delivers them in 1780. The builder of the pulpit is not known. The pulpit and altars were also not painted (painted) until 1781 by Joseph Hartmann from Illertissen.
In 1859 the tower is raised, which is not seen as an ornament for the church or landscape.
A wide, eye-level shot captures the impressive facade of the Wallfahrtsbasilika St. Georg in Walldürn, Germany, on an overcast day. The basilica, constructed from reddish-brown sandstone with lighter stone pilasters and cornices, dominates the center of the frame. Its main entrance features an ornate Baroque portal with a statue of a saint above the double wooden doors. Two large windows are visible on the upper levels of the central section. The dark, pyramidal tiled roof rises to a small finial. On either side of the church, bare deciduous trees with intricate branch patterns frame the scene. To the left, parts of residential buildings are visible. To the right, a cobblestone street curves away, where a person holding a blue umbrella walks, and a dark sedan is parked further down. The ground is paved with cobblestones, and small planters with sparse vegetation are placed in the foreground. The sky is uniformly gray and cloudy.
Piazza San Francesco, no coração da histórica cidade de Matera, Património Mundial da UNESCO, na região italiana da Basilicata. Dominando a praça, ergue-se a Igreja de São Francisco de Assis (Chiesa di San Francesco d’Assisi), um marco religioso e social edificado no século XIII sobre um antigo templo dedicado a São Pedro e São Paulo, cuja igreja subterrânea ainda pode ser acedida através de um alçapão. A fachada barroca do século XVIII, construída em calcário local, apresenta uma profusão de elementos ornamentais típicos da época, incluindo nichos, esculturas e um portal meticulosamente trabalhado, refletindo a riqueza arquitetónica e religiosa da região. No interior, destaca-se o altar-mor em mármore, obras do século XVII, um conjunto de nove pinturas de têmpera sobre madeira do século XV da autoria do artista veneziano Lazzaro Bastiani, e o coro com entalhes em madeira. A Piazza San Francesco serve como ponto de encontro e transição entre o centro urbano e a zona dos Sassi, o núcleo antigo da cidade caracterizado pelas suas habitações rupestres.
Piazza San Francesco, in the heart of the historic city of Matera, a UNESCO World Heritage Site, in the Italian region of Basilicata. Dominating the square is the Church of St. Francis of Assisi (Chiesa di San Francesco d'Assisi), a religious and social landmark built in the 13th century on an ancient temple dedicated to St. Peter and St. Paul, whose underground church can still be accessed through a trapdoor. The 18th-century Baroque façade, built in local limestone, features a profusion of ornamental elements typical of the time, including niches, sculptures and a meticulously crafted portal, reflecting the architectural and religious richness of the region. Inside, the 17th-century marble high altar, a set of nine 15th-century tempera paintings on wood by the Venetian artist Lazzaro Bastiani, and the choir with wood carvings stand out. Piazza San Francesco serves as a meeting point and transition between the urban center and the Sassi area, the ancient core of the city characterized by its cave dwellings.
A passagem entre Getreidegasse e Sternbräu é uma atração turística popular em Salzburgo, Áustria. A Getreidegasse é uma rua movimentada no centro histórico de Salzburgo, conhecida pelas suas lojas, restaurantes e cafés. É também o local de nascimento de Wolfgang Amadeus Mozart, na casa número 9, onde ele viveu até os 17 anos. A passagem, na imagem, é uma "through-house", uma arcada que passa por debaixo das casas, que leva da Getreidegasse ao Sternbräu, um local com restaurantes em madeira que servem pratos regionais.
The crossing between Getreidegasse and Sternbräu is a popular tourist attraction in Salzburg, Austria. Getreidegasse is a busy street in the historic center of Salzburg, known for its stores, restaurants and cafes. It is also the birthplace of Wolfgang Amadeus Mozart, at house number 9, where he lived until he was 17. The passage, pictured, is a through-house, an arcade that runs under the houses, leading from Getreidegasse to the Sternbräu, a place with wooden restaurants serving regional dishes.
Colorful Ceramic Lamp Posts and railings found in and around the Plaza de Espana (Spain Square) located in the Parque de Maria Luisa in the City of Seville in the Province of Seville Andalusia in Southern Spain
Designed by Sir Christopher Wren for the joint monarchs William lll & Mary ll in 1689.
A large part of the Tudor Palace was destroyed in it's making!
You can see the surviving part of the old Palace in the background!
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The Old Royal Naval College can be seen in the foreground - designed by Wren and built between 1696 - 1712. It was described by UNESCO as - "finest and most dramatically sited architectural and landscape ensemble in the British Isles".
The light has been fantastic lately. All that unsettled weather and showers can, sometimes, be a good thing. In the background we can see City skyscrapers.
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