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No. 14 Wilkes Street (known as Wood Street up to the late nineteenth century) 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. No 14 (then 8 Wood Street) was built by James Pitman, citizen and carpenter of London, under a lease granted by Wood and Mitchell in March 1723/24 (O.S.) This house formed part of a development of four together with 16 Wilkes Street (then 9 Wood Street), and 18, 20, and 22 Hanbury Street (then nos 10 Wood Street and 8 Brown's Lane). In September 1725 Pitman assigned the lease and houses to a mercer for £1,540. In 1750 and 1773 No 14 Wilkes Street was occupied by John Freemount and Company, weavers, a reflection of the popularity of Spitalfields for the silk industry in the eighteenth century. However, these were not strictly-speaking "weavers' houses" as such, since the occupants were generally wealthy merchants and silk masters. The glazed weavers' garrets found in these houses today were added later when the area declined. No. 14 was substantially refaced in the nineteenth century (while retaining the fenestration pattern), when the terracotta bands between storeys were inserted, but its interior survives. It is two rooms deep with a hall to the south side. The sash windows are six over six and largely modern replacements.
5, Princelet Street, Spitalfields, was built by Marmaduke Smyth around 1720, but was refronted in the late nineteenth century. The house is built of yellow stock brick with red brick dressings. It has three storeys with an attic and basement. The windows have rubbed red brick arches and recessed sashes in stucco reveals. The door has a stucco surround with console brackets supporting a cornice.
1-3 Amen Court, in the City of London, were designed as a group by Edward Woodruffe in 1670 and built in 1671-73. The three houses were constructed for the Canons Residentiary of St Paul's Cathedral. The houses are of two storeys, five windows wide, with half-basements and attics with dormer windows. Built of red brick with bands and a later parapet of yellow brick. Windows have eighteenth-century sashes with exposed shutter boxes (presumably replacing casements). Plain, recessed doorways without doorcases but with panelled reveals. The fanlights are later eighteenth-century additions. Each entrance has a lamp arch with torch extinguisers.
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 on Whitechapel Road terminates with an elevation of two storeys in brick with stone dressings, rusticated angled stone quoins, a modillioned cornice and a central cartouche with an inscription. At ground floor there are two windows, blind on the left, but, on the right, with flush shutter boxes and stone architraves. Both pairs of windows are decorated with grotesque masks as keystones. Above, in each case, there is a brick niche with a stone architrave set in a gable with a pediment. The ships on the copings are fiberglass replicas of a marble pair carved by Robert Jones (originals in the Museum of London).
Baroque Painted Hall, part of Greenwich Hospital (London, UK).
Painted by Sir James Thornhill.
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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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. Stone with pantile roof. Doric pilasters at ground level (originally an open arcade). At first-floor level, two-light cross casements with leaded glazing, separated by Ionic pilasters. Acanthus modillion eaves cornice. Alternating segment-headed and pedimented dormers. Timber lantern of Greek cross plan, with, above, a hexagonal lantern with ogee cap.
37, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717. It has two storeys, an attic and sunk basement. Stock brick with red brick dressings. The parapet conceals a tiled roof with dormers (originally one, now three). There are tall, rectangular chimney stacks. Sash windows in flush mounted frames. Recessed panels below ground-floor windows. The doorcase has panelled pilasters and a hood on carved brackets. The door has eight fielded panels. The sunken windows at basement level have been blocked up.
The basilica of Ocotlan is an elaborate Churrigueresque structure that dates from 1670 onward, more than a century after the miracle that inspired its construction. According to legend, a poor Indian named Juan Diego was gathering water for the sick and saw a beautiful woman who promised, "Come with me and I will give you a different water that will heal all who drink it." He did as instructed and the water produced a miraculous cure. Days later church authorities found a pine statue of the Virgin Mary in the hollow of a flaming tree where the vision had appeared to Juan Diego. (N Y Times)
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40, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717. The sash windows are in flush shutter boxes. There are recessed brick panels below ground-floor and first-floor windows.The doorcase has panelled pilasters and a hood on original carved brackets. The door is original and has ten fielded panels
Quattro Canti
officially known as Piazza Vigliena
Palermo
This space was laid out by the Spanish Viceroys from 1608-1620 in the baroque style.
"The piazza layout is octagonal, four sides comprise the streets, while the remaining four sides are nearly symmetric, concave Baroque facades, each with four stories with three full size statues in their centers. The street level up to second story feature four fountains, each dedicated to one the four seasons. The third stories have statues in niches of four Spanish rulers of Sicily; above them in roofline are their respective coat of arms. The fourth and top stories of the buildings have statues of four female patron saints of Palermo: Christina, Ninfa, Olivia and Agata).
The fountains were completed in 1630: Spring and Summer by Gregorio Tedeschi, while Autumn and Winter were sculpted by Nunzio La Mattina. The Spanish kings were sculpted between 1661 and 1663 by Carlo Aprile. At the time the piazza was built, it was an early examples of town planning in Europe. "
20221006_163516 Quattro Canti
The convent's main church (catholicon or sobor), a stunning blue-and-white building, is considered to be one of the architectural masterpieces of the Italian architect Francesco Bartolomeo Rastrelli, who also created the Winter Palace, the Grand Catherine Palace (Yekaterininsky) in Tsarskoye Selo (Pushkin), the Grand Palace in Peterhof and many other major St. Petersburg landmarks.
The Cathedral is the centerpiece of the convent, built by Rastrelli between 1748 and 1764. The projected bell-tower was to become the tallest building in St. Petersburg and, at the time, all of Russia. Elizabeth's death in 1762 prevented Rastrelli from completing this grand design. Catherine II disfavored the project and the architectural style.
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The stable block, known as The Square, at Houghton Hall, Norfolk, built around 1733-35 for Sir Robert Walpole, later 1st earl of Orford. The design is attributed to William Kent, supervised by Thomas Ripley. The stables are constructed from coursed carstone with some brick on the south and west fronts, and brick with carstone dressings in the interior courtyard. There is a plinth at ground-floor level, a plat-band at first-floor level, and a modillion eaves-cornice. The north and south fronts each have a centrepiece containing an arched entrance with rusticted and chamfered quoins. Each bay has blank arcading at ground-floor level, and, above, casement windows, one to each bay, some of which are fixed and some that can be opened.The upper storey of the centrepiece has a diocletian window. The corner turrets are octagonal, with round windows and slated roofs with acorn-shaped finials. At parapet level, there are four round balls on pedestals.
Self portrait 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.
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.
Marilyn 2011 by Joana Vasconcelos; a giant pair of stilletto shoes formed from stainless steel cookware, 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.
Marilyn 2011 by Joana Vasconcelos; a giant pair of stilletto shoes formed from stainless steel cookware, 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.
40, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717. It is of two storeys, an attic and a sunk basement. Stock brick with red brick dressings. The parapet conceals a tiled roof and one dormer. Tall, rectangular chimney stacks. The sash windows are in flush shutter boxes. There are recessed brick panels below the ground-floor and first-floor windows. The doorcase has panelled pilasters, a pulvinated frieze and a hood on original carved brackets. The door is original and has ten fielded panels.
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 1244
Albury Street, Deptford, built by Thomas Lucas between 1705 and 1717. Nos 34-40 are all that remain of the South side. Two storeys, attic and sunk basement. Stock brick with red brick dressings. Parapets conceal tiled roofs with dormers. Tall, rectangular chimney stacks. Sash windows in flush mounted frames. Doors with panelled pilasters and hoods on carved brackets (all those at nos 34-40 are original).
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 ceiling fresco's, many of these can be found in the castle.
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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 #fresco - #VLV #Maincy #FR
Rainwater head dated 1686 on the west front at Felbrigg Hall, Norfolk. Felbrigg 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, as seen here. 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.
3, Amen Court, in the City of London, was designed by Edward Woodruffe in 1670 and built in 1671-73. It is one in a group of three houses constructed for the Canons Residentiary of St Paul's Cathedral. The house is of two storeys, five windows wide, with a half-basement and an attic with dormer windows. It is built of red brick with bands and a later parapet of yellow brick. There is a plain, recessed doorway without a doorcase but with panelled reveals. Each entrance has a lamp arch with torch extinguiser. The door at No. 3 is reached by (modern) stone steps.
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. The centre is three windows wide, with narrower flanking bays containing two windows (2:3:2). The entablature comes forward above capitals with dosserets (blocks of stone placed above the capitals). The attic storey has a cornice, and its central section was raised in the nineteenth century, probably in 1871, when two iron vases were placed at either end. This replaced a parapet that was ramped up to a central window. The ground floor has a reinstated central three-bay porch in antis with columns on pedestals (not seen here, these date from a restoration of 1977 by Fitzroy Robinson Partnership). The windows in the outer bays have segmental arches with keystones. Those at the centre have elliptical arches and impost strings at first and second-floor levels, but originally they were divided by sunken strips. The original staircase in the double-height hall was removed around 1932 and re-erected at South Walsham Hall, Norfolk.
Clock and wind dial of 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. It is constructed in red brick. The front is symmetrical with a frontispiece that has heavy rusticated piers, or banded jambs, and, at the upper level, a large arch with balcony and a recessed round headed window beneath a clock, as seen here. Above the impost band are small occuli on either side of a wind dial, visible here above.
A dramatic display of contrasts between the golden-hued limestone of Valletta's, Upper Barrakka Gardens, and the deep blue sky and wavy harbour waters that lap up against this fortified wonder.
5, Princelet Street, Spitalfields, was built by Marmaduke Smyth around 1720, but was refronted in the late nineteenth century. The house is built of yellow stock brick with red brick dressings. It has three storeys with an attic and basement. The windows have rubbed red brick arches and recessed sashes in stucco reveals. The door has a stucco surround with console brackets supporting a cornice.
Igreja de São Francisco: baroque interior installed in a gothic church
Porto, Portugal
16 November 2017
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In 1713, one year after the last great plague epidemic, Charles VI, Holy Roman Emperor, pledged to build a church for his namesake patron saint, Charles Borromeo, who was revered as a healer for plague sufferers. An architectural competition was announced, in which Johann Bernhard Fischer von Erlach prevailed over, among others, Ferdinando Galli-Bibiena and Johann Lukas von Hildebrandt. Construction began in 1716. After J.B. Fischer's death in 1723, his son, Joseph Emanuel Fischer von Erlach, completed the construction in 1737 using partially altered plans. The church originally possessed a direct line of sight to the Hofburg and was also, until 1918, the imperial patron parish church.
As a creator of historic architecture, J.B. Fischer united the most diverse of elements. The façade in the center, which leads to the porch, corresponds to a Greek temple portico. The neighboring two columns, crafted by Lorenzo Mattielli, found a model in Trajan's Column in Rome. Next to those, two tower pavilions extend out and show the influence of the Roman baroque (Bernini and Borromini). Above the entrance, a dome rises up above a high drum, which the younger J.E. Fischer shortened and partly altered. [wikipedia]
10 and 12, Rugby Street, Camden, are two in a terrace of four houses dating from around 1721. They are of brown brick with red brick dressings, and some evidence of tuck pointing, as well as later patching in multi-coloured stock brick at the upper storeys. These houses, like their companions, are of four storeys with a basement and three windows wide. At No. 10 (on the right), the windows have gauged, segmental brick arches with recessed sashes. At No. 12 (on the left), the windows have gauged, flat brick arches with recessed sashes. The wooden doorcase at No. 10 (on the right) has a hood carried on carved brackets with a panelled soffitt. The door has six fielded panels with a radial fanlight above. The wooden doorcase at No. 12 (on the left) has fluted Doric pilasters, an architrave which is swept up at the centre, and a hood with enriched mouldings carried on carved brackets with a panelled soffitt. Its door has two flat panels and four fielded ones, with a radial fanlight above.
The construction of the Basilica began in 1682 and in 1690 was consecrated by Bishop Sariñana y Cuenca. It was designed by Father Fernando Méndez and the current facade was built between 1717 and 1718.
Oaxaca de Juárez, Mexico
29 January 2014
2014-Mexico 1577
Church of Santo Domingo de Guzman ☆ Iglesia de Santo Domingo de Guzmán
Oaxaca, Mexico
30 Jan. 2014
2014-Mexico 1840
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.