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The Minor Basilica of the Black Nazarene (canonically known as Saint John the Baptist Parish and colloquially known as Quiapo Church; Spanish: Basílica Menor del Nazareno Negro) is a prominent Roman Catholic Latin-rite basilica located in the District of Quiapo in the City of Manila, Philippines. The basilica is famous home for the shrine of the Black Nazarene, a dark statue of Jesus Christ many claim to be miraculous.
A veritable army of fortune tellers and stores offering herbal products surround the Quiapo church. Ongoing sales of pirated media and thievery are prevalent in the district.
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 built of brick. 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, as seen here.In 1740-44 the building was enlarged and altered for Anthony Ashley Cooper, 4th earl of Shaftesbury (1711-1771) by Henry Flitcroft. Later, the exterior was given Roman cement render by P.C. Hardwick in 1854, now removed, and leaving visible hacking.
Albury Street, Deptford, built by Thomas Lucas between 1705 and 1717. Originally two storeys, attic and sunk basement, but nos 17, 23-27 and 35 have nineteenth-century extensions at attic level. Stock brick with red brick dressings. Parapets conceal tiled roofs with dormers. Tall, rectangular chimney stacks. Sash windows in flush mounted frames, but at nos 25 and 33, for example, there are nineteenth-century replacements in stucco lined reveals. Doors with panelled pilasters and hoods on carved brackets (some modern replacements for lost originals).
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.
19 The Close, Salisbury, was built in the late seventeenth century, apparently in 1677 for Francis Hill, Deputy Recorder for Salisbury. It was later bought (then numbered No. 87) by Walter Kerr Hamilton, Bishop of Salisbury, in 1860 for use as a theological college, which it remains. Built of brick, two storeys high with a hipped roof. A plinth is stone-capped and there are chamfered stone quoins. The front is nine windows wide with slightly projecting wings. Each wing is two windows wide with one dormer, the central section is five windows wide and has three dormers. The dormers have sashes (four over eight). The windows at first and second-floor levels are six over six in exposed boxes with thin glazing bars. There is a moulded stone string course at first-floor level, and a wooden modillion eaves cornice.The doorway has a straight hood on a frieze with acanthus brackets carried on scrolls. The low brick forecourt walls have stone gate piers and stone pineapples.
Eaves cornice and rusticated quoins from the entrance to the almshouses at Trinity Green, Whitechapel, founded through the benefaction of Captain Henry Mudd of Ratcliff (d. 1692) and built in 1695 by William Ogbourne, master carpenter, for the Corporation of Trinity House. The residents were '28 decayed masters and commanders of ships or the widows of such'. The almshouses are in two facing rows, one storey high, with basements, and a wooden block and bracketed eaves cornice. The end of each row of the almshouses terminates on Whitechapel Road with an elevation of two storeys in brick with stone dressings, rusticated angled stone quoins, and a modillioned cornice (as sen here).
Altstadt the historic centre of Salzburg, Austria.
It corresponds with the historic city centre, situated on the left and right banks of the Salzach river. It is renowned for its Baroque architecture and is one of the best-preserved city centres north of the Alps.
Salzburg lies on the site of the Roman settlement of Iuvavum. In 696 it became a seat of the archbishop in 798. Its main sources of income were salt extraction, trade, and gold mining. The fortress of Hohensalzburg, one of the largest medieval fortresses in Europe, dates from the 11th century. In the 17th century, Salzburg became a centre of the Counter-Reformation, with monasteries and numerous Baroque churches built.
It has managed to preserve an extraordinarily rich urban fabric, developed over the period from the Middle Ages to the 19th century when it was a city-state ruled by a prince-archbishop.
Salzburg's Flamboyant Gothic art attracted many craftsmen and artists before the city became even better known through the work of the Italian architects Vincenzo Scamozzi and Santini Solari, to whom the centre of Salzburg owes much of its Baroque appearance.
Information sources:
en.wikipedia.org/wiki/Salzburg
en.wikipedia.org/wiki/Historic_Centre_of_the_City_of_Salz...
Service buildings in brick and stone flanking the avant-cour. Vaux-le-Vicomte was originally planned to be constructed in brick and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone.
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Maincy - Vaux-le-Vicomte
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.
Info: en.wikipedia.org/wiki/Vaux-le-Vicomte.
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Richard Poppelaars
About Pixels Photography: #architecture #monument #VLV #Maincy #FR
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 was built of brick with brick quoins that were given lime render and colour wash to look like stone (as seen here). The quoins are flush pointed with black lining below. In 1740-44 the building was enlarged and altered for Anthony Ashley Cooper, 4th earl of Shaftesbury (1711-1771) by Henry Flitcroft. Later, the exterior was given Roman cement render by P.C. Hardwick in 1854, now removed, and leaving visible hacking.
Finial on area railings at 16 Charles Square, London. This is a brick house of three storeys with basement and attic, five bays wide, built around 1725. On 13 January 1726/27, "all that messuage or tenement lately built and yet uninhabited, scituate on the west side of Charles Square" was mortgaged by Sarah Webster to William Guy. The portion of the west side of the square belonging to the Websters included No. 16 and it must be one of the houses mentioned in the indenture.
The Berliner Dom is a baroque Cathedral built between 1894 and 1905. It is located on an island in the river Spree in the Mitte borough. Being on the museum island, it attracts some interesting characters.
Jon & Tina Reid | Travel Portfolio | Photography Blog | Travel Flickr Group
Aula Leopoldina
University of Wroclaw
Above the auditorium, a large allegorical fresco illustrates the apotheosis of Divine Wisdom, the source of all knowledge, and the personifications of the sciences and arts of the time.
The Aula Leopoldina is named for the founder of the original educational institution, the Emperor Leopold I. Room created 1728 - 1732
Christoph Tausch, architect
stucco decorations by Franz Joseph Mangoldt
ceiling painting by Johann Christoph Handke
stucco ornaments and marble decoration were made by the Italian master Ignazio Provisore.
20240404_132749
General view of Andrew's Descent with the Saint Andrew's Church in the background. Andrew's Descent is a historic descent connecting Kyiv's Upper Town neighborhood and the historically commercial Podil neighborhood.
commons.wikimedia.org/wiki/File:%D0%90%D0%BD%D0%B4%D1%80%...
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.
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.
Looking down the Grand Canal towards Il Salute from the Accademia Bridge.
The Grand Canal (Il Canal Grande or the Canalazzo) is the main waterway in Venice, dividing the city in two and crossed by only four bridges in its entire near-four kilometre length.
It is much wider than any of the other canals in Venice – between 30m and 70m across – but less than 5m deep and is lined with a number of palaces and churches.
The number one and number two vaporetto services take both locals and (mainly) tourists along its length, allowing them the chance to admire the sights from the water.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
No. 21, Princelet Street (on the right), was built in 1705-06 for the brewer Joseph Truman. No. 19, Princelet Street (on the left), was built by Samuel Worrall (as a pair to No. 17, not shown) in 1719, but had a stucco ground floor added when a synagogue was constructed at the back in 1869. No. 19 is stock brick with red brick dressings and tuck pointing. It is of three storeys, three windows wide, and has a weaver's attic with seven bay window with leaded lights. The windows are sashes in exposed boxes. No. 21 (on the right) is also stock brick with red brick dressings, and has brick bands between the storeys that join it to the remaining houses in Truman's development. The windows at No. 21 have gauged flat arches and, like No. 19, are in flush frames.
French Baroque castle (Est.1658) garden front facade, almost the whole day facing the sun overlooking the park and gardens. Nitice that the small bridge between the castle and garden is open.
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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
17, Princelet Street, Spitalfields, was built as a pair to No. 19 round 1718. The street was first known as Princess and then Princes Street. It was part of the Wood-Michell Estate, developed by Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple between 1718 and 1728. In September 1718. No. 17 was recorded as having been built by Samuel Phipps, bricklayer, who appears to have carried out the work under an agreement with Samuel Worrall made in September 1717. The house was conveyed by Phipps and others to Daniel Lee of Stepney, weaver, who was recorded as the occupant in 1724. The site at the back, including No. 28 Hanbury Street also built by Phipps, was part of the conveyance. In 1769, 1773 and 1783 the house was occupied by Samuel Ireland, junior, a weaver. No. 17 is built of yellow stock brick with red brick dressings. It has three storeys with an attic and basement. The ground floor has channelled stucco, dating from the nineteenth century, with a stucco band above. The windows have flat red brick arches and jambs. The sashes are in flush frames but the sashes have nineteenth-century 'horns', as seen here. The door has a stucco surround with console brackets supporting a cornice.
Elder Street in Spitalfields was leased for building in 1722. No. 21 is of dark-red brick with rubbed brick dressings. It is of three storeys with basement and attic and three windows wide. The windows have brick segmental arches with fluted keys, and the sills are stone with brackets. The sashes are double-hung and have flush frames.
A cruise liner makes its way down St Mark's Basin, past Santa Maria della Salute, as seen from the top of the bell tower of San Giorgio Maggiore.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
33, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717, but the front of no. 33 was substantially rebuilt in nineteenth century. The doorcase has panelled pilasters and a hood on carved brackets. These are modern replacements for originals that were lost after being taken into store by the G.L.C. when the terrace was derelict. The brackets at no. 33 were carved by Charles Oldham who made a number for Martin Gloyne and Chris Fernside of Greenwich University who owned houses in the street. The door has ten fielded panels.
Early eighteenth-century. For Joseph Allan, Master Shipwright of the Deptford Dockyard in 1705. Staircase of circa 1710. Three twisted balusters to each tread.
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.
Elder Street in Spitalfields was leased for building in 1722. Nos 15-17 were built as a pair, originally only one room deep in plan. They are of dark-red brick with rubbed brick dressings. Both are of four storeys with basement and attic and three windows wide. No. 15 has one blank above the door at first and second floor levels, while No. 17 has blanks at all three levels. The windows have segment-headed brick arches. At No. 15 the sashes at ground-floor level are also segment-headed. All are double-hung and have flush frames. At No. 15 (on the left) the wooden doorcase has panelled reveals, fluted Doric pilasters (but described as plain in the 1950 listing document), triglyphs, rosettes in metopes and a mutule cornice. At No. 17 (on the right) the wooden doorcase has fluted pilasters and a lozenged frieze.
Colegio de San Ignacio de Loyola Vizcaínas: established in the mid 18th century in a Baroque building that occupies an entire city block in the historic center of Mexico City. The building occupies an entire city block bordered by Las Vizcaínas, Manuel Aldaco and San Ignacio Streets with the Plaza de Vizcaínas to the south. Along the east, west and south sides, the ground level was a series of compartments which opened to the street but not to the interior. These compartments were rented as living quarters and as commercial spaces. These were planned to serve two functions. First they provided rental income to the school and they also offered a barrier on this level between the busy streets and the girls and women inside. The building was designed this way because at the time seclusion was considered an integral part of the formation of women. However, almost all of these compartments are now closed.
Mexico City ☆ Ciudad de México
27 January 2014
2014-Mexico 1245
Spectacular garden view from castle “rotunda” lounge roof, the highest point of the castle. It's stunning to see the lanscape along the three-kilometer long axis of the estate. The roof section is one of the most impressive spots to visit and worth the climb.
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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 #garden #landscape #art - #VLV #Maincy #FR
17, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717. No. 17 is of two storeys, an attic and a sunk basement. Stock brick with red brick dressings on quoins, window jambs and window arches. The doorcase has panelled pilasters and a hood on late-eighteenth century carved brackets, and a frieze with paterae and swags of same date. The Door has two fielded and two flat panels. A fanlight of later eighteenth-century design is inserted into an older door.
Three blocks north of the cathedral, the 1786 Iglesia de La Recolección is considered the city’s most beautiful church, a Mexican-style baroque confection of swirling columns and bas-relief medallions that portray the life of Christ. Dyed a deep yellow accented with cream and age, the lavishly decorated façade is stunning. Inside the slender mahogany columns are also remarkable as is the ceiling decorated with harvest motifs.
Palais Königsfeld ● Erzbischöfliches Palais
Built 1735-1737 for Elector Charles Albert's bastard the Count of Holnstein, and/or his mother.
Munich ● München
April 2019
The palace is designed as a four-wing system around a courtyard. The front building was used for representative purposes, while the rear building represented the privacy of the count.
IMG_0761
Elegant double stairways. An original feature is the so-called “rotunda” lounge - from the Italian rotonda - a unique piece. The whole, formed by the vestibule and this large space, forms like a central span. This arrangement, also known as a "lantern", allows the visitor to have a view through the axis of the main courtyard-porch-vestibule-alley in perspective of the gardens located on the other side, around which revolve two parts autonomous each with a staircase.
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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 - #architecture #castle #monument #staircase - #VLV #Maincy #FR
Roman classicism in the Hall of Mirrors.
The Hall of Mirrors (Grande Galerie or Galerie des Glaces) lies between the Salon de la Guerre (War Room) and the Salon de la Paix (Room of Peace); it is 239ft long with 17 arcaded windows faced by a wall of 17 arches, each containing 29 mirrors.
The hall was built in the Palace's third phase of construction (1678-84), and work began in 1678.
The Hall was only used for ceremonies on exceptional occasions, when sovereigns wanted to lend splendour to diplomatic receptions or regal weddings.
In 1871, at the end of the Franco-Prussian War, Wilhelm I of Prussia was declared Emperor of Germany in the Hall. In 1919 the French Prime Minister Clemenceau chose this location as the site for Germany to sign the Treaty of Versailles.
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.
34, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717. No. 34 is of two storeys, an attic and a sunk basement. Stock brick with red brick dressings. The parapet conceals a tiled roof with one dormer. Tall, rectangular chimney stacks. The sash windows are in flush mounted frames. The doorcase has panelled pilasters and a hood on original carved brackets.
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. 1 was built by John Ritchbell, Joshua Walker and H. Hiron. It is of brown brick with red brick dressings, the second and third floors refaced in multi-coloured stock brick, and has four storeys with a basement. The windows have gauged brick flat arches and flush 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 Doric doorcase has fluted pilasters and an entablature. The hood is carried by foliated console brackets. The door is panelled and has a rectangular radial overlight. The railings have a cast-iron torch flambé finials.
The Jesuitenkirche stands on the banks of the Reuss River in Lucerne, with the Wasserturm and Kapellbrucke in the river itself.
The Jesuitenkirche (Jesuit Church) on the banks of the Reuss River in Lucerne was built in 1666 by Father Christoph Vogler, and was the first religious building in Switzerland constructed in the baroque style.
It was redecorated in the mid-18th century, with ceiling paintings depicting the apotheosis of St Francis Zavier, and onion-domed twin towers were add in the 19th century.
The Kapellbrücke (Chapel Bridge) is the image that comes to mind when most people think of Lucerne, especially those who have been to the city in the Swiss Lakes and seen it for themselves.
A covered wooden footbridge over the Reuss River in Lucerne’s Altstadt (Old Town), it was built in the 14th century and named after the nearby St Peter’s Chapel. However, subsequent fire and destruction means not everything you see is original.
The bridge originally served as part of the city’s defences, helping protect it from attacks from the nearby Lake Lucerne.
Just about everyone who comes to the city will walk across its creaky wooden boards at least once during a visit, passing by the octagonal Wasserturm (water tower) that stands in the middle of the river, and taking in the 17th century panels by Heinrich Wägmann depicting events from Swiss history and mythology.
It is the oldest covered wooden bridge in Europe, while the Wasserturm is older still, having originally stood alone in the rover and served variously as a prison, treasury and town archive.
Stone gate pier with pineapple at 19 The Close, Salisbury, Wiltshire, built in the late seventeenth century. The front is nine windows wide with slightly projecting wings. It is built of brick, with two storeys on a stone plinth and stone quoins. There is a wooden modillion eaves cornice. The hipped roof has old tiles. There is a moulded stone string course at first-floor level. The windows are six over six in exposed boxes with thin glazing bars. The dormers have sashes (four over eight). The doorway has a straight hood on a frieze with acanthus brackets carried on scrolls (just visible at lower right).
Perspective view French Baroque castle (Est.1658) and forecourt platform surrounded by a medieval moat. The moat is the only remain of a defensive type of castle replaced by the new one.
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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
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.