Biała Fabryka - Centralne Muzeum Włókiennictwa (White Factory - Central Museum of Textiles; classicist building constructed in Łódź in 1835–1839 to host a textile factory which belonged to Ludwik Geyer), Park Reymonta (Reymont Park), Ulica Piotrkowska (Piotrkowska Street), Łódź tramway

Sarnowa is a former independent town with 700 years of tradition, now a district of Rawicz. It has a historic urban layout, with the traditional market square preserved together with the architecture and houses in the nineteenth-century form. The surface of the market square is covered with original, historic cobblestones and its central structure is a beautiful classicist town hall with a tower.

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Sarnowa to dawne samodzielne miasto z 700-letnią tradycją, obecnie dzielnica Rawicza. Posiada zabytkowy układ miejski, z tradycyjnym rynkiem zachowanym łącznie z architekturą i domami w XIX-wiecznej postaci. Nawierzchnia rynku jest pokryta oryginalnym, zabytkowym brukiem a centralną jego budowlą jest piękny klasycystyczny ratusz z wieżą.

Das Schlösschen

Monogramm von Friedrich Carl von Erthal auf der Fassade von Schloss Schönbusch

Der im frühklassizistischen Stil von 1778 bis 1781 (Innenausbau bis 1787) errichtete Kurfürstliche Pavillon liegt unmittelbar am Unteren See und ist durch eine Sichtachse mit dem Stadtschloss Johannisburg verbunden. Es handelt sich um ein zweigeschossiges Gebäude mit rechteckigem Grundriss. Die nach Osten gerichtete Längsseite ist die Schauseite, sie wird durch einen Mittelrisalit leicht betont. Das niedrige Walmdach wird durch eine Balustrade verdeckt. Die zehn Räume sind im Louis-seize-Stil möbliert; der Zutritt ist im Rahmen von Führungen möglich. Unter den bayerischen Königen wurde der Bau ab dem 19. Jahrhundert Schloss Schönbusch genannt.

The castle

Monogram of Friedrich Carl von Erthal on the facade of Schönbusch Palace

The Electoral Pavilion, built in the early Classicist style from 1778 to 1781 (interior finishes completed by 1787), is located directly on the Lower Lake and is connected to the City Palace of Johannisburg by a visual axis. It is a two-storey building with a rectangular floor plan. The east-facing long side is the visible side and is slightly emphasized by a central risalit. The low hipped roof is covered by a balustrade. The ten rooms are furnished in Louis XVI style; access is possible as part of a guided tour. Under the Bavarian kings, the building was called Schönbusch Castle from the 19th century.

An impression of an art gallery.

Trouble with Classicists · Lou Reed · John Cale

www.youtube.com/watch?v=Li6NaDax7g0&list=PL5hPHt9JG2A...

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Rollingstone1's most interesting photos on Flickriver

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Amerongen Castle is a castle in the floodplains of the Nederrijn near the Utrecht village of Amerongen.

In the 13th century Amerongen was only a residential tower. In the course of time this tower was expanded with various parts. In troubled times, the house was regularly damaged. It was finally destroyed by the French in 1673. After that, the current country house was constructed in a sober Dutch classicist style on behalf of G.A. van Reede. He used the remains of the old castle. The site was also created in its current form.

Amerongen Castle is a castle in the floodplains of the Nederrijn near the Utrecht village of Amerongen.

In the 13th century Amerongen was only a residential tower. In the course of time this tower was expanded with various parts. In troubled times, the house was regularly damaged. It was finally destroyed by the French in 1673. After that, the current country house was constructed in a sober Dutch classicist style on behalf of G.A. van Reede. He used the remains of the old castle. The site was also created in its current form.

Gabriel Narutowicza Square is second, after the Old Market Square, in the Old Town of Płock, with a history dating back to 13th century. The trapezoidal square from the north connects with Grodzka Street and then with Old Market Square. The square owes its present appearance to the reconstruction in 1803. The square is surrounded on three sides by classicist burgher houses from 19th century, transformed into a green garden in the 1860s. In 2018, a monument was unveiled at Tumska Street - a column commemorating the defenders of Płock in the Bolshevik war of 1920.

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Plac Gabriela Narutowicza to drugi po Starym Rynku plac na Starym Mieście w Płocku, z historią sięgającą XIII wieku. Plac w kształcie trapezu od północy łączy się z ulicą Grodzką a dalej ze Starym Rynkiem. Dzisiejszy wygląd plac zawdzięcza przebudowie w 1803 roku. Plac z trzech stron otaczają klasycystyczne kamienice mieszczańskie, wzniesione na początku XIX wieku, w latach 60 XIX wieku przekształcono w zieleniec. W roku 2018 przy ulicy Tumskiej odsłonięto pomnik - kolumnę upamiętniającą obrońców Płocka w wojnie Bolszewikami 1920 roku.

Church of Guardian Angels in Kamionki from 1792 - 95, renovated in 1967 - 72. It is a modest Baroque - Classicist building. The first church was already mentioned in the 14th century. Perhaps the present one was built only as a result of the reconstruction of the older one. A hall on a rectangular plan, with a square tower topped with a pyramidal cupola with a clearance. A porch is added to the side. The windows are finished with segmental arches, the corners are accented with pilaster strips in plaster. The church is covered with a gable roof.

La actual parroquia de Nuestra Señora del Rosario fue fundada en 1736 como una sencilla ermita por el arzobispo Mayoral. Fue ampliada ya como parroquia en 1845 con proyecto del arquitecto Joaquín María Calvo con el original y económica disposición de dos naves con cuatro tramos. En 1907 se añadió la Capilla de la Comunión, obra del arquitecto Vicente Ferrer. El proyecto supone una edificación de corte clasicista, contigua al presbiterio de la iglesia con el cual se comunica mediante un arco de medio punto.

The current parish of Nuestra Señora del Rosario was founded in 1736 as a simple hermitage by Archbishop Mayoral. It was already expanded as a parish in 1845 with a project by the architect Joaquín María Calvo with the original and economical layout of two naves with four sections. In 1907 the Chapel of Communion was added, the work of the architect Vicente Ferrer. The project involves a classicist building, adjacent to the presbytery of the church with which it communicates through a semicircular arch.

L'actual parròquia de la Mare de Déu del Roser va ser fundada el 1736 com una senzilla ermita per l'arquebisbe Majoral. Va ser ampliada ja com a parròquia el 1845 amb projecte de l'arquitecte Joaquín María Calvo amb l'original i econòmica disposició de dues naus amb quatre trams. El 1907 s'hi va afegir la Capella de la Comunió, obra de l'arquitecte Vicente Ferrer. El projecte suposa una edificació de tall classicista, contigua al presbiteri de lesglésia amb el qual es comunica mitjançant un arc de mig punt.

Kościół Aniołów Stróżów w Kamionkach z lat 1792 - 95, odnowiony w latach 1967 - 72. Jest to skromna budowla barokowo - klasycystyczna. Pierwszy kościół wzmiankowany był już w XIV wieku. Być może obecny powstał dopiero w wyniku przebudowy starszego. Hala na planie prostokąta, z kwadratową wieżą zwieńczoną ostrosłupowym hełmem z prześwitem. Z boku dobudowano ganek. Okna zakończone łukami odcinkowymi, naroża zaakcentowane lizenami w tynku. Kościół nakryty jest dwuspadowym dachem.

Church of Guardian Angels in Kamionki from 1792 - 95, renovated in 1967 - 72. It is a modest Baroque - Classicist building. The first church was already mentioned in the 14th century. Perhaps the present one was built only as a result of the reconstruction of the older one. A hall on a rectangular plan, with a square tower topped with a pyramidal cupola with a clearance. A porch is added to the side. The windows are finished with segmental arches, the corners are accented with pilaster strips in plaster. The church is covered with a gable roof.

Die 1831/32 erbaute Kirche im klassizistischen Stil hebt sich eindrucksvoll vor den Bergen am Talende ab - The church, built in 1831/32 in the classicist style, stands out impressively against the mountains at the end of the valley (Lauterbrunnen, Switzerland)

Biała Fabryka - Centralne Muzeum Włókiennictwa (White Factory - Central Museum of Textiles; classicist building constructed in Łódź in 1835–1839 to host a textile factory which belonged to Ludwik Geyer), Park Reymonta (Reymont Park), Ulica Piotrkowska (Piotrkowska Street)

late-classicist style

Two landmarks of the village of Onze-Lieve-Vrouw-Waver emerge over the treetops:

1. Left to center, the catholic school ''Sint-Ursula Instituut'' and its Ursuline convent, established in 1841 on the site of a former Capuchin convent. Rebuilt with a neo-Romanesque inclination in 1919-1921 following WW1 damages. Further extended in 1934-1937, and then again in 1986-1988.

2. Right, the church of Our Lady, which was built from 1921 to 1924 on the remains on a XIII century church. Its spire is 68 m tall. Listed since 2013.

Address: 2861 Sint-Katelijne-Waver

FR : Onze-Lieve-Vrouw-Waver: Institut Sainte Ursule et église

Adresse : 2861 Sint-Katelijne-Waver

NL: Onze-Lieve-Vrouw-Waver: Sint-Ursula Instituut en kerk

Twee monumenten van het dorp Onze-Lieve-Vrouw-Waver steken boven de boomtoppen uit:

1. Links tot midden, de katholieke school ""Sint-Ursula Instituut"" en haar Ursulinenklooster, opgericht in 1841 op de plaats van een voormalig kapucijnenklooster. Herbouwd met een neoromaanse inslag in 1919-1921 na schade door WO1. Verder uitgebreid in 1934-1937, en vervolgens opnieuw in 1986-1988.

2. Rechts, de Onze-Lieve-Vrouwekerk, die van 1921 tot 1924 werd gebouwd op de resten van een kerk uit de 13e eeuw. De torenspits is 68 m hoog. Beschermd sinds 2013.

Twee andere monumenten zijn ook zichtbaar:

- Linksboven, de betonnen watertoren in Nijlen, gebouwd in 1963 (38,2 km ver).

- Middenonder, de spits van de 18e-eeuwse classicistische Sint-Antoniuskerk in Houtem (11,5 km ver, beschermd in 1975).

Foto genomen in 2011 vanaf de top van de Brusilia Residentie.

Azimut 32.3°, 26.2 km ver.

Adres: 2861 Sint-Katelijne-Waver

Copyright © Jacques de Selliers 2023 – All rights reserved.

Reproduction prohibited without my written consent.

Reproduction interdite sans mon accord écrit.

Reproductie verboden zonder mijn schriftelijke toestemming.

Ref.: J72_0398-ps9

#YBS23Landscape

ET 2404 Earth 573

In Explore on Feb. 13, 2023.

Alexander-Newski-Gedächtniskirche (Potsdam)

Als Zeichen der engen Beziehungen zwischen Preußen und Russland, entstand ein sakrales Gebäude im altrussischen Baustil nach Entwürfen des Sankt Petersburger Hofarchitekten Wassili Petrowitsch Stassow, dem Karl Friedrich Schinkel Stilelemente der klassizistischen Architektur hinzufügte.

Info @ Wikipedia

Alexander Nevsky Memorial Church (Potsdam)

As a sign of the close ties between Prussia and Russia, a sacred building was erected in the old Russian style based on designs by the Saint Petersburg court architect Wassili Petrovich Stassow, to which Karl Friedrich Schinkel added stylistic elements of classicist architecture.

Info @ Wikipedia

The impressive brass-plated cupola rises above the colonnades.

La iglesia de Santa María la Mayor de Peñarroya de Tastavins . Se trata de un edificio construido en el siglo XVIII en estilo barroco clasicista. Su fábrica es de mampostería combinada con sillar y conforma un rotundo volumen claramente diferenciado del resto del caserío.

A los pies, en el lado de la Epístola, se alza la esbelta torre de tres cuerpos, siendo cuadrados los dos primeros y octogonal el último, que cumple la función de cuerpo de campanas, por lo que se presenta abierto en sus ocho caras por arcos de medio punto.

The church of Santa María la Mayor in Peñarroya de Tastavins .It is a building built in the 18th century in a classicist baroque style. Its factory is made of masonry combined with ashlar and forms a resounding volume clearly differentiated from the rest of the farmhouse.

At the foot, on the side of the Epistle, rises the slender three-section tower, the first two being square and the last octagonal, which acts as a body of bells, which is why it is presented open on its eight faces by Round arches.

L'església de Santa Maria la Major de Pena-roja de Tastavins Es tracta d'un edifici construït al segle XVIII en estil barroc classicista. La seva fàbrica és de maçoneria combinada amb carreu i conforma un rotund volum clarament diferenciat d'la resta de l'caseriu.

Als peus, al costat de l'Epístola, s'alça l'esvelta torre de tres cossos, sent quadrats els dos primers i octogonal l'últim, que compleix la funció de cos de campanes, per la qual cosa es presenta obert en les seves vuit cares per arcs de mig punt.

"The Szczebrzeska Gate in Zamość – one of the old gates in the Old Town of Zamość, and also part of the Zamość fortress.

The former Szczebrzeska Gate (also known as Floriańska Gate) was built at the beginning of the 17th century, when Zamość was expanded, as one of three gates at that time, located on the southern line of the city walls, on the road to the west. This Mannerist gate with attics was rebuilt in the second half of the 18th century, when it was decorated with Rococo attics and sculptures, including St. Florian (destroyed during World War II) and St. Michael the Archangel, which is now located on one of the streets of the New Town.

Further changes were made during the partitions, in the first half of the 19th century, when its appearance was changed to the classicist style that remains to this day.

It was not the only building that was rebuilt and deprived of its original, richer appearance during the expansion of the fortress. Passage through this gate was possible until 1866, when it was bricked up. A new Szczebrzeska Gate was not built, as was the case with the new Lubelska and Lwowska Gates, which were built in the 1820s. During this period, it also housed a prison where Walerian Łukasiński (a Polish independence activist and major) was held captive.

In the interwar period, the “Sejmikowy” hotel was located here. Until the 1990s, it housed a police station, and later, for a certain period, the building was unused. Between 2007 and 2009, it underwent a thorough renovation (similar to other parts of the former city fortifications) as part of a project called “Conservation, renovation, and adaptation for cultural purposes of the Old Town fortifications in Zamość”, giving it its current appearance. Since 2012, a wooden footbridge, built as part of another project, has led to the green areas south of the gate.

After the aforementioned renovation works, it became possible to pass through the gate. Among others, the office of the Zamość Economic Subzone and the “Kosz” Jazz Club are located here."

Leineschloss Hannover

"Construction of the original Leine Palace began in 1637. From 1714, King George I had its interior reconstructed, with magnificent decorations. After a fire, the north-west wing had to be rebuilt. Further constructional changes were made by Georg Laves between 1815 and 1835. Among other details, he added the classicistic portico, resembling the example at Carlton House palace in London. Today, the Leineschloss houses the Landtag – the state parliament of Lower Saxony."

9staedte.de/en/das-leineschloss/

Parque Łazienki - Varsovia - Polonia.

Łazienki Park - Warsow - Poland

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foto-composición /photo-composition

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Explore #6

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De/from Wikipedia:

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es.wikipedia.org/wiki/Parque_%C5%81azienk

El Parque Real Łazienki (en polaco, Park Łazienki Królewskie) es el parque público más grande de Varsovia. Se extiende por un área de cerca de 80 ha. Alberga un conjunto palaciego y cuenta con un lago y un jardín botánico. Se encuentra ubicado en el límite sur del distrito de Śródmieście, sobre la avenida Ujazdów (Aleje Ujazdowskie), y forma parte de la llamada «Ruta Real» (Trakt Królewski) de la capital polaca.

Es famoso por albergar el monumento al compositor Fryderyk Chopin y algunos bellos palacetes e interesantes pabellones: el Palacio en la Isla, el Palacio Belvedere, el Anfiteatro, la Casa Blanca, el Templo de Diana, entre otros. La mayoría de estos edificios han sido transformados en museos en las últimas décadas.

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El Palacio en la Isla

El Palacio en la Isla (Pałac na Wyspie) o Palacio sobre el Agua, inicialmente un pabellón de baño, fue transformado por el arquitecto Dominik Merlini entre 1772 y 1793 en un bello palacio de estilo clasicista como residencia del rey Estanislao II. Se encuentra sobre una isla artificial en el lago del parque y cuenta con dos puentes que lo unen con tierra firme. En la planta baja se encuentran el salón de Baco, los baños reales, el salón de baile, la habitación de los retratos, el salón de Salomón, una galería de pinturas, la capilla del palacio y el comedor. En la planta alta están los apartamentos reales, otra galería de pinturas, la habitación del balcón, la habitación del rey, los aposentos reales, el guardarropa y la habitación de los oficiales. Como principales motivos de ornamento se utilizaron relieves y mosaicos holandeses. El mobiliario y las pinturas son de estilo clasicista.

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en.wikipedia.org/wiki/%C5%81azienki_Park

Łazienki Park or Royal Baths Park (Polish: Park Łazienkowski, Łazienki Królewskie) is the largest park in Warsaw, Poland, occupying 76 hectares of the city center.

The park-and-palace complex lies in Warsaw's central district (Śródmieście) on Ujazdów Avenue, which is part of the Royal Route linking the Royal Castle with Wilanów Palace to the south. North of Łazienki Park, on the other side of Agrykola Street, stands Ujazdów Castle.

Originally designed in the 17th century as a baths park for nobleman Stanisław Herakliusz Lubomirski, in the 18th century Łazienki was transformed by Poland's last monarch, Stanisław II Augustus, into a setting for palaces, villas, classicist follies, and monuments. In 1918 it was officially designated a public park.

Łazienki is visited by tourists from all over Poland and the world, and serves as a venue for music, the arts, and culture. The park is also home to peacocks and a large number of squirrels.

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Palace on the Isle

Rear (north) façade

The principal edifice of Łazienki is the Palace on the Isle (Polish: Pałac Na Wyspie). It was originally a baroque Bath-House erected in about 1680 by Lubomirski according to the design of Tylman van Gameren, the most outstanding architect in Poland at that time. The square-shaped structure had a three-side protrusion on its northern elevation. Inside was a round hall with a fountain and the hall was topped by a cupola illuminated from above by lanterns. The walls were studded with pebbles, seashells and imitated grotto. Adjoining it was a bath chamber with walls adorned by bas-reliefs. Both the building's interior as well as its exterior elevation were richly decorated with stucco, sculptures and murals. A portion of the original decorations survived on the entrance wall of the columned portico. Also original is the Latin inscription to be read as a rebus. In translation, it states: “This house hates sorrow, loves peace, offers a bath, recommends an idyllic life and wishes to play host to honest men.”

At the Theseus Temple in the Volksgarten ("People's Garden") in Vienna's 1st district

This classicist building, built from 1819 to 1823 by architect Peter von Nobile, serves primarily as a decorative source of shade and as a backdrop for group photos. Other purposes are beyond my knowledge.

Die evangelische St. Nikolaikirche entstand nach Plänen von Karl Friedrich Schinkel in den Jahren 1830 bis 1837.

St. Nicholas Church in Potsdam is a Lutheran church. The central plan building in the Classicist style and dedicated to Saint Nicholas was built to plans by Karl Friedrich Schinkel in the years 1830 to 1837.

The Markt ("Market Square") of Bruges is located in the heart of the city and covers an area of about 1 hectare. Some historical highlights around the square include the 12th-century belfry and the Provincial Court (originally the Waterhall, which in 1787 was demolished and replaced by a classicist building that from 1850 served as provincial court and after a fire in 1878 was rebuilt in a neo-Gothic style in 1887. In the center of the market stands the statue of Jan Breydel and Pieter de Coninck.

In 1995 the market was completely renovated. Parking in the square was removed and the area became mostly traffic-free, thus being more celebration friendly.

La iglesia de Santa María la Mayor de Peñarroya de Tastavins . Se trata de un edificio construido en el siglo XVIII en estilo barroco clasicista. Su fábrica es de mampostería combinada con sillar y conforma un rotundo volumen claramente diferenciado del resto del caserío.

A los pies, en el lado de la Epístola, se alza la esbelta torre de tres cuerpos, siendo cuadrados los dos primeros y octogonal el último, que cumple la función de cuerpo de campanas, por lo que se presenta abierto en sus ocho caras por arcos de medio punto.

The church of Santa María la Mayor in Peñarroya de Tastavins .It is a building built in the 18th century in a classicist baroque style. Its factory is made of masonry combined with ashlar and forms a resounding volume clearly differentiated from the rest of the farmhouse.

At the foot, on the side of the Epistle, rises the slender three-section tower, the first two being square and the last octagonal, which acts as a body of bells, which is why it is presented open on its eight faces by Round arches.

L'església de Santa Maria la Major de Pena-roja de Tastavins Es tracta d'un edifici construït al segle XVIII en estil barroc classicista. La seva fàbrica és de maçoneria combinada amb carreu i conforma un rotund volum clarament diferenciat d'la resta de l'caseriu.

Als peus, al costat de l'Epístola, s'alça l'esvelta torre de tres cossos, sent quadrats els dos primers i octogonal l'últim, que compleix la funció de cos de campanes, per la qual cosa es presenta obert en les seves vuit cares per arcs de mig punt.

The Elisenbrunnen are the symbol of the spa and seaside town of Aachen. Here, hot springs in the middle of the city center emerge at the Earth's surface. Not only Charlemagne, but also the ancient Romans already appreciated these sources. The classicist building is a popular meeting point for residents of Aachen and visitors from far and wide!

De Elisenbrunnen zijn hét symbool van de kuur- en badstad Aken. Hier komen warmwaterbronnen in het midden van het stadscentrum tevoorschijn aan het aardoppervlak. Niet alleen Karel de Grote, maar ook de oude Romeinen wisten deze bronnen al op prijs te stellen. Het classicistische gebouw is een populair ontmoetingspunt voor inwoners uit Aken en bezoekers van heinde en verre!

Das Marmorpalais im Neuen Garten in Potsdam war das Sommerschloss König Friedrich Wilhelms II. von Preußen. Die Architekten Carl von Gontard, Carl Gotthard Langhans und Michael Philipp Boumann errichteten es im frühklassizistischen Stil in den Jahren 1787–1793 und 1797 in einem von Johann August Eyserbeck angelegten englischen Park dicht am Ufer des Heiligen Sees.

Infos @ Wikipedia

The marble palais in the new garden in Potsdam was the summer castle King Friedrich Wilhelms II of Prussia. The architects Carl von Gontard, Carl Gotthard Langhans and Michael Philipp Boumann built it in early classicist style in the years 1787–1793 and 1797 in an English park created by Johann August Eyserbeck close to the banks of the Holy Lake.

Infos @ wikipedia

Coliseo - Colosseum

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De/from: Wikipedia.

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es.wikipedia.org/wiki/Coliseo

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Coliseo - Roma - Italia

El Coliseo o Anfiteatro Flavio (en latín Colosseum, en italiano Colosseo)1​ es un anfiteatro de la época del Imperio romano, construido en el siglo I. Está ubicado en el este del Foro Romano, y fue el más grande de los que se construyeron en el Imperio romano. Conocido originalmente como Anfiteatro Flavio (Amphitheatrum Flavium) pasa a ser llamado Coliseo (Colosseum) porque a su lado había una gran estatua, el Coloso de Nerón,​ un monumento dedicado al emperador Nerón que posteriormente sufrió transformaciones y llegó a desaparecer.​

Los materiales utilizados en la construcción de este son bloques de travertino, hormigón, madera, ladrillo, piedra (toba), mármol y estuco. En la antigüedad poseía un aforo para unos 65.000 espectadores, con ochenta filas de gradas.4​5​6​ Los que estaban cerca de la arena eran el Emperador y los senadores, y a medida que se ascendía se situaban los estratos inferiores de la sociedad. En el Coliseo tenían lugar luchas de gladiadores y espectáculos públicos. Se construyó justo al este del Foro Romano, y las obras empezaron entre 70 d. C. y 72 d. C., bajo el mandato del emperador Vespasiano. El anfiteatro, que era el más grande jamás construido en el Imperio romano, se completó en 80 d. C. por el emperador Tito, y fue modificado durante el reinado de Domiciano.2​ Su inauguración duró 100 días, participando en ella todo el pueblo romano y muriendo en su celebración decenas de gladiadores y fieras que dieron su vida por el placer y el espectáculo del pueblo.​

El Coliseo se usó durante casi 500 años, celebrándose en él los últimos juegos de la historia en el siglo VI, bastante más tarde de la tradicional fecha de la caída del Imperio romano de Occidente en 476 d. C. Los bizantinos también lo utilizaron durante el siglo VI. Además de las peleas de gladiadores, muchos otros espectáculos públicos tenían lugar aquí, como naumaquias, caza de animales, ejecuciones, recreaciones de famosas batallas y obras de teatro basadas en la mitología clásica. El edificio dejó de emplearse para estos propósitos en la Alta Edad Media. Más tarde, sirvió como refugio, fábrica, sede de una orden religiosa, fortaleza y cantera. De sus ruinas se extrajo abundante material para la construcción de otros edificios, hasta que fue convertido en santuario cristiano, en honor a los cautivos martirizados durante los primeros años del cristianismo. Esta medida contribuyó a detener su expolio y a que se conservara.

Aunque la estructura está seriamente dañada debido a los terremotos y los picapedreros, el Coliseo siempre ha sido visto como un icono de la Roma Imperial y es uno de los ejemplos mejor conservados de la arquitectura romana. Es una de las atracciones turísticas más populares de la moderna Roma y aún está muy ligado a la Iglesia católica, por lo que el papa encabeza el viacrucis hasta el anfiteatro cada Viernes Santo.7​8​

El Coliseo, junto con todo el centro histórico de Roma, fue admitido en la lista del Patrimonio de la Humanidad por la UNESCO en 1980. El 7 de julio de 2007 fue reconocido como una de las siete nuevas maravillas del mundo moderno.

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es.wikipedia.org/wiki/Coliseo

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Colosseum - Rome - Italy

The Colosseum (/ˌkɒləˈsiːəm/ KOL-ə-SEE-əm; Italian: Colosseo [kolosˈsɛːo]) is an oval amphitheatre in the centre of the city of Rome, Italy, just east of the Roman Forum. It is the largest ancient amphitheatre ever built, and is still the largest standing amphitheatre in the world today, despite its age. Construction began under the emperor Vespasian (r. 69–79 AD) in 72 and was completed in 80 AD under his successor and heir, Titus (r. 79–81). Further modifications were made during the reign of Domitian (r. 81–96). The three emperors that were patrons of the work are known as the Flavian dynasty, and the amphitheatre was named the Flavian Amphitheatre (Latin: Amphitheatrum Flavium; Italian: Anfiteatro Flavio [aɱfiteˈaːtro ˈflaːvjo]) by later classicists and archaeologists for its association with their family name (Flavius).

The Colosseum is built of travertine limestone, tuff (volcanic rock), and brick-faced concrete. The Colosseum could hold an estimated 50,000 to 80,000 spectators at various points in its history having an average audience of some 65,000; it was used for gladiatorial contests and public spectacles including animal hunts, executions, re-enactments of famous battles, and dramas based on Roman mythology, and briefly mock sea battles. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.

Although substantially ruined because of earthquakes and stone-robbers (for spolia), the Colosseum is still an iconic symbol of Imperial Rome and was listed as one of the New7Wonders of the World. It is one of Rome's most popular tourist attractions and also has links to the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.

The Colosseum is also depicted on the Italian version of the five-cent euro coin.

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Wie jeder Libeskind-Bau ist auch dieser zunächst ein Schock. Die Albertstadt ist als Militärstadt ganz auf Symmetrie und Axialität angelegt. Biegt man jetzt von der Stauffenbergallee in die Hans-Oster-Straße, dann läuft man mittig auf den säulenbestandenen Eingang des klassizistischen Altbaus zu. Aber links ragt zwischen den Risaliten dieser fünf Stockwerke hohe Metallkeil heraus, betont asymmetrisch, schiefwinklig, metallisch – wie ein Projektil oder besser noch: ein Schiffsbug, der ins Gebäude gedrückt wurde und dort stecken blieb. Vielleicht gibt das Büro Libeskind deswegen so gerne das Gewicht der Stahlkonstruktion an: Ein 140-Tonner ist also in den Altbau gekracht und soll das Thema des Museums in einer gewaltigen und gewalttätigen architektonischen Geste ausdrücken: Ein Symbol der geordneten Gewalt, die der Krieg darstellt (siehe BauNetz-Meldung zum Richtfest 2008). Dieser Neubau ist kein Anbau – er hat dem Altbau den Krieg erklärt.

Like every Libeskind building, this one is a shock at first. As a military city, the Albertstadt is entirely designed for symmetry and axiality. If you now turn from Stauffenbergallee into Hans-Oster-Straße, you walk towards the centre of the columned entrance to the classicist old building. But on the left, between the risalites, this five-storey-high metal wedge protrudes, emphatically asymmetrical, crooked, metallic - like a projectile or, better still, a ship's prow that was pushed into the building and got stuck there. Maybe that's why Libeskind's office likes to quote the weight of the steel structure: A 140-tonne truck has thus crashed into the old building and is intended to express the museum's theme in a powerful and violent architectural gesture: a symbol of the ordered violence that war represents (see BauNetz report on the topping-out ceremony in 2008). This new building is not an extension - it has declared war on the old building.

Source baunetz.de

front view of Zamek w Pszczynie (Pszczyna Castle) from across the park pond

Pszczyna Castle (Polish: Zamek w Pszczynie, German: Schloss Pleß) is a classical-style palace in the town of Pszczyna in southern Poland. Constructed as a castle in 13th century or earlier, in a Gothic architectural style, it was rebuilt in a Renaissance style in the 17th century. During the course of the 18th and 19th centuries, the exterior of the castle was partially changed into a Baroque-Classical style. The Classicist modernization transformed the complex into what is usually described a palace.

In its history the castle was a residence of Polish, incl. Silesian, Piast dukes, then the German von Promnitz noble clan (mid-16th to mid-18th centuries) and later the German von Pless family. The castle became owned by the state after the death of the last Prince of Pless, Hans Heinrich XV in 1936.

The historic Pszczyna Park, part of the castle complex of the Pszczyna princes, is considered one of the most beautiful in Upper Silesia. It has an area of ​​almost 160 ha and consists of three different parts. The main, central part is the actual Castle Park. From the east, it is bordered by the much smaller Park Dworcowy, stretching along the Pszczynka River, and from the west by the so-called Dzika Promenada or Zwierzyniec, i.e. large, less developed forest and park areas in the Pszczynka valley, created after the large city pond was drained in 1792. The extensive area of ​​the Historic Pszczyna Park is an attractive place for both rest and recreation.

The Castle Park covers an area of ​​almost 50 ha. It was created in the second half of the 18th century, although already in the 16th century there was a small vegetable garden on the western side of the castle and a menagerie in the north-western part of the current park. Created during the Baroque reconstruction of the residence of the Pszczyna princes, it referred to the multi-axis assumptions of the great French architect André Le Notré, subordinated to the dominant shape of the palace building. On the northern side of the Pszczyna Castle, three alleys were marked out, radiating from the main façade of the palace. In the mid-19th century, the castle garden began to be transformed into a landscape park, the so-called English. At that time, among other things, the main, central alley was eliminated, replacing it with a vast clearing opening towards the newly built ponds on the Pszczynka River and the hills in the northern part of the park. Over time, in the park, which was transformed in the mid-19th century, all the elements characteristic of this type of layout appeared: extensive viewing openings, picturesque clusters of trees and shrubs, numerous backwaters and ponds with islands and arched bridges, open meadows and solitary, spreading trees. The banks of ponds and canals were planted with "weeping" trees, with branches and branches hanging just above the water. There are numerous, magnificent and powerful: English oaks, hornbeams, common and red beeches, horse-chestnuts, yews, eastern white pines, small-leaved limes, ashes, elms, larches, silver spruces, birches, maples and plane trees, as well as willows and tulip trees. Among the many interesting shrubs, the beautiful specimens of rhododendrons (flowering in late spring) and smaller azaleas are worthy of attention.

view of the western part (from the outer garden) of the Walewscy Palace in Walewice

Classicist building designed by Hilary Szpilowski or Stanislaw Zawadzki, built in 1773-1783 by Anastazy Walewski (chamberlain to King Stanislaw August Poniatowski); located on the Mroga River.

The palace is counted among the most interesting examples of classicist country seats in Poland, built at the end of the 18th century. The front faces east. It consists of a one-story rectangular main body and one-story side pavilions, also built on a rectangular plan, connected with the main body by communication galleries broken at right angles. The premise is based on the Palladian style, very popular in Poland in the second half of the 18th and first 19th centuries. From the front, the palace has a massive, four-column Ionic battered portico topped with a triangular pediment (tympanum) with the coat of arms of Pomian, the later owner Stanislaw Grabiński. From the garden there are two prominent extreme (side) risalits. Inside the palace, large representative halls with decorative brick fireplaces and elaborate furnishings were created, as well as spacious palace rooms. In one of the pavilions original painted wallpaper from the 19th century with mythological motifs has been preserved.

On May 4, 1810, the son of Napoleon Bonaparte and Maria Walewska, Alexander Colonna-Walewski, later French ambassador to Great Britain and foreign minister to Napoleon III, was born there. He also became heir to the estate, which he sold to Maria Walewska's brother, Teodor Łączyński, in 1831.

Much of the palace's charm is added by the perfect composition of the building with an extensive landscape park designed by Walerian Kronenberg. Original late Baroque and classicist sandstone sculptures depicting Mars, Venus, and Diana have been preserved there, as well as two hermits and an armed man in ancient costume.

In the mid-19th century, the palace and its estate passed into the hands of the Grabiński family of the Pomian coat of arms. The Grabinskis modernized and rebuilt the palace at the turn of the 19th and 20th centuries, established a stud farm for half-breed horses (Anglo-Arabians), developed the breeding of cockerel sheep (the only one in the country), a huge fish farm (on more than 100 hectares of ponds), a factory of potato flour and starch. The last owners of Walewice were papal chamberlain Stanislaw Bohdan Grabiński and his wife Jadwiga, née hr. Potocki, and after his death in 1930 their minor children Stanislaw Wojciech, Maria, Wladyslaw, Róża and Jan Grabiński. The palace still contains some of the furnishings and furniture from the last owners.

During World War II, on the night of September 9-10, 1939, the 17th Regiment of Wielkopolska Uhlans from Gniezno of the Wielkopolska Cavalry Brigade fought battles for the Palace and the village of Walewice during the Battle of the Bzura River.

pure classicistic Greek-cross-church (central-planned) build between 1508 and 1597 with 3 pentagonal apses and a semicircular entry (left in the picture) and a high cupulo with a little lantern .

The palace in Śmiełów was built in 1797 for rich family of Gorzeński landowners. The palace consists of a classicist villa connected with outbuildings by semicircular galleries. The main body is preceded by a four-column portico with columns.

Adam Mickiewicz was hosted in this palace in August 1831, when he traveled to the Kingdom of Poland to support the November Uprising. As the uprising was about to collapse, the poet stayed longer in Greater Poland.

In 1970, the palace was taken over by National Museum in Poznań, which renovated this palace and opened here in 1975 the Museum of Adam Mickiewicz.

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Pałac w Śmiełowie został zbudowany zbudowany w roku 1797 dla bogatej rodziny ziemian Gorzeńskich. Pałac składa się z klasycystycznej willi, połączonej półkolistymi galeriami z oficynami. Korpus główny poprzedzony portykiem z czterema kolumnami.

W pałacu tym był goszczony w sierpniu 1831 roku Adam Mickiewicz, kiedy udawał się do Królestwa Polskiego aby wspomóc Powstanie Listopadowe. Ponieważ powstanie chyliło się już ku upadkowi, poeta pozostał na dłużej w Wielkopolsce.

W 1970 pałac został przejęty przez Muzeum Narodowe w Poznaniu, które przeprowadziło remont pałacu i otwarło tu w 1975 Muzeum im. Adama Mickiewicza.

"St. Nicholas' Church (German: St. Nikolaikirche) in Potsdam is a Lutheran church under the Evangelical Church in Berlin, Brandenburg and Silesian Upper Lusatia of the Evangelical Church in Germany on the Old Market Square (Alter Markt) in Potsdam. The central plan building in the Classicist style and dedicated to Saint Nicholas was built to plans by Karl Friedrich Schinkel in the years 1830 to 1837. The tambour of the 77 metre high church that towers above the roofs of the city was built later, from 1843 to 1850. Its construction was taken over by Ludwig Persius and, from 1845, Friedrich August Stüler."

en.wikipedia.org/wiki/St._Nicholas%27_Church,_Potsdam

Metal Art work in Rotterdam representing an old former church

Little correction here:

The structure, which looks like a three-dimensional graphic drawing, is based on the neo-classicist city gate from before the war. It symbolises a Rotterdam that is still a work in progress.

Designed by: Cor Kraat (1995)

Church of St. Martin (Řepy)

The Church of St. Martin in Prague-Řepy is a small stone romanesque church with a vestibule, a rectangular nave and a semicircular apse.

The church was built in the middle of the 12th century, around 1225 a tower and a grandstand were added on the west side. In the second half of the 18th century, it was remodeled and vaulted in the Baroque style, and at the beginning of the 19th century, the tower was remodeled in the Classicist style. It acquired its present appearance by repairing the facade in the 20th century. There was a cemetery around the church. In the second half of the 19th century, it was abolished and the remains moved to a new cemetery.

Museum Hamburger Bahnhof, Berlin

Vom Endbahnhof zur Nationalgalerie der Gegenwart

Der ehemalige Endbahnhof wurde bereits 1884, nach nur 38 Jahren Betrieb stillgelegt. Er ist heute das einzige erhaltene Bahnhofsgebäude aus der zweiten Hälfte des 19. Jahrhunderts in Berlin. Die Nutzung des spätklassizistischen Kopfbaus als Ausstellungsraum folgte recht schnell: 1904 beherbergte er das Verkehrs- und Baumuseum. Während des Zweiten Weltkrieges wurde das Gebäude schwer beschädigt und blieb bis 1984 ungenutzt. 1996 folgte die Neueröffnung als Museum für Gegenwart. Im November 2022 erwarben Bund und Land Berlin das Museum gemeinsam.

From the terminus to the National Gallery of the Present

The former terminus was shut down in 1884, after only 38 years of operation. Today it is the only surviving station building from the second half of the 19th century in Berlin. The use of the late classicist head building as an exhibition space followed quite quickly: in 1904 it housed the Transport and Construction Museum. During the Second World War, the building was severely damaged and remained unused until 1984. In 1996 it was reopened as a museum for contemporary art. In November 2022, the federal government and the state of Berlin jointly acquired the museum.

Palau Nacional, Montjuïc, Barcelona, España.

El Palacio Nacional está situado en la montaña de Montjuic, en Barcelona. Es un palacio construido entre 1926 y 1929 para la Exposición Internacional de 1929 de Barcelona y que desde 1934 aloja el Museo Nacional de Arte de Cataluña.

Fue el edificio principal de la Exposición, obra de los arquitectos Eugenio Cendoya y Enric Catà, bajo la supervisión de Pere Domènech i Roura, una vez rechazado el proyecto inicial de Josep Puig i Cadafalch y Guillem Busquets y tiene una superficie de 32.000 m².  Es de estilo clasicista inspirado en el renacimiento español. Presenta una planta rectangular con dos cuerpos laterales y uno posterior cuadrado con una gran cúpula elíptica en la parte central. Las cascadas y surtidores de la escalinata del Palacio fueron obra de Carles Buïgas, y se colocaron nueve grandes proyectores, que aún hoy emiten unos intensos rayos de luz, que escriben el nombre de la ciudad en el cielo.La ceremonia de la inauguración de la exposición se realizó en su Salón Oval y fue presidida por Alfonso XIII y la reina Victoria Eugenia.

En el Palacio Nacional se dedicó una exposición de «El arte en España» con más de 5.000 obras procedentes de todo el territorio nacional. En la decoración interior de estilo novecentista intervinieron diversos artistas como los escultores Enric Casanovas, Josep Dunyach, Frederic Marès y Josep Llimona, y los pintores Francesc d'Assís Galí, Josep de Togores, Manuel Humbert, Josep Obiols, Joan Colom y Francesc Labarta.

Entre 1996 y 2004 al Palacio se le hizo una ampliación a cargo de Gae Aulenti, Enric Steegmann, Josep Benedito y Agustí Obiol con el objetivo de crear espacios para poder mostrar y almacenar todas las obras de la colección.

The National Palace is located on Montjuic mountain, in Barcelona. It is a palace built between 1926 and 1929 for the 1929 International Exhibition in Barcelona and since 1934 it has housed the National Museum of Art of Catalonia.

It was the main building of the Exhibition, the work of architects Eugenio Cendoya and Enric Catà, under the supervision of Pere Domènech i Roura, once the initial project by Josep Puig i Cadafalch and Guillem Busquets was rejected, and it has an area of 32,000 m². It is in a classicist style inspired by the Spanish Renaissance. It has a rectangular plan with two lateral bodies and a square rear body with a large elliptical dome in the central part. The waterfalls and fountains on the Palace steps were the work of Carles Buïgas, and nine large projectors were placed, which even today emit intense rays of light, writing the name of the city in the sky. The inauguration ceremony of the The exhibition was held in its Oval Hall and was presided over by Alfonso XIII and Queen Victoria Eugenia.

An exhibition of "Art in Spain" was dedicated at the National Palace with more than 5,000 works from all over the national territory. Various artists participated in the interior decoration in the Noucentista style, such as the sculptors Enric Casanovas, Josep Dunyach, Frederic Marès and Josep Llimona, and the painters Francesc d'Assís Galí, Josep de Togores, Manuel Humbert, Josep Obiols, Joan Colom and Francesc Labarta.

Between 1996 and 2004, the Palace underwent an extension by Gae Aulenti, Enric Steegmann, Josep Benedito and Agustí Obiol with the aim of creating spaces to display and store all the works in the collection.

The orangery at Finspång Castle, Östergötland, Sweden

Work on the castle was begun in 1666, by Louis De Geer (1587–1652). It is designed in the Architecture of the Netherlands Classicist style by Dutch architect Adriaan Dortsman. The castle park was laid out in various stages between 1690 and 1820. During the 1790s, the garden was expanded with a vast English park.

The orangery was built in 1832. The architect was Lars Jacob von Röök. On the north long wall of the building are two murals by the artist Per Berggren. These are copies of Italian models.

Finspång, Östergötland, Sweden

Work on the castle was begun in 1666, by Louis De Geer (1587–1652). It is designed in the Architecture of the Netherlands Classicist style by Dutch architect Adriaan Dortsman. The castle park was laid out in various stages between 1690 and 1820. During the 1790s, the garden was expanded with a vast English park.

The orangery was built in 1832. The architect was Lars Jacob von Röök.

"Huis Verwolde", te Laren, The Netherlands

Huis Verwolde is a classicist nobleman's house from 1776 on the estate of the same name in the former municipality of Verwolde, northeast of Laren. Verwolde belongs since 1854 to Laren, which since 1971 belongs to the municipality of Lochem in the Dutch province of Gelderland. Despite the corner tower it is not a castle, but more a stately country house. It is one of the former recognized manors of the Kwartier Zutphen.

History

The earliest written record dates back to 1346 when Derck II van Keppel is the owner of Verwolde. In that year, Varenwolde was split off from Keppel by brotherhood, while it remained a loan from the Heeren van Keppel. Probably Verwolde was founded in the 12th century by one of the Lords of Keppel as a hunting lodge because of the wild environment. In 1182 Wolter I van Keppel is mentioned in connection with Verwolde. Derck III had his own fortified house built on the property.

Around 1500, the castle became involved in the political battle between the Heeckerens and Bronckhorsten, with Derck IV supporting the Heeckerens. In 1505, Duke Charles of Gelre took castle Verwolde because Derck IV of Keppel and Verwolde had broken the oath of allegiance to the Duke. Karel used the castle as a defense fortress on the border with the Oversticht, and placed a rhythm master with twenty men on the house. He had it thoroughly reinforced to a castle with canals and piles planted with thorn bushes. In 1510 it was attacked by the bishop of Utrecht Frederik van Baden with an army of 1600 horsemen and 300 foot soldiers, where the castle was demolished, the threefold canals were filled up and the walls were demolished.

In the 16th century a new house was built under the Van Keppels. In 1546 the Van Keppel van Verwolde family died in male line. Verwolde entrusted to the only daughter of Frederik van Keppel, Cunegonde van Keppel, who was married to Alart (de Cocq) van Haaften. The new castle was occupied by the Spaniards during the Eighty Years' War in 1583. A drawing from 1600 of the damaged complex shows that it consisted of a rectangular core surrounded by a polygonal ring wall with wall towers. Archaeological research from 2003 confirmed that the castle had a rectangular head castle of 34 by 37.5 meters, with a weather wall and a gatehouse, surrounded by two canals. Furthermore, there were a front castle of 17 by 35 meters and a few small buildings. The whole was moated with a third canal. In 1658 it came into the possession of the Ripperda family.

On May 30, 1738, Evert Jan Benjamin of Goltstein is leased - Verwolde was a loan from Keppel - with the 'house', which then was probably only a simple farmhouse, and a third of the glory Verwolde. He bought the house for his daughter Reiniera Charlotta from Goltstein and son-in-law Allard Philip van der Borch who was loaned on July 4, 1738. Van der Borch needed to be able to be published in the Knighthood of Zutphen. In 1772, his son and heir, Frederik Wilhelm van der Borch, bought the remaining two thirds of the glory of Assueer Jan Torck (1733-1793), Lord of Rosendael. Thus the glory came again in one hand.

Various renovations took place in the following centuries. In 1775, the then owner of the Verwolde glory, Frederik Willem van der Borch, decided to build a new house. The architect Philip Willem Schonck carried out this assignment in nine months. Schonck also designed the gardens for the estate. In 1926, the owner, Line baroness van der Borch of Verwolde-Voûte, lady of Verwolde (1887-1966), built a large corner tower, which gave the house a castle-like appearance. Also that year the house was completely modernized to the latest requirements of that time. During the Second World War, the baroness of the Hague Sanatorium was set up in the building in order to avoid occupation by the occupiers.

Museum

The house was sold to the Geldersche Kasteelen Foundation in 1977 by Allard Baron van der Borch of Verwolde (1926-2008). The former owner moved that same year to the hunter's house on the estate. Nowadays the youngest daughter Julie Baroness van der Borch of Verwolde lives with her husband Gijs Baron van Heemstra and their two children at the hunting lodge. She was 12 years old when she moved to the hunting lodge with her parents and is since 2011? back again.

After restoration of, among other things, the precious wallpaper in the Chinese room, the house has been in good condition since April 2012. The Geldersche Kasteelen Foundation has made the castle accessible to the public and has given it a museum function.

The garden and the forest of the estate are open to walkers. The rest is privately owned. By means of colored poles various routes have been set out that lead past monumental farms. A walk along the "Dikkeboompad" leads past the Dikke Boom, an ancient oak tree.

Bundeswehr Military History Museum

After a long history of switching titles and approaches to military history, the museum was re-opened in 2011 with a new internal and external concept. Before opening in October 2011 as the Bundeswehr Military History Museum, the building underwent six years of extensive construction. Using the design of architect Daniel Libeskind, the Neo-Classicist facade on the historic arsenal has been interrupted.

Libeskind added a transparent arrowhead to the façade of the building, creating an outwardly visible expression of innovation. The architect wanted to penetrate the historic arsenal and create a new experience with the addition. The openness and transparency of the new façade, representing the openness of democratic society, contrasts with the rigidity of the existing building, which represents the severity of the authoritarian past.[wikipedia]

Parma : Affreschi della Camera di S.Paolo del Correggio-Ovale con Putti

In origine faceva parte della casa della Badessa del Convento di St.Paolo ,Giovanna Piacenza ,la stessa che commissionò la decorazione al Correggio nel 1518.Nella volta ,scandita da costoloni in 16 spicchi ,poggianti su lunette ,è rappresentato un verde pergolato con festoni di frutta ,dagli ovali al centro si affacciano putti che scherzano e giocano con gli emblemi di Diana Cacciatrice; alla base si delineano figurazioni in monocromato di gusto classicistico romano .

Originally it was part of the house of the abbess of the convent of the St.Paul ,Giovanna Piacenza ,the same ,the same who commissioned the decoration to Correggio in 1518 . In time ,marked by ribs ,in 16 segments ,rest in lunettes ,is rapresented with a green arbor garlands of fruit ,from the center oval face putti joking and playing with the emblems of Diana the Huntress: at the base are outlined in monochrome figures of classical tastes Romano .

The church of Saint Andrew Bobola in Rawicz is a unique post-evangelical temple, built in the late-Classicist style in the years 1803-1808. From 1945, it is a Catholic church.

The interior of this church was built on a plan inscribed in an oval rectangle designated by 16 high columns with Ionic-style heads and two floors of balconies (empor). The loudspeakers support a powerful, oval ceiling, decorated in the central part with stucco.

The church is not an old building, but due to its uniqueness (especially the two levels of empor), it has been entered in the register of Polish monuments.

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Kościół Świętego Andrzeja Boboli w Rawiczu jest unikalną świątynią poewangelicką, zbudowany w stylu późnoklasycystycznym w latach 1803-1808. Od roku 1945 jest kościołem katolickim.

Wnętrze kościoła wybudowano na planie wpisanego w prostokąt owalu wyznaczonego przez 16 wysokich kolumn z głowicami w stylu jońskim oraz dwie kondygnacje balkonów (empor). Kolumny podpierają potężny, owalny plafon, ozdobiony w centralnej części sztukaterią.

Kościół nie jest obiektem starym, ale ze względu na swoją unikalność (szczególnie dwa poziomy empor), został wpisany do rejestru polskich zabytków.

Catedral de Santa María, Girona.

La catedral de Girona consagrada a Santa María, se encuentra en el punto más alto de la ciudad; posee la nave gótica más ancha del mundo, con una anchura total de 22,98 metros. Su construcción se inició en el siglo xi en estilo románico, siguiendo en el Siglo XIII con el gótico, conservando tan solo el claustro románico del Siglo XII y la torre de la misma época que data de 1040; se terminó en el siglo XVIII.

La fachada es de estilo barroco-clasicista, dividida en tres cuerpos a modo de retablo. Sobre el último cuerpo se abre un gran óculo coronado por frontón y arriba se abren siete vanos de arco rebajado o escarzano. Los nichos u hornacinas de los tres cuerpos están separados por columnas pareadas y ocupados por las esculturas realizadas en el siglo XX.

The cathedral of Girona consecrated to Santa Maria, is in the highest point of the city; Has the widest Gothic nave in the world, with a total width of 22.98 meters. Its construction began in the eleventh century in Romanesque style, following in the thirteenth century with Gothic, retaining only the Romanesque cloister of the 12th century and the tower of the same period dating from 1040; Was completed in the 18th century.

The façade is of baroque-classicist style, divided into three bodies as a retable. On the last body opens a great oculus crowned by pediment and above it open seven spans of recessed arch or escarzano. The niches or niches of the three bodies are separated by paired columns and occupied by the sculptures made in the twentieth century.

Cheverny Castle is a classicist building dating back to the 17th century.

Church of St. Martin (Řepy)

The Church of St. Martin in Prague-Řepy is a small stone romanesque church with a vestibule, a rectangular nave and a semicircular apse.

The church was built in the middle of the 12th century, around 1225 a tower and a grandstand were added on the west side. In the second half of the 18th century, it was remodeled and vaulted in the Baroque style, and at the beginning of the 19th century, the tower was remodeled in the Classicist style. It acquired its present appearance by repairing the facade in the 20th century. There was a cemetery around the church. In the second half of the 19th century, it was abolished and the remains moved to a new cemetery.

The castle Oberhausen is a classicistic castle arrangement in the Oberhausener part of town Oberhausen. The property gave in 1846 nearby built and in 1847 open railway station and with it of the later city of Oberhausen the name.

After heavy damages during the Second World War the mansion was anew established in the end of the 1950s after old original plans.

Today it accommodates gallery an internationally famous art Museum Ludwig; the castle park with his leisure offers is a popular destination of the Oberhausener population.

Under the name „Schloss Oberhausen und Kaisergarten“ the buildings and the park since beginning of 2011 are a station of the subject route Oberhausen: Industry makes town of the route of the industrial culture.

The castle Oberhausen is a classicistic castle arrangement in the Oberhausener part of town Oberhausen. The property gave in 1846 nearby built and in 1847 open railway station and with it of the later city of Oberhausen the name.

After heavy damages during the Second World War the mansion was anew established in the end of the 1950s after old original plans.

Today it accommodates gallery an internationally famous art Museum Ludwig; the castle park with his leisure offers is a popular destination of the Oberhausener population.

Under the name „Schloss Oberhausen und Kaisergarten“ the buildings and the park since beginning of 2011 are a station of the subject route Oberhausen: Industry makes town of the route of the industrial culture.

Alden Biesen is the name of the former Land Commandery of the German Order in Rijkhoven, Bilzen and until 1795 the headquarters of the Biesen Balie. Alden Biesen has now been expanded into a cultural center of the Flemish Government. The architectural elaboration of the whole shows a surprising duality between on the one hand a medieval enclosed moated castle with martial significance and on the other hand the whole gives form to a wide open classicist-conceived castle.

Alden Biesen is de naam van de vroegere landcommanderij van de Duitse Orde in Rijkhoven, Bilzen en tot 1795 de hoofdzetel van de balije Biesen. Alden Biesen is nu uitgebouwd tot een cultuurcentrum van de Vlaamse Overheid. De architecturale uitwerking van het geheel geeft blijk van een verrassende dualiteit tussen enerzijds een middeleeuwse besloten waterburcht met krijgskundige betekenis en anderzijds geeft het geheel vorm aan een weids openliggend classicistisch opgevat kasteel.

Wikipedia