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French Baroque castle (Est.1658) garden front facade, almost the whole day facing the sun overlooking the park and gardens.
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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
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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.
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.
Detail of the Venetian window of the so-called Gun Room at Wentworth Castle, Yorkshire,after recent restoration. Wentworth Castle was built by Thomas Wentworth, 3rd Lord Raby, who after 1711 became 1st earl of Strafford (of the second creation). Raby purchased Stainborough Park in 1708 which he renamed Wentworth Castle in 1731. The estate was chosen because it was only six miles away from Wentworth Woodehouse which Raby considered he should have inherited instead of Thomas Watson. The enlargement and renaming of Stainborough was therefore done in a spirit of bitter rivalry and as a bid for the extinct earldom of Strafford (which Raby eventually obtained). The house was enlarged with a new east range designed by Johann de Bodt between 1710 and 1720, although his plans were modified by James Gibbs and William Thornton, the Yorkshire carpenter and builder. The Gun Room was originally either a banqueting house or bath-house. It is constructed of red brick with ashlar dressings. The Venetian window has paired side lights, the outer ones being blind. The frieze is decorated with triglyphs and bucrania.
25, Fournier Street, London, was built in or shortly before 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 - which described the house as new built - was granted by Wood and Michell on 30 March 1725 to Henry Conyers, citizen and bricklayer, and witnessed by William Goswell of Norton Folgate, a carpenter. The house - whose early history was closely linked to No. 23 - was mortgaged to William Taylor (who in 1747 lived in Remenham, Berkshire), and who in turn assigned both leases to Simon Michell. No. 25 is single-fronted and two rooms deep. It is constructed of multi-coloured brick, partly rebuilt, with red brick dressings to the windows. It is three windows wide, and has three storeys with basement and a boarded attic, probably later convented as a weaving loft. The windows have sashes in flush frames. The segmental arches are of rubbed red brick.
No Photos are allowed in all this area's, as you can see the shutter went off!!!!
Neuschwanstein Castle (German: Schloss [formerly Schloß] Neuschwanstein, lit. New Swan Stone palace; pronounced [nɔɪˈʃvaːnʃtaɪ̯n]) is a 19th century Bavarian palace. Located on a mountain top in Germany, near Hohenschwangau and Füssen in southwest Bavaria, the palace was built by Ludwig II of Bavaria as a retreat and as a homage to Richard Wagner, the King's inspiring muse. Although photography of the interior is not permitted,[1] it is the most photographed building in Germany[2] and is one of Germany's most popular tourist destinations.
The palace has been open to the public since 1886. About 1.3 million people vist annually, with up to 6,000 per day in the summer.[3]
A full-frame vertical shot of a richly decorated Baroque altar or shrine within the Wallfahrtsbasilika St. Georg in Walldürn, Germany. The altar is constructed with dark and reddish-brown marble, adorned with elaborate gold leaf ornamentation. It features four prominent fluted columns supporting a curved, ornate canopy with a sunburst motif at its apex. Three white statues of religious figures, likely saints, stand on the altar base. The central figure holds a staff and a book, while the figures on either side also hold religious symbols. In front of the statues, there are small potted green plants and two white candles in gold candelabra. A small framed icon of the Madonna and Child is visible below the sunburst. The background shows the church's interior walls with subtle decorative patterns and a window on the right allowing natural light. In the foreground, a polished wooden floor with a herringbone pattern is visible, with a single potted plant on it.
'The sculptural design in the area of the podium praises the services of the emperors to the university. As patron of science and art, Leopold I is flanked in the middle by "diligence" (industria) and "prudence" (consilio), and "folly" and "discord" plunge into the depths. Statues of Joseph I, Leopold's successor as patron of the university, and Charles VI, who wanted to erect a monument to himself and his two Habsburg predecessors with this state hall, stand on the sides of the outer walls.'
Aula Leopoldina
main building at the University of Wroclaw
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Early eighteenth-century. For Joseph Allan, Master Shipwright of the Deptford Dockyard in 1705. Staircase of circa 1710. Three twisted balusters to each tread
20, 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. 20 was granted by Wood and Michell to Edward Grange, carpenter, witnessed by William Tayler, 'gentleman' and 'carpenter'. In 1766 the house was inhabited by Louis de la Chaumette, a minister of the French church. No. 20 is constructed of stock brick with red brick dressings. It is three windows wide, and has three storeys with a basement and a weatherboarded attic. The sash windows, with exposed flush frames, have segmental arches of rubbed red brick. The wooden doorcase has fluted pilasters and architrave swept up to a dentilled cornice.
detail of the primary stained glass window in Iglesia de San Francisco de Paula, built in 1664....rebuilt in 1730 after being destroyed by a hurricane. The annexed women's hospital of St Francis is long gone and the church has now been transformed to a classical music venue. A small orchestra was rehearsing below the stained glass window when I entered. Was invited to attend the concert that evening. And did *~*
Castle (Est.1658) with Herm figures fence. The fence artworks are by Mathieu Lespagnandelle (1616–1689), created between 1659 and 1661, some busts were not finished because of Nicolas Fouquet’s arrest. These busts have the particularity of having a double head in order to be seen from the exterior as well as inside the domain. Eight in total representing Hercule, Zéphyr, Vulcain, Apollon, Cérès, Mercury, Minerva and Flora.
These are just some of the many sculptures and statues at the estate created in the 17th century by famous sculptors.
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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
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About Pixels - #castle #architecture #monument #art - #VLV #Maincy #FR
Panel with trophies of arms 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 Chapelle Royale (Royal Chapel) was the fifth and final chapel built for Louis XIV, and dedicated to St Louis, patron saint of the Bourbons.
The chapel was built during the fourth (and final) phase of construction.
Designed by architect Jules Hardouin-Mansart (1646-1708), construction on the chapel began in 1689, but work was delayed due to war between France and the Grand Alliance (a coalition between the Anglo-Dutch William III, Holy Roman Emperor Leopold I, Charles II of Spain, Victor Amadeus II of Savoy, and other princes); work resumed after France's victory, running from 1699–1710.
The ceiling of the nave is decorated with 'God the Father in His Glory Bringing to the World the Promise of Redemption' by Antoine Coypel; the half-dome of the apse with 'The Resurrection of Christ' by Charles de la Fosse; and above the royal tribune is 'The Descent of the Holy Ghost upon the Virgin and the Apostles' by Jean Jouvenet.
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.
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.
Detail from a carved and gilded garland of fruit and flowers from the chimneypiece in the Queen's Antechamber at Ham House. The core of the house was built by Thomas Vavasour, a naval captain, between 1608 and 1610. 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. A detail from the chimneypiece in one of these rooms, the Queen's Antechamber, is seen here.
Neues Palais ☆ Potsdam
built by Frederick II of Prussia 1763-1769
Potsdam, Germany
('The construction of the palace, desired by Frederick the Great, began at the end of the Seven Years' War, to celebrate Prussia's successes. Through this architecture, Frederick the Great sought to show the power and glory of Prussia, but one can see a kind of bluster in this excess splendor of the marbles, stones and gilding.' - wikipedia FR)
After the death of Frederick the Great in 1786, the New Palace fell into disuse, and was rarely used as a place of residence or entertainment. However, from 1859 it became the summer residence of the German Kronprinz Frederick William, the future Emperor Frederick III. The palace was the favorite residence of Frederick and his wife, Empress Victoria, during his 99-day reign.
Wilhelm II's ascent to the throne saw the renovation and restoration of the palace, including the installation of a steam heating system, bathrooms in the official apartments, and the electrification of the chandeliers that Frederick the Great had brought from all over Europe. Until 1918, it remained the favorite residence of Wilhelm II and Empress Augusta.
After 1918 the palace became a museum, It was unscathed during the Second World War.
The facade is 220 meters long.
special effects from the Canon SX 260 camera
IMG_6626 Neues Palais
St Coloman in winter. View from the north along Coloman Strasse, Tannheimer Mountains in the background.
The Semperoper - Dresden Opera House
Category: concert hall
Location: Theater Square, Dresden, Germany
Built: 1841 (rebuilt after fire - 1878)
Architect: Gottfried Semper
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French Baroque castle (Est.1658) garden front facade, almost the whole day facing the sun overlooking the park and gardens.
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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
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About Pixels - #castle #architecture #monument - #VLV #Maincy #FR
Mars from the chimneypiece attributed to Francesco Fanelli in the Great Hall 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 chimneypiece in the Great Hall with figures of Mars and Minerva is attributed to Francesco Fanelli, a Florentine sculptor who also worked for the king. 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.
5 White's Row, Spitafields, dates from around 1733-35 but the builder is not known. At this period houses on the south side of the street were owned by Nathaniel Shepherd of St Albans. In 1743 and 1759 the occupant was Thomas Jervis. The house is of yellow brick, double fronted and five bays wide. It has three storeys with a semi-basement and an attic with dormer windows in the mansard roof. The main windows have flush frames with red brick gauged segmental arches. At first floor level, flanking the door, the windows are wider and have a tripartite division. The wooden doorcase follows designs published by James Gibbs and Batty Langley. It is decorated with a carved mask of a bearded man below a scallop shell and has an architrave supported by carved scrolls. The door has four fielded panels. It is reached by stone steps. There is a lamp arch and the front areas have wrought-iron railings with urn finials.
Wentworth Woodhouse was largely the creation of Thomas Watson-Wentworth, Lord Malton from 1728, earl of Malton from 1734, and marquess of Rockingham from 1746. The building was developed in two main phases. The first, the west side, dates from between 1724 and 1728 and is constructed of brick. The design has been attributed to William Thornton, even though he died as early as 1722, because it makes use of ideas from Rossi's 'Studio di architettura civile' (1702), a source used in other buildings by Thornton, including Beningbrough Hall. (The second phase was focussed on the east side - which is gigantic in scale - dating from between 1731 and 1751 and faced in stone. It was begun by Ralph Tunnicliffe and completed by Henry Flitcroft). The earlier west front is brick in Flemish bond. The centre section is faced with ashlar sandstone, which is also used for the dressings. This front is two storeys high with single storey wings above half-basements. On either side of the central section (not seen here) are curved Venetian windows. The basement windows have arched and rusticated surrounds and those at ground-floor level have architraves with projecting voussoirs (wedge-shaped stones forming an arch).
St. Nicholas Church / Kostel svatého Mikuláše
(lower) Malostranské náměstí
Malá Strana, Prague
The church was built between 1704 and 1755 on the site where formerly a Gothic church from the 13th century stood, which was also dedicated to Saint Nicholas. After the victory of the Catholic Habsburgs in the Battle of White Mountain (8 November 1620) in 1625, the previously Utraquist church was handed over to the Jesuits together with the neighboring buildings. The construction was made possible mainly by a large donation from Václav Libštejnský from the noble family of the Counts of Kolowrat, who donated his entire fortune to the construction of the new church before joining the Order.
After the dissolution of the Jesuit order in 1775, St. Nicholas' Church became the Catholic parish church of the Lesser Town.
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Margarethenkapelle (Margaret's Chapel) is a small, Gothic-style chapel in St Peter Cemetery in Altstadt the historic centre of Salzburg, Austria.
It is a small Gothic style chapel named after St Margaret on Antioch who was a Christian Martyr in the 4th Century. The chapel is known for its beautiful architecture and artwork including intricate frescoes and sculptures.
The chapel is believed to have been built in the 14th Century and is one of the few remaining examples of Gothic architecture in Salzburg. The chapel is decorated with frescoes depicting scenes from the life of St Margret, as well as sculptures of saints and other religious figures. The artwork is considered to be some of the finest examples of Gothic art in Austria.
One of the most notable features of Margarethenkapelle is the ornate altarpiece which is made of carved wood and is considered to be a masterpiece of Gothic art.
Information source:
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.