View allAll Photos Tagged BaroqueArchitecture
Noto, St Nicholas Cathedral (Noto Cathedral, Cattedrale di Noto) and Church of San Salvatore (Basilica San Salvatore) in Piazza del Municipio, Noto, Sicily, Italy, Europe
In 1724, Peter Thumb was commissioned by the Abbot of St. Peter, Ulrich Bürgi, to build a new church for the monastery. The stucco work could begin as early as 1727. The church was also consecrated that year, but the interior was still missing. Johann Baptist Clerici came to St. Peter from Ticino to do the stucco work. The stucco marble work on the altars was also his work. Shortly afterwards, Franz Joseph Spiegler created the ceiling frescoes. Joseph Anton Feuchtmayer was commissioned to do the sculptural work. He not only made the figures on the outside façade, but also the donor figures inside. Christian Wenzinger made the baptismal font, and probably also the organ facade.
A Piazza di San Firenze, localizada no coração histórico de Florença, Itália, exibe uma impressionante concentração de monumentos medievais e renascentistas. À esquerda, destaca-se o campanário gótico da Badia Fiorentina, um mosteiro beneditino fundado no século X e reformulado nos séculos XIII e XVII. Ao fundo, surge parcialmente visível a cúpula de Santa Maria del Fiore, a catedral de Florença. À direita, observa-se a Torre del Bargello, parte do Palazzo del Bargello, um edifício medieval que já serviu como prisão e sede do Capitano del Popolo, atualmente um museu nacional com uma das mais significativas colecções de escultura renascentista do país. A praça, de forma alongada e irregular, reúne edifícios que refletem estilos arquitetónicos variados, desde o medieval ao barroco, evidenciando a evolução urbana da cidade. O nome da praça provém de uma antiga igreja dedicada a São Florêncio, que deu origem ao Complexo de San Firenze, construído entre os séculos XVII e XVIII pelos padres Filippini. Esta área é considerada de grande relevância histórico-artística, onde convivem edifícios religiosos e civis numa configuração que preserva as características do Renascimento, e que faz parte do Património Mundial da UNESCO.
Piazza di San Firenze, located in the historic heart of Florence, Italy, displays an impressive concentration of medieval and Renaissance monuments. On the left, the Gothic bell tower of Badia Fiorentina stands out, a Benedictine monastery founded in the 10th century and reformulated in the 13th and 17th centuries. In the background, the dome of Santa Maria del Fiore, the cathedral of Florence, appears partially visible. On the right, the Bargello Tower, part of the Bargello Palace, a medieval building that once served as a prison and headquarters of the Capitano del Popolo, currently a national museum with one of the most significant collections of Renaissance sculpture in the country. The square, with an elongated and irregular shape, brings together buildings that reflect varied architectural styles, from medieval to baroque, showing the urban evolution of the city. The name of the square comes from an old church dedicated to St. Florence, which gave rise to the San Firenze Complex, built between the 17th and 18th centuries by the Filippini fathers. This area is considered of great historical and artistic relevance, where religious and civil buildings coexist in a configuration that preserves the characteristics of the Renaissance, and is part of the UNESCO World Heritage.
The former monastery church of St. Margareta from Baumburg, a district of Altenmarkt an der Alz, district of Traunstein, Upper Bavaria, can be seen from afar.
The church was the monastery church of the former Augustinian monastery, which was founded by Count Berengar I of Sulzbach around 1107/1109.
The first monastery church, a Romanesque basilica, was built in the 12th century.
In 1756, Provost Joachim Vischer had a new church built for the 600th anniversary of the consecration. Franz Alois Mayr from Trostberg is contracted as master builder. The two church towers and the lower enclosing walls were taken over from the old church. The church towers were provided with onion domes in the 17th century.
With the new building, the church receives its rococo furnishings. The church is plastered by the Wessobrunn plasterer Bernhard Rauch, after his death by Georg Funk, an employee of Johann Baptist Zimmermann.
Felix Anton Scheffler, once a student of Cosmas Damian Asam, was commissioned to paint the frescoes. The theme of the nave fresco is the Assumption of St. Augustine into Heaven. St. Margareta is the theme of the choir fresco.
The organ on the west gallery from 1670 was taken over from the previous church. It has been slightly remodeled and expanded over time.
This is another picture I want to share with you before wrapping up my selection from Quito. Not necessarily because the image is stunning, but because the subject is.
This is La Iglesia de la Compañía de Jesús, often called La Compañía. It's not just another church—it's a masterpiece of Quito Baroque architecture and one of Ecuador's most significant historical landmarks.
Construction began in 1605 and took over 160 years, finishing around 1765. The Jesuits built the church, an order known for its focus on education, missionary work, and ambitious architecture. The Jesuits were often called the "Soldiers of God" or the "Pope's Army"—highly trained, intellectually rigorous, and intensely loyal to the Pope. They played a significant role in spreading Catholicism across the globe, particularly during the Counter-Reformation.
La Compañía was designed to symbolize the power and spiritual authority of the Catholic Church in the New World during the Spanish colonial era.
What makes this church unforgettable is its interior—almost every surface is covered in gold leaf, an estimated 7 tons used. The walls, ceilings, altars, and columns are carved and gilded in elaborate detail. It's easy to see why many refer to it as "South America's Sistine Chapel."
Beyond the gold, the church's carvings and symbols feature a fusion of European and Indigenous influences—an essential example of the Quito School of Art and part of what makes the city's colonial heritage unique.
So, while this photo may not be remarkable on its own, I took it to document and share the cultural and artistic value of a visually stunning and historically significant place.
Mdina the ancient capital city of Malta. The Silent City with St Paul's Cathedral as its centre of worship. Mdina is a UNESCO World Heritage Site
The nave of St. John's Co-Cathedral in Valletta, Malta with a rare display of the magnificent set of tapestries
A Rua do Vilar, em Santiago de Compostela, converge com a Praça do Toural, formando um núcleo vital no centro histórico da cidade. Esta artéria, parte integrante do percurso de peregrinação a Santiago de Compostela, preserva a arquitetura tradicional galega dos séculos XVII e XVIII, caracterizada por edifícios de granito com arcadas térreas, varandas de ferro forjado e galerias envidraçadas, concebidas para proteger os transeuntes da pluviosidade da região. Outrora uma zona nobre com casarões renascentistas, barrocos e neoclássicos ostentando brasões, a Rua do Vilar manteve a sua função comercial e social. A proximidade da Praça do Toural, que inicialmente serviu como mercado de gado fora das muralhas, reforça a ligação entre a zona histórica e a cidade moderna, criando um ponto de encontro dinâmico para residentes e visitantes, com comércio, restauração e eventos culturais. A sua importância para a história da cidade valeu-lhe a classificação, em 1985, como Património Mundial da UNESCO.
Rua do Vilar, in Santiago de Compostela, converges with Praça do Toural, forming a vital nucleus in the historic center of the city. This artery, an integral part of the pilgrimage route to Santiago de Compostela, preserves the traditional Galician architecture of the 17th and 18th centuries, characterized by granite buildings with ground-floor arcades, wrought iron balconies and glazed galleries, designed to protect passers-by from the region's rainfall. Once a prime area with Renaissance, Baroque and Neoclassical mansions sporting coats of arms, Rua do Vilar has maintained its commercial and social function. The proximity of Praça do Toural, which initially served as a cattle market outside the walls, reinforces the connection between the historic area and the modern city, creating a dynamic meeting point for residents and visitors, with shops, restaurants and cultural events. Its importance to the city's history earned it the classification, in 1985, as a UNESCO World Heritage Site.
Rome, cloister of San Carlo alle Quattro Fontane, architectural masterpiece from Borromini (1635-36).
The building history of many churches is characterized by new buildings and conversions. This is also the case with the parish church of Waging am See in Upper Bavaria.
In the 15th century a new church was built in the late Gothic style, which was destroyed by fire in 1611. It was rebuilt in 1612, but for structural reasons the interior had a flat wooden ceiling.
pastor dr. Guidobald Rudolph Kiene had the interior redesigned in the Baroque style in 1698/99. Wall pillars are erected and re-vaulted with lunette barrels. This new vault is decorated with rich stucco by Joseph Schmidt from Salzburg.
Another change takes place between 1722 and 1723, a new choir is built by the Salzburg master mason Tobias Kendler. Joseph Höpp from Burghausen provided the new chancel with stucco.
But in 1895/96 the choir was extended again by a yoke, and the chapels were converted into side aisles.
The conversion phases can be clearly seen in the execution of the stucco. While the strong stucco in the nave comes from the Baroque period, the fine bandel stucco in the choir is a work from the Rococo period. The 19th-century stucco in the choir extension is based on the rococo stucco.
The frescoes in the nave are attributed to Christoph Lehr from the Höglwörth monastery.
above the tiled roofs and weathered facades, a single gull draws a silver arc through air thick with memory. behind her, the ancient bell tower watches in silence, cross-shadowed and eternal. it’s as if the city itself paused to breathe.
La Clerecía, em Salamanca, é um edifício histórico construído entre os séculos XVII e XVIII. Originalmente conhecido como Real Colegio del Espíritu Santo, foi fundado pela Companhia de Jesus em 1617. O complexo inclui uma igreja e um colégio, com um claustro barroco.
Após a expulsão dos Jesuítas em 1767, o edifício foi entregue à Real Clerecía de San Marcos. Atualmente, é a sede da Universidade Pontifícia de Salamanca.
A Clerecía oferece aos visitantes a experiência "Scala Coeli", que permite subir às torres e desfrutar de vistas panorâmicas da cidade. O percurso inclui acesso às tribunas da igreja, onde se pode observar o altar-mor e o retábulo barroco.
O edifício é um exemplo do estilo barroco sendo projetado por Juan Gómez de Mora. A sua fachada impressionante é composta por três corpos.
O Forte de Nossa Senhora da Graça, ou Forte da Graça, ergue-se majestosamente perto de Elvas, no Alentejo. Este exemplar da arquitetura militar portuguesa, construído entre 1763 e 1792 durante o reinado de D. José I, sob a direção do engenheiro militar francês Conde de Lippe, integra o conjunto de fortificações de Elvas, classificado como Património Mundial da UNESCO desde 2012. Situado estrategicamente no Monte da Graça, o forte, uma das mais sofisticadas fortificações abaluartadas da Europa, apresenta uma imponente estrutura circular em pedra, coroada por um distintivo reduto central octogonal amarelo. Este reduto, projetado segundo o método holandês de fortificação, alberga a Casa do Governador nos pisos superiores, uma capela no piso térreo e uma cisterna escavada na rocha no subsolo. Combinando função defensiva com elementos estéticos barrocos, a estrutura reforçava as defesas da cidade fronteiriça, sendo o edifício amarelo no topo também o centro de comando militar.
The Fort of Nossa Senhora da Graça, or Fort of Graça, stands majestically near Elvas, in the Alentejo. This example of Portuguese military architecture, built between 1763 and 1792 during the reign of King José I, under the direction of the French military engineer the Count of Lippe, is part of the Elvas fortifications complex, classified as a UNESCO World Heritage Site since 2012. Strategically located on Monte da Graça, the fort, one of the most sophisticated bastioned fortifications in Europe, has an imposing circular stone structure crowned by a distinctive yellow octagonal central redoubt. This redoubt, designed according to the Dutch method of fortification, houses the Governor's House on the upper floors, a chapel on the first floor and a cistern dug into the rock underground. Combining a defensive function with Baroque aesthetic elements, the structure reinforced the defenses of the border town, with the yellow building at the top also serving as the military command center.
The checkered history of Weyarn Monastery begins in 1133, when Count Siboto II founded the monastery under the patronage of Archbishop Konrad I of Salzburg.
The monastery buildings went up in flames several times, and in the 16th century the Canons' Monastery was suspected of following the teachings of Luther instead of those of the Catholic Church. During this time, no new provosts are elected; instead, two administrators appointed by the duke preside over the monastery. The monastery was spared the turmoil and destruction of the Thirty Years' War.
The economic boom of the monastery begins under Provost Valentin Steyrer. He puts the Weihenlinden pilgrimage site under the care of the monastery and had a new pilgrimage church built according to his plans. He also set up a boys' seminary in the monastery.
In 1677 the monastery was again destroyed by fire. The monastery buildings are rebuilt under Provost Benno Zaech. His successor, Provost Gerlasius Harlass, had the church rebuilt in its present form. The master builder was Lorenzo Sciasca, who came from Graubünden. The church was consecrated in 1693. But in 1706 another fire devastated the monastery building, including the church's roof truss. The reconstruction of the monastery and church begins under Provost Praesedius Held. The stucco work and frescoes in the church were executed in 1729 by Johann Baptist Zimmermann. The carved figures by Ignaz Günther, made between 1755 and 1765, are famous. They are among his most outstanding works.
William lll & Mary ll planned to demolish all of Henry Vlll's Palace, except the 'The Great Hall'.
When Queen Mary ll died, William lost interest in the Greater expansion at Hampton Court.
We now have an unusual marriage of Tudor and Baroque styles!
Pentax K-3 mk lll
Smc Pentax Da 18-135mm f3.5-5.6 ED AL [IF] DC WR RE
O órgão do Panteão Nacional em Lisboa é uma peça histórica do século XVIII, destacando-se pela sua talha dourada e importância cultural. Instalado na Igreja de Santa Engrácia, este órgão é um exemplo notável da organaria barroca em Portugal.
The view over the rooftops, spires and domes of Rome at sunset from the Villa Borghese gardens on the Pincian Hill.
I'm always amazed at the light in Rome, it seems to be...different... So clear and beautiful.
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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..
The facade 'fulfills a didactic function, so that the people, through symbols and figures, understand the mysteries of the faith they profess. '- wikipedia translated
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My 77th image on Explore (10/06/2025), reaching No. 74!
The Church of England Cathedral of St Philip, in
Designed in a Baroque style by Thomas Archer, St Philip's was consecrated as a church in 1715, and elevated to the status of cathedral in 1905. After heavy damage in the blitz, it was restored in 1948.
Shot with my Nikon D7000 with a Nikkor AFS DX 18-200mm F/3.5-5.6G lens, and processed in GIMP and Photoscape.
Landmark movie palace in Utica, New York. The Stanley first opened in 1928 and has in recent decades been restored to its original glory.
Imagem panorâmica da cidade histórica de Santiago de Compostela, captada a partir do Parque da Alameda, revela a majestosa Catedral, um dos principais destinos de peregrinação cristã na Europa e ponto final do Caminho de Santiago. Construída entre os séculos XI e XVIII sobre o local onde se encontram, segundo a tradição, os restos do apóstolo Santiago Maior, a catedral apresenta uma rica mistura de estilos arquitetónicos românico, gótico e barroco, com destaque para a fachada do Obradoiro. O Parque da Alameda, um dos maiores espaços verdes da cidade, é conhecido pelas suas vistas magníficas sobre o centro histórico, que inclui as construções graníticas típicas da Galiza e os telhados das casas da zona antiga, classificada como Património Mundial pela UNESCO desde 1985.
Panoramic image of the historic city of Santiago de Compostela, captured from the Alameda Park, reveals the majestic Cathedral, one of the main Christian pilgrimage destinations in Europe and the final point of the Way of St. James. Built between the 11th and 18th centuries on the site where, according to tradition, the remains of the apostle Santiago Maior are found, the cathedral presents a rich mixture of Romanesque, Gothic and Baroque architectural styles, with emphasis on the Obradoiro façade. Alameda Park, one of the largest green spaces in the city, is known for its magnificent views over the historic center, which includes the typical granite constructions of Galicia and the rooftops of the houses of the old town, classified as a World Heritage Site by UNESCO since 1985.
Symétrie parfaite, perspective infinie et reflets paisibles… Le château de Vaux-le-Vicomte se dévoile ici dans toute sa grandeur classique. Devant moi, les jardins à la française de Le Nôtre s’étendent comme une œuvre vivante, dialoguant avec l’architecture de Louis Le Vau et les sculptures de Girardon.
Un lieu qui n’est pas seulement un château, mais une véritable révolution esthétique, ancêtre de Versailles et témoin du génie du Grand Siècle.
A Wiener Minoritenkirche é uma igreja em Viena, Áustria, com uma rica história e arquitetura impressionante. Localizada perto da estação de Herrengasse, esta igreja é conhecida pelas suas estátuas e detalhes arquitetónicos únicos. Construída no século XIII, a Minoritenkirche é um marco importante na paisagem de Viena.
The Old Market is the vibrant heart of Potsdam, featuring the state parliament with its impressive Fortuna portal, the iconic St. Nicholas Church, an eye-catching Egyptian obelisk, the prestigious Barberini Museum, and the renowned Potsdam Museum. Known as one of Europe's most charming squares, the Old Market draws inspiration from the relaxed ambiance of Italian piazzas. St. Nicholas' Church, influenced by Rome's St. Peter's Basilica, showcases classicist architecture. Designed by Karl Friedrich Schinkel in 1830 and later enhanced with a striking drum dome by Ludwig Persius and August Stüler in 1850, the church exudes timeless grandeur. Following a revitalization in the 1990s, the Old Market has once again become a highlight of Potsdam, boasting picturesque baroque architecture. As ongoing renovations continue to transform the surrounding city center, it's the perfect excuse to revisit and witness the stunning final result in a couple of years from now – Potsdam, Brandenburg, Germany.
Little Market Square, known locally as Mały Rynek, is steeped in history, having served as a gathering place for locals and traveler's alike for centuries, stunning architecture surrounds the square, showcasing a blend of Renaissance and Baroque styles that reflect the city’s storied past.
Little Market square Krakow.
O interior da Igreja de São Gonçalo, localizada no centro histórico de Amarante, é um espaço rico em história e arte. A igreja apresenta uma arquitetura religiosa que combina vários estilos: renascentista, maneirista, barroco e oitocentista, refletindo a diversidade de influências que marcaram a sua construção, desde a sua fundação em 1543.
O interior da igreja é caracterizado por uma nave única com capelas laterais profundas e intercomunicantes, um transepto inscrito e uma cabeceira tripartida com capela-mor profunda. A nave é coberta por uma abóbada de berço com pinturas em 'trompe l'oeil', que criam uma ilusão de profundidade e espaço.
A igreja também é conhecida pelas suas pinturas de composição vegetalista sobre a cantaria de granito, que adornam as paredes e o teto.
O interior da igreja também inclui um coro-alto com cadeiral e uma torre sineira quadrangular com cobertura idêntica às coberturas das torres da Sé de Braga. A igreja é rodeada por um amplo adro lajeado de granito e está anexa ao Claustro do Convento de São Gonçalo, que é monumento nacional desde 1910.
A Igreja do Senhor Bom Jesus da Cruz, em Barcelos, iniciada em 1704 sob projeto de João Antunes, é um exemplar notável da arquitetura barroca setecentista. A planta em cruz grega e a cúpula de granito com cerca de 10 metros de diâmetro conferem robustez ao espaço interior. A capela-mor exibe um imponente retábulo em talha dourada, característico do barroco, com elementos fitomórficos, colunas salomónicas e esculturas de anjos. As paredes laterais são revestidas por painéis de azulejos setecentistas de João Neto, que retratam cenas da vida de Cristo. O pavimento apresenta um padrão axadrezado em mármore, enquanto o teto abobadado é complementado por um lustre de cristal. A igreja, classificada como Imóvel de Interesse Público desde 1958, integra o complexo do santuário do Bom Jesus da Cruz, um importante centro de peregrinação associado ao "Milagre da Cruz" de 1504 e à celebração anual da romaria das Cruzes.
The Church of Senhor Bom Jesus da Cruz, in Barcelos, started in 1704 under the design of João Antunes, is a remarkable example of eighteenth-century baroque architecture. The Greek cross plan and the granite dome, about 10 meters in diameter, give robustness to the interior space. The chancel features an imposing gilded altarpiece, characteristic of the Baroque, with phytomorphic elements, Solomonic columns and sculptures of angels. The side walls are lined with 18th-century tile panels by João Neto, which depict scenes from the life of Christ. The floor features a marble checkerboard pattern, while the vaulted ceiling is complemented by a crystal chandelier. The church, classified as a Property of Public Interest since 1958, is part of the Bom Jesus da Cruz sanctuary complex, an important pilgrimage center associated with the 'Miracle of the Cross' of 1504 and the annual celebration of the Romaria das Cruzes.
The Chapel of the Presentation of the Virgin is located in the south aisle of St Peter’s Basilica in Vatican City. The original basilica was built by the Emperor Constantine in the fourth century. In 1506 pope Julius II began construction of a new Baroque structure to replace the existing one. When it was completed 120 years later it was, and still is, the largest Christian church in the world with enough interior space to accommodate 60,000 people standing or 20,000 seated.
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A Sé Catedral de Lisboa, também conhecida como Basílica de Santa Maria Maior ou simplesmente Sé de Lisboa, é o mais antigo templo cristão da capital portuguesa e um dos seus monumentos mais emblemáticos. Construída em 1147, após a reconquista de Lisboa por D. Afonso Henriques, sobre uma antiga mesquita e um anterior templo visigótico, a sua fachada românica, com duas robustas torres sineiras e uma característica rosácea central, testemunha a sua história. Ao longo dos séculos, e nomeadamente após o terramoto de 1755, sofreu diversas reconstruções que lhe conferiram elementos góticos e barrocos, resultando numa harmoniosa combinação de estilos. Para além do seu significado religioso, onde se guardam as relíquias de São Vicente, padroeiro de Lisboa, a Sé é um importante ponto turístico do bairro de Alfama, frequentemente fotografada com os carris do elétrico 28 ao fundo, refletindo a sua integração na vida lisboeta.
Lisbon Cathedral, also known as the Basilica of Santa Maria Maior or simply Lisbon Cathedral, is the oldest Christian temple in the Portuguese capital and one of its most emblematic monuments. Built in 1147, after the reconquest of Lisbon by King Afonso Henriques, over an old mosque and an earlier Visigothic temple, its Romanesque façade, with two sturdy bell towers and a characteristic central rose window, bears witness to its history. Over the centuries, and particularly after the 1755 earthquake, it underwent several reconstructions that gave it Gothic and Baroque elements, resulting in a harmonious combination of styles. In addition to its religious significance, where the relics of São Vicente, Lisbon's patron saint, are kept, the Cathedral is an important tourist attraction in the Alfama district, often photographed with the tracks of streetcar 28 in the background, reflecting its integration into Lisbon life.
View of the large Square (Piața Mare) in Sibiu in Romania. That was the old colorful color scheme for the facades of the buildings on the square before 2007!
Sibiu/Hermannstadt, Transylvania, Romania. 07 June 2006. (159-20060607)
Blick auf den großen Ring (Piața Mare) in Hermannstadt in Rumänien. Das war noch die alte farbenfrohe Farbgebung bei den Gebäuden am Platz vor dem Jahr 2007!
Sibiu/Hermannstadt, Siebenbürgen, Rumänien. 07. Juni 2006. (159-20060607)
Infos zum Brukenthal Palais:
Vedere la Piața Mare din Sibiu în România. Aceasta a fost vechea schemă de culori colorate pentru fațadele clădirilor din piață înainte de 2007!
Sibiu/Hermannstadt, Transilvania, România. 07 iunie 2006.
Vue sur la grande place (Piața Mare) à Sibiu en Roumanie. C'était l'ancienne palette de couleurs colorées pour les façades des bâtiments de la place avant 2007 !
Sibiu/Hermannstadt, Transylvanie, Roumanie. 07 juin 2006.
A Rúa do Vilar, uma das artérias emblemáticas do centro histórico de Santiago de Compostela, estende-se desde a Praça de Platerías, paralela à Rúa Nova. Caracterizada pelos seus soportais, arcadas de pedra construídas para proteger do clima e abrigar antigos vendedores, a rua reflete o seu passado nobre através de casas senhoriais renascentistas, barrocas e neoclássicas, adornadas com brasões e detalhes em cantaria e ferro forjado. Num desses edifícios, uma casa tradicional galega com fachada em pedra e balcões sustentados por pilares, funciona o Posto de Turismo Municipal, ponto de referência para visitantes. Este espaço oferece informações sobre o património, cultura e os percursos do Caminho de Santiago, integrando-se na arquitetura típica da zona e no contexto histórico de uma rua que preserva o traçado medieval e testemunha a adaptação dos edifícios às necessidades comerciais e de acolhimento dos peregrinos.
Rúa do Vilar, one of the emblematic streets in the historic center of Santiago de Compostela, runs from Plaza de Platerías parallel to Rúa Nova. Characterized by its soportais, stone arcades built to protect from the weather and house former vendors, the street reflects its noble past through Renaissance, Baroque and Neoclassical manor houses, adorned with coats of arms and details in stonework and wrought iron. One of these buildings, a traditional Galician house with a stone façade and balconies supported by pillars, houses the Municipal Tourist Office, a point of reference for visitors. This space offers information on the heritage, culture and routes of the Way of Saint James, blending in with the typical architecture of the area and the historical context of a street that preserves the medieval layout and bears witness to the adaptation of the buildings to the commercial and welcoming needs of the pilgrims.