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The pilgrimage church of Wies (German: Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann, who spent the last eleven years of his life in a nearby dwelling. It is located in the foothills of the Alps, the Steingaden municipality of the Weilheim-Schongau district, Bavaria, Germany.
In 1738 tears were seen on a dilapidated wooden figure of the Scourged Saviour. This miracle resulted in a pilgrimage rush to see the sculpture. In 1740 a small chapel was built to house the statue, but it was soon realized that the building would be too small for the number of pilgrims it attracted, and thus Steingaden Abbey decided to commission a separate shrine. Many people who have prayed in front of the statue of Jesus on the altar have claimed that people have been miraculously cured of their diseases, which has made this church even more of a pilgrimage site.
In contrast to the riotous interior, the exterior of the church does not display the ostentatious theatricality and striving for effect typical of that time.
In contrast to the riotous interior, the exterior of the church does not display the ostentatious theatricality and striving for effect typical of that time.
Construction took place between 1745 and 1754, and the interior was decorated in stuccowork in the tradition of the Wessobrunner School. "Everything was done throughout the church to make the supernatural visible. Sculpture and murals combined to unleash the divine in visible form"[1]. The church, commonly regarded as Zimmermann's final masterpiece, was secularized in the beginning of the 19th century. Subsequently, protests of local farmers saved this jewel of rococo architecture and design from being sold and demolished. The Wieskirche was added to the UNESCO World Heritage List in 1983 and underwent massive restoration in 1985-91.
Entrance door to the Board Room for Officers of the Ordnance Board at the Royal Arsenal, Woolwich. The building is attributed to Sir John Vanbrugh and Nicholas Hawksmoor. It is datable to 1718-20 and was extended around 1741. Constructed in red brick with stone windowsills and a slate hipped roof. The plan is one room deep. The front is symmetrical with a frontispiece that has heavy rusticated piers, or banded jambs, with narrow, deeply set windows, as seen here, supporting a lintel with statues of a lion and a unicorn on pedestals. The interior is a large hall with a stone and slate floor leading to rooms at either end. The one to the left became the Royal Military Academy in 1741 and later the Model Room. The one to the right became a chapel and more recently an officer's mess.
St. Nicholas Church
Malostranské Square
Malá Strana, Prague
Built 1703 – 1755
Christoph Dientzenhofer, Kilian Ignaz Dientzenhofer, Anselmo Lurago- architects
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The Festungsbahn is a cable railway providing access to Hohensalzburg Fortress in Altstadt the historic centre of Salzburg, Austria.
It opened in 1892 as a water balance funicular operated by the Salzburger Eisenbahn- und Tramwaygesellschaft. Previously used as barracks, the line made the fortress available to a broader range of visitors.
The line was rebuilt with new cars and an electric drive in 1960, whilst the lower and upper stations were rebuilt in 1975 and 1976. In 1991 the line was again modernised, with the provision of new cars with an increased passenger capacity and a faster line speed.
In 2011 at a cost of €4 million two new vehicles were provided and the electrical equipment replaced and new panoramic windows offer a better view of the city.
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Piers with pyramids of cannon balls from the entrance to Dial Square at the Royal Arsenal, Woolwich, a former gun boring factory and smithery, dating from 1717-20. The name comes from a later sundial on its front. The building is attributed to Sir John Vanbrugh or Andrew Jelfe (the Clerk of the Works for the Ordnance from 1719). Dial Square, together with the Royal Brass Foundry and the Board Room, formed a core expansion of the site in the early eighteenth to allow the casting of guns. Dial Square originally fronted a double courtyard: Grand Square was for the smitheries and Basin Square, to the rear, accommodated the armouers' shops. Only the entrance range survives. Built of red brick with rubbed brick headers, it is one storey high and has a hipped slate roof. The main entrance is placed symmetrically on the front and has piers with square batters (inward inclinations of a wall face) and moulded caps, supporting pyramids of cannon balls (as seen here), flanking an arch. The later sundial is dated 1764.
Early eighteenth century. Built by Thomas Lucas between 1705 and 1717. Staircase with closed string and twist baluster.
Igreja dos Carmelitas, built 1616-1650
Igreja do Carmo, built 1756-1768. José Figueiredo Seixas, architect.
Praça de Carlos Alberto, Rua do Carmo, Largo do Carmo, Porto, Portugal
DSC00996
The towers stood there like an old song carved in stone, quietly watching the sky drift by. I found myself slowing down beneath them—not because of the clock, but because something about their calm strength
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.
19, Elder Street, London, was built as a pair to No. 21 Elder Street under a lease of 28 June 1727 from William Tillard to Jonathan Beaumont, citizen and mason. (Beaumont had also received the lease for the houses on the eastern corner of Folgate Street and Spital Square). He covenanted to build two houses which were erected by July 1730. By March 1735/6 they had been assigned to a Whitechapel printer who also received an assignment of Nos. 32–36 Elder Street in March 1736. No. 19 is built of plumb-coloured stock brick. It has three storeys with an attic and basement. The windows have segmental arches with fluted keystones and stone sills. The sashes are in exposed flush frames. The door has a simple stucco surround with a round-headed arch, flat cornice and architrave which must date from the nineteenth century.
5, Elder Street, London, was built under a lease granted in July 1725 by Sir Isaac Tillard to Thomas Bunce. Bunce made two mortgage assignments of this lease to a Spitalfields weaver in February 1725/6 for £250 and in February 1727/8 for £337 10s. The house (and No. 7, adjacent, to which it forms a pair) had been built by March 1726/7. It is of three storeys with a basement and an attic. It is built of brown stock brick with red brick dressings on the first two storeys. These have double-hung sashes in exposed flush frames. The top storey of No. 5 has a wide segmental-arched weavers' window alongside a rectangular blind window.
Boston House, Chiswick Square, is of c.1680 but refronted around 1740. It is of brown brick with red dressings. The windows have flat brick arches and the sashes are in flush frames. The wooden doorcase has Roman Doric fluted pilasters, capitals with recettes, and a pediment (the Listing document of 1951 mentions a hood carried on brackets). The door has six panels.
Houghton Hall, Norfolk, was built between 1722 and 1735 (see inscription above south front doorway) for Sir Robert Walpole, later 1st earl of Orford (1717-1742). The design (originating in 1720-21) is by Thomas Ripley, and it was immediately modified by James Gibbs, who was active at the house around 1723, followed by Colen Campbell. The interiors are by William Kent. The exterior is of Whitby stone ashlar. The angle towers (one of which is seen here) have rusticated basements and a platband at first floor level. Walpole chose domes for them as proposed by Gibbs in preference to the pedimented towers suggested by Campbell.
Restoration House, Crow Lane, Rochester, is largely from the late sixteenth-century and the mid-seventeenth century. The house was conveyed to Henry Clerke, Recorder of Rochester, in 1607. The current name derives from Charles II's visit in 1660. It is of red and brown brick in English bond, with a Kent tile roof. Two storeys with attics. The core is two separate buildings of 1454 and 1502-22 to the north and south of the site. The south wing contains a great deal of late sixteenth and early seventeenth century work, and fits a traditional dating to 1587. The north and south buildings were linked during another phase of building between 1600 and 1640, and further internal work was undertaken by Henry Clerke's son, Sir Francis, betwen 1660 and 1680.
The south wing (seen here) has shaped gables at front and rear. There are moulded string courses at first and attic levels. Irregular fenestration. The windows at first-floor and attic levels are casements with mullions and transoms. The ground-floor windows have sashes with eighteen panes (nine on nine) and shutters.
29, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717 but, internally, is substantially a modern reconstruction. It is of two storeys, with an attic and sunk basement. Stock brick with red brick dressings. The parapet conceals a tiled roof with dormers. There are tall, rectangular chimney stacks. The doorcase has panelled pilasters with a pulvinated frieze, and the hood is carried on carved brackets. The brackets have the faces of cherubs and are modern replacements by Charles Oldham, who carved a number in Albury Streeet for Martin Gloyne and Chris Fernside of Greenwich University. This followed the loss of some brackets and the reinstallation of others (after removal by the G.L.C). The door has ten fielded panels.
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
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All Rights Reserved/Wszystkie Prawa Zastrzeżone - Maciek Lulko
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. 3 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 sash windows in flush frames with exposed boxing. The cast-iron railings have urn finials.
Estate cottage at Burnham Overy, Norfolk, with fragments of sculpture by Peter Scheemakers. These were formerly part of the 'Seat on the Mount' on an artificial hillock, the New Mount, in the gardens a Holkham. William Kent began designing these garden buildings in 1737. The New Mount itself was created in 1742 and the 'Seat on the Mount' in 1743.
Custom House at King's Lynn, Norfolk, originally built as a Merchants' Exchange by Henry Bell in 1683 for Sir John Turner. Altered 1718 and 1741 following storm damage. Pantile roof. Acanthus modillion eaves cornice. Pedimented dormers separated by a segment-headed dormer, all with two-light leaded casements. Heavy turned balustrade with corner piers. Timber lantern of Greek cross plan with arches carrying pediments. Above, a hexagonal lantern with ogee cap (replacing an obelisk and statue of Fame blown down in 1741).
built between 1754 and 1762
Designed by Bartolomeo Rastrelli
a view of the entire facade: upload.wikimedia.org/wikipedia/commons/6/6d/HermitageAcro...
No Photos are allowed in all this area's, as you can see the shutter went off!!!!
Neuschwanstein Castle the famous cave of Mad King Ludwig II bed room.
(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]
Salone della Meridiana
- a meridian strip is inlaid in the floor, from the days when this building was in use by the University of Naples.
- during the planning of the "Real Museo Borbonico", room planned to house the royal library inherited from the Farnese ancestors of the Neapolitan Bourbons.
National Archaeological Museum ✫ Naples
former Real Museo Borbonico
museum built as a cavalry barracks in 1585. From 1616 to 1777 it was the seat of the University of Naples
IMG_2767
The pilgrimage church of Wies (German: Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann, who spent the last eleven years of his life in a nearby dwelling. It is located in the foothills of the Alps, the Steingaden municipality of the Weilheim-Schongau district, Bavaria, Germany.
In 1738 tears were seen on a dilapidated wooden figure of the Scourged Saviour. This miracle resulted in a pilgrimage rush to see the sculpture. In 1740 a small chapel was built to house the statue, but it was soon realized that the building would be too small for the number of pilgrims it attracted, and thus Steingaden Abbey decided to commission a separate shrine. Many people who have prayed in front of the statue of Jesus on the altar have claimed that people have been miraculously cured of their diseases, which has made this church even more of a pilgrimage site.
In contrast to the riotous interior, the exterior of the church does not display the ostentatious theatricality and striving for effect typical of that time.
In contrast to the riotous interior, the exterior of the church does not display the ostentatious theatricality and striving for effect typical of that time.
Construction took place between 1745 and 1754, and the interior was decorated in stuccowork in the tradition of the Wessobrunner School. "Everything was done throughout the church to make the supernatural visible. Sculpture and murals combined to unleash the divine in visible form"[1]. The church, commonly regarded as Zimmermann's final masterpiece, was secularized in the beginning of the 19th century. Subsequently, protests of local farmers saved this jewel of rococo architecture and design from being sold and demolished. The Wieskirche was added to the UNESCO World Heritage List in 1983 and underwent massive restoration in 1985-91.
The Zwinger - Der Dresdner Zwinger
Category: museum complex
Location: Dresden, Germany
Built: 1710-1728
Architect: Matthäus Daniel Pöppelmann
Architectural style: late baroque/Rococo
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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.
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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.
No. 19, Folgate Street, London, was built by Daniel Le Sueur of Spitalfields, a goldsmith (also recorded as a silversmith), under a lease of February 1722/3 from Sir Isaac Tillard. In 1750 the lease was assigned by the executors of Le Sueur's son-in-law, an apothecary of White Lion Yard, to his widow, together with ’the leaden cistern in the yard’. No. 19 has four storeys and is two rooms deep. It is built of stock brick with red brick dressings, and the ground-floor is stuccoed. The windows have gauged brick arches at first, second and third-floor levels, with recessed sashes in stucco reveals. There is a wooden Doric doorcase with rusticated pilasters similar to one at No. 10 Folgate Street. The door itself has six fielded panels and a rectangular light.
Doric entablature with metope-triglyph frieze from St Alfrege, Greenwich, built by Nicholas Hawksmoor between 1711 and 1714. This frieze rises up into the pediment. The church is built of Portland stone ashlar. One of the so-called Fifty New Churches built by the Commission active from 1711 to 1734. The masons were Edward Strong and Edward Tufnell.
11 and 11 and a half, Fournier Street, London, are early eighteenth-century houses of around 1722, but refronted 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.
3 Amen Court, in the City of London, was designed by Edward Woodruffe in 1670 and built in 1671-73. It is one from a group of three houses constructed for the Canons Residentiary of St Paul's Cathedral. No. 3 is of two storeys, five windows wide, with a half-basement and an attic with dormer windows. The house is built of red brick with bands and a later parapet of yellow brick. The windows have eighteenth-century sashes with exposed shutter boxes (presumably replacing casements). There is a plain, recessed doorway without a doorcase but with panelled reveals. The fanlight is a later eighteenth-century addition. Each entrance has a lamp arch with torch extinguishers.
Boston House, Chiswick Square, is of c.1680 but refronted around 1740. It is of brown brick with red dressings and five windows wide. There is a moulded cornice, parapet and a roof with three dormers. The windows have flat brick arches and the sashes are in flush frames. The wooden doorcase has Roman Doric fluted pilasters, capitals with recettes, and a pediment. The door has six panels. The forecourt has iron railings and is laid with paving stones.
The building of St Giles House at Wimborne St Giles, Dorset, as it presently exists was begun by Sir Anthony Ashley Cooper, later 1st earl of Shaftesbury (1621-1683), in 1651. The south front, seen here, was originally of five bays (visible to the right). It was extended in the 1670s (seen to the left) to two-thirds the height and then raised again in the eighteenth century. The 1650s section was built of brick with brick quoins that were given lime render and colour wash to look like stone (see far right). The division between these two phases of construction on the south front is marked by the rusticated brick quoin that is exposed without lime render (at centre here). The quoins are flush pointed with black lining below. The windows were originally mullion and transom and later changed to sashes. The stone window surrounds were inset, with stonework smashed into the flat brick arches. There are platbands at first-floor and parapet levels. In 1740-44 the building was enlarged and altered for Anthony Ashley Cooper, 4th earl of Shaftesbury (1711-1771) by Henry Flitcroft. A significant change was the addition of a crenellated parapet in brick on the north front. Later, the exterior was given Roman cement render by P.C. Hardwick in 1854, now removed, and leaving visible hacking. The dormers and chimneystacks were added in the nineteenth century.
This church was built to commemorate a vision of the Virgin (atop this hill over Tlaxcala) by an Indian in the early days of Spanish rule. It is a masterpiece of Mexican baroque.
LOMOish edit via PICNIK software
DSCN2408
This is the entrance to the grounds of this Catholic church in Badoc. A private Catholic school, St. Elizabeth School, is next to this church on the same grounds. This photo can be licensed, for details see www.cgstock.com/cgi-bin/quote.cgi?image=6700.
Walking up to the Palace of Versailles
The Chapelle Royale to the right.
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.
Felbrigg Hall was built for Thomas Windham between 1621 and 1624. Many of the same craftsmen worked there as at Blickling in the 1620s. The west wing was designed in 1674 by William Samwell († 1676), a gentleman architect, for William Windham I (1647-89), but it may not have been constructed until the 1680s, after Samwell's death, because one of the rainwater heads is dated 1686. This wing is built of brick, with brick quoins, has eight bays and is two storeys high, with a hipped roof and pedimented dormers, the last-mentioned being added in 1751. The heavily moulded timber eaves cornice has modillions, as seen here. Each window also has a moulded brick surround.
The pilgrimage church of Wies (German: Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann, who spent the last eleven years of his life in a nearby dwelling. It is located in the foothills of the Alps, the Steingaden municipality of the Weilheim-Schongau district, Bavaria, Germany.
In 1738 tears were seen on a dilapidated wooden figure of the Scourged Saviour. This miracle resulted in a pilgrimage rush to see the sculpture. In 1740 a small chapel was built to house the statue, but it was soon realized that the building would be too small for the number of pilgrims it attracted, and thus Steingaden Abbey decided to commission a separate shrine. Many people who have prayed in front of the statue of Jesus on the altar have claimed that people have been miraculously cured of their diseases, which has made this church even more of a pilgrimage site.
In contrast to the riotous interior, the exterior of the church does not display the ostentatious theatricality and striving for effect typical of that time.
In contrast to the riotous interior, the exterior of the church does not display the ostentatious theatricality and striving for effect typical of that time.
Construction took place between 1745 and 1754, and the interior was decorated in stuccowork in the tradition of the Wessobrunner School. "Everything was done throughout the church to make the supernatural visible. Sculpture and murals combined to unleash the divine in visible form"[1]. The church, commonly regarded as Zimmermann's final masterpiece, was secularized in the beginning of the 19th century. Subsequently, protests of local farmers saved this jewel of rococo architecture and design from being sold and demolished. The Wieskirche was added to the UNESCO World Heritage List in 1983 and underwent massive restoration in 1985-91.