First Friday Art Walk in Baker City Oregon

Celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

The Monastère de Brou, located in the town of Bourg-en-Bresse, is a stunning example of flamboyant Gothic architecture. It was constructed in the early 16th century by Marguerite d’Autriche, Duchess of Savoy, as a testament to her love for her deceased husband, Philibert le Beau.

The centerpiece of the monastery is its church, adorned with a polychrome glazed tile roof. Inside the church lie the princely burials of Philibert II of Savoy, Marguerite of Austria, and Marguerite of Bourbon. These tombs are a masterpiece of finely sculpted details, crafted by the best regional and Flemish artists of the time.

One of the remarkable features of the Monastère de Brou is the chapel of Margaret of Austria, which houses a stunning stained glass window depicting the Assumption and a white marble altarpiece portraying the Seven Joys of the Virgin. The altarpiece is adorned with seven niches, each representing a significant event in the life of the Virgin Mary, such as the Annunciation, the Nativity, and the Assumption.

The church's choir also features old stained glass windows, wooden stalls, and a rood screen, all created by master glassmakers from Lyon and other talented artists.

Aside from the church and its treasures, visitors can explore three cloisters within the monastery: the first cloister, the large cloister, and the cloister of the outbuildings. Each cloister offers unique architectural and artistic elements.

Furthermore, the monastic buildings house a municipal museum, where an impressive collection of art is presented. The art collection includes Flemish and French paintings ranging from the 15th to the 20th century, old religious sculptures, Renaissance furniture, Bressan furniture, and Meillonnas earthenware.

A visit to the Monastère de Brou promises to be a delightful experience, showcasing the rich history and artistic excellence of the region during the 16th century. The monastery serves as a testament to the love and devotion of Marguerite d’Autriche to her husband and stands as a timeless masterpiece of Gothic art.

Please enlarge to see detail

The Monastère de Brou, located in the town of Bourg-en-Bresse, is a stunning example of flamboyant Gothic architecture. It was constructed in the early 16th century by Marguerite d’Autriche, Duchess of Savoy, as a testament to her love for her deceased husband, Philibert le Beau.

The centerpiece of the monastery is its church, adorned with a polychrome glazed tile roof. Inside the church lie the princely burials of Philibert II of Savoy, Marguerite of Austria, and Marguerite of Bourbon. These tombs are a masterpiece of finely sculpted details, crafted by the best regional and Flemish artists of the time.

One of the remarkable features of the Monastère de Brou is the chapel of Margaret of Austria, which houses a stunning stained glass window depicting the Assumption and a white marble altarpiece portraying the Seven Joys of the Virgin. The altarpiece is adorned with seven niches, each representing a significant event in the life of the Virgin Mary, such as the Annunciation, the Nativity, and the Assumption.

The church's choir also features old stained glass windows, wooden stalls, and a rood screen, all created by master glassmakers from Lyon and other talented artists.

Aside from the church and its treasures, visitors can explore three cloisters within the monastery: the first cloister, the large cloister, and the cloister of the outbuildings. Each cloister offers unique architectural and artistic elements.

Furthermore, the monastic buildings house a municipal museum, where an impressive collection of art is presented. The art collection includes Flemish and French paintings ranging from the 15th to the 20th century, old religious sculptures, Renaissance furniture, Bressan furniture, and Meillonnas earthenware.

A visit to the Monastère de Brou promises to be a delightful experience, showcasing the rich history and artistic excellence of the region during the 16th century. The monastery serves as a testament to the love and devotion of Marguerite d’Autriche to her husband and stands as a timeless masterpiece of Gothic art.

First Friday Art Walk in Baker City Oregon

A beautiful evening celebrating the arts during the First Friday Art Walk and watching the seasons change in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

Songwol-dong Fairy Tale Village is located in the Jung-gu district of Incheon, a major port city on the western coast of South Korea, near Incheon Chinatown and the historic city center. The area was originally a residential neighborhood that experienced gradual decline as its population aged and younger residents moved elsewhere.

As part of an urban regeneration initiative launched in the early 2010s, Songwol-dong was transformed into a themed cultural district designed to attract visitors and revitalize the local environment. The project repurposed the existing streetscape through the installation of large-scale murals and three-dimensional sculptures inspired by classic fairy tales and children’s literature, combining Western stories with traditional Korean narratives.

The village functions as an open-air exhibition, where houses, walls, stairways, poles, and rooftops are integrated into a continuous visual setting. Rather than being confined to a single site, the artworks are distributed throughout the neighborhood, forming loosely defined thematic zones that reference well-known stories such as Alice in Wonderland, Snow White, The Wizard of Oz, and Korean folk tales. Many of the installations are three-dimensional, allowing visitors to physically interact with the figures and use the space as a photographic environment.

The area is freely accessible and can be explored on foot. In addition to the murals and sculptures, the surrounding neighborhood includes small cafés, themed shops, and nearby cultural attractions, including optical illusion museums in the adjacent districts, which complement the fairy tale concept of the village.

Although developed as a tourist destination, Songwol-dong Fairy Tale Village remains a living residential area. Visitors are encouraged to be mindful of local residents and to treat the neighborhood as a shared public space. The village is primarily appreciated as a daytime destination, when its vivid colors, illustrative details, and sculptural elements are most clearly visible.

And remember…

Time — time eventually catches up with all of us.

The Archaeological Park of Stobi is one of the most important archaeological sites in North Macedonia. Once a thriving Roman city at the crossroads of major trade routes, Stobi flourished between the 1st century BC and the 6th century AD. Today, visitors can explore the impressive remains of basilicas, Roman streets, elegant mosaics, and the city's remarkable ancient theatre, where thousands of spectators once gathered for theatrical performances, public ceremonies, and civic events. This panorama is accompanied by a digital historical reconstruction, showing how the theatre may have appeared during its heyday in the 6th century AD. The once-ruined stage building has been restored with marble columns, richly decorated façades, and statues, while the seating is once again filled with spectators awaiting the performance. Comparing the present-day ruins with this reconstruction offers a fascinating glimpse into the scale, grandeur, and atmosphere of one of the Balkans' most important Roman cities.

The ancient theatre of Stobi, shown alongside a digital reconstruction of how it may have appeared during the city's final flourishing in the 6th century AD.

Het Archeologisch Park Stobi behoort tot de belangrijkste archeologische vindplaatsen van Noord-Macedonië. Ooit was Stobi een welvarende Romeinse stad op het kruispunt van belangrijke handelsroutes. De stad beleefde haar bloeiperiode tussen de 1e eeuw v.Chr. en de 6e eeuw n.Chr.. Tegenwoordig zijn nog indrukwekkende resten te zien van basilieken, Romeinse straten, prachtige mozaïeken en het goed bewaard gebleven antieke theater, waar ooit duizenden bezoekers bijeenkwamen voor toneelvoorstellingen, ceremonies en openbare bijeenkomsten. Bij deze panoramafoto is een digitale historische reconstructie toegevoegd, die laat zien hoe het theater er tijdens zijn bloeitijd in de 6e eeuw na Christus uit kan hebben gezien. Het ingestorte toneelgebouw is opnieuw opgebouwd met marmeren zuilen, rijk versierde gevels en beelden, terwijl de tribunes weer gevuld zijn met toeschouwers die zich verzamelen voor een voorstelling. Door de huidige ruïnes te vergelijken met deze reconstructie ontstaat een indrukwekkend beeld van de omvang, rijkdom en levendigheid van Stobi aan het einde van de Romeinse periode.

Perched on the hills of Busan, Gamcheon Culture Village is a colorful maze of winding alleys and vibrant street art. Amidst this charming labyrinth, a statue of The Little Prince sitting with his loyal fox has become an iconic landmark.

This isn't a random placement. The statue represents the spirit of the village, which was once a humble neighborhood that transformed into a dynamic hub of art and community. As the Little Prince gazes out over the village, he seems to invite visitors to see the world with the same wonder and perspective he had in his own journey. It's a reminder that beauty and hope can bloom even in the most unexpected places.

photo rights reserved by Ben

Khurtisi Castle is located near the Jvari Pass in the Kazbegi region of northern Georgia. This historic fortress once played a crucial strategic role in guarding the mountain passage. Although the castle is now in ruins, its remains still bear witness to the rich history and importance of the Caucasus as a trade route. The remains show a typical medieval Georgian architectural style, with sturdy stone walls and a strategic location on a hill, which offers a magnificent view of the surrounding valley. Khurtisi Castle is a place where history and nature harmoniously merge, with a serene and timeless atmosphere against the backdrop of the imposing Mount Shani. Mt. Shani, a majestic peak of approximately 4,451 meters high, is located in the vicinity of the Jvari Pass and is considered one of the prominent mountains in the region. The mountain not only offers a challenge to experienced mountaineers, but also acts as a visual icon in the landscape. The snow-capped peak of Mount Shani towers over the valleys, with sheer rock faces and glistening ice fields, creating an impressive backdrop for the historic Khurtisi Castle.

The Jvari Pass, located at 2,379 meters, is part of the Georgian Military Highway, a historic route that connects Tbilisi to Vladikavkaz in Russia. The pass is known for its spectacular views, with winding roads that wind through deep gorges and past picturesque villages. Together, Khurtisi Castle and Mount Shani create a unique blend of history, culture and natural beauty, making the Jvari Pass an unforgettable destination.

Khurtisi Castle ligt nabij de Jvari-pas in de regio Kazbegi, in het noorden van Georgië. Het is een historisch fort dat ooit een strategische rol speelde bij het bewaken van de doorgang door de bergen. Het kasteel, hoewel tegenwoordig een ruïne, getuigt van de rijke geschiedenis en het belang van de Kaukasus als handelsroute. De overblijfselen tonen typische middeleeuwse Georgische bouwstijl, met robuuste stenen muren en een strategische ligging op een verhoging, wat een prachtig uitzicht biedt over de vallei. Het kasteel is een plek waar geschiedenis en natuur samenkomen, en het biedt een serene, tijdloze sfeer tegen de achtergrond van de ruige berg Shani. Mount Shani is een indrukwekkende piek die tot ongeveer 4.451 meter reikt. De berg ligt dicht bij de Jvari-pas en wordt beschouwd als een van de prominente toppen in de regio. Shani is niet alleen een uitdaging voor bergbeklimmers, maar het is ook een visueel icoon voor de omgeving. Het wordt vaak bewonderd door reizigers die de Georgian Military Highway volgen. De besneeuwde top van Mount Shani torent majestueus boven de omliggende valleien uit, met steile rotswanden en glinsterende ijsvelden. Het is een perfecte achtergrond voor het historische Khurtisi Castle. De Jvari-pas 2.379 meter hoog maakt deel uit van de Georgian Military Highway, een historische route die Tbilisi met Vladikavkaz in Rusland verbindt. De pas staat bekend om zijn adembenemende uitzichten, met kronkelende wegen die door diepe kloven en langs pittoreske dorpjes slingeren.

First Friday Art Walk in Baker City Oregon

Celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

This landscape photo was taken, in Europe, in France, in ile de France, in Paris, in summer. We see the Pantheon, under the Sun.

I can see why so many rush to visit Dubrovnik's old town. I was only there for a couple of hours, and I definitely wanted to stay for longer. However, as a cultural heritage site, the city's old town is also in danger, which is why anti-tourism protests took place this summer. Tourism development policy has not addressed the unintended consequences of mass tourism, blindly focusing on economic development. However, without addressing the negative consequence of masses of tourists in a small space, the city's sustainability could be crumbling.

Os Jardins do Real, também conhecidos como Jardins de Viveros, são um dos principais espaços verdes públicos de Valência e ocupam, em grande parte, o terreno onde se situava o antigo Palácio do Real, demolido em 1810 durante a Guerra da Independência. Ao longo do século XIX, o recinto foi sendo configurado como jardim de recreio, e no início do século XX acolheu o viveiro municipal, origem do nome atual “Viveros”. Entre os elementos arquitetónicos que pontuam este jardim destaca‑se uma pérgula semicircular com colunas de ordem jónica, que enquadra um pequeno lago e se integra no programa decorativo implementado no parque ao longo do século XX. O teto em estrutura de madeira e rede metálica sustenta as videiras que se enroscam nas colunas, criando um jogo de sombras que reforça o caráter romântico deste recanto. O pavimento em tijoleira, disposto em padrão diagonal, contribui para a sensação de continuidade entre a arquitetura clássica da pérgula e a vegetação envolvente.

The Real Gardens, also known as the Viveros Gardens, are one of Valencia's main public green spaces and occupy most of the site where the old Royal Palace once stood, demolished in 1810 during the War of Independence. Throughout the 19th century, the site was gradually transformed into a recreational garden, and in the early 20th century it became home to the municipal nursery, hence its current name, “Viveros.” Among the architectural elements that punctuate this garden is a semicircular pergola with Ionic columns, which frames a small lake and is part of the decorative program implemented in the park throughout the 20th century. The wooden and metal mesh roof supports the vines that twine around the columns, creating a play of shadows that reinforces the romantic character of this corner. The brick paving, laid in a diagonal pattern, contributes to the feeling of continuity between the classical architecture of the pergola and the surrounding vegetation.

photo rights reserved by Ben

The St. Gabriel the Archangel Church is located in Stepantsminda, a picturesque village in northern Georgia, at the foot of the imposing Mount Kazbek. The church is not only a historical monument, but also a very active place of worship for the locals, providing a spiritual refuge for the faithful who gather here for services, prayers and religious celebrations. The church features traditional Georgian Orthodox architecture, with stone walls and a red roof, typical of many churches in the region. The small cemetery next to it adds to the historical and spiritual significance of the place, where generations of locals have found their final resting place. Stepantsminda is located at an altitude of approximately 1,750 metres and is surrounded by rugged mountain peaks and vast valleys. The village is an important junction on the Georgian Military Highway, the historic trade route connecting Georgia with Russia. Despite its increasing popularity among travellers, Stepantsminda has managed to retain its authentic and peaceful character. The area is also popular with hikers and mountaineers looking for adventurous routes in the Caucasus.

In the shadow of the imposing Greater Caucasus, the St. Gabriel the Archangel Church in Stepantsminda stands as both a religious center and a symbol of the community’s resilience and faith. Pilgrims and travelers visiting the region are often moved by its serene atmosphere and the deep devotion of the local people.

De St. Gabriel the Archangel Church ligt in Stepantsminda, een schilderachtig dorp in het noorden van Georgië, aan de voet van de imposante Kazbek-berg. De kerk is niet alleen een historisch monument, maar ook een zeer actieve gebedsplaats voor de lokale bevolking en biedt een spiritueel toevluchtsoord voor gelovigen die hier samenkomen voor diensten, gebeden en religieuze vieringen. De kerk heeft een traditionele Georgisch-orthodoxe architectuur, met stenen muren en een rood dak, wat typerend is voor veel kerken in de regio. Het kleine kerkhof ernaast draagt bij aan de historische en spirituele betekenis van de plek, waar generaties van lokale inwoners hun laatste rustplaats hebben gevonden. Stepantsminda ligt op ongeveer 1.750 meter hoogte en wordt omringd door ruige bergtoppen en uitgestrekte valleien. Het dorp is een belangrijk knooppunt op de Georgian Military Highway, de historische handelsroute die Georgië met Rusland verbindt. Ondanks de toegenomen populariteit onder reizigers, heeft Stepantsminda zijn authentieke en rustige karakter weten te behouden. Het gebied is ook geliefd bij wandelaars en bergbeklimmers die op zoek zijn naar avontuurlijke routes in de Kaukasus.

O ksar de Aït-Ben-Haddou, no vale do Ounila (sul de Marrocos), eleva-se na antiga rota de caravanas que ligava o Saara a Marraquexe através do Alto Atlas. A imagem mostra o conjunto fortificado de casas em terra crua (adobe e taipa/pisé), organizado em socalcos e protegido por muralhas e torres de canto, com elementos decorativos geométricos típicos da arquitetura amazigue. Há ocupação documentada desde o século XI, embora muitos edifícios atuais sejam sobretudo dos séculos XVII a XIX, quando o comércio transaariano e a cobrança de taxas sustentavam a comunidade. Em 1987, o sítio foi inscrito como Património Mundial da UNESCO, destacando técnicas construtivas adaptadas a clima semiárido: paredes espessas, poucas aberturas e manutenção sazonal com rebocos de barro para travar a erosão. A proximidade de Ouarzazate e a paisagem do uádi tornaram-no também cenário recorrente de cinema.

The ksar of Aït-Ben-Haddou, in the Ounila Valley (southern Morocco), stands along the ancient caravan route that linked the Sahara to Marrakesh via the High Atlas Mountains. The image shows the fortified complex of mud-brick houses (adobe and rammed earth), arranged in terraces and protected by walls and corner towers, featuring geometric decorative elements typical of Amazigh architecture. There is documented occupation dating back to the 11th century, although many of the current buildings date primarily from the 17th to 19th centuries, when trans-Saharan trade and the collection of tolls sustained the community. In 1987, the site was inscribed as a UNESCO World Heritage Site, highlighting construction techniques adapted to the semi-arid climate: thick walls, few openings, and seasonal maintenance with clay plaster to prevent erosion. Its proximity to Ouarzazate and the wadi landscape have also made it a recurring film location.

Ruínas da Igreja de San Pedro, localizada no município de Viana, na comunidade foral de Navarra, Espanha. Este local é um ponto de passagem histórico no Caminho Francês de Santiago. Originalmente construída no século XIII em estilo gótico, a estrutura sofreu diversas intervenções ao longo dos séculos. O edifício entrou em declínio acentuado, usado como quartel durante a Primeira Guerra Carlista, e as sucessivas obras barrocas fragilizaram as paredes‑mestras, contribuindo para o colapso de grande parte da nave central e das abóbadas em 1844.

As ruínas visíveis destacam os robustos contrafortes laterais e os arcos ogivais das janelas, agora desprovidos de vitrais, que evidenciam a traça gótica original. Ao fundo, em claro contraste arquitetónico, observa-se um portal de estilo barroco, construído entre 1740 e 1743, que sobreviveu à derrocada. Atualmente, o espaço consolidado funciona como um monumento histórico a céu aberto, integrando-se na malha urbana da cidade medieval, ladeado por edifícios residenciais com varandas floridas típicas da arquitetura civil da região.

Ruins of the Church of San Pedro, located in the municipality of Viana, in the Autonomous Community of Navarre, Spain. This site is a historic stop along the French Way of St. James. Originally built in the 13th century in the Gothic style, the structure has undergone numerous renovations over the centuries. The building fell into sharp decline after being used as a barracks during the First Carlist War, and successive Baroque renovations weakened the load-bearing walls, contributing to the collapse of much of the central nave and the vaults in 1844.

The visible ruins highlight the robust lateral buttresses and the pointed arches of the windows, now devoid of stained glass, which reveal the original Gothic design. In the background, in stark architectural contrast, stands a Baroque-style portal, built between 1740 and 1743, which survived the collapse. Today, the restored site functions as an open-air historical monument, blending into the urban fabric of the medieval city, flanked by residential buildings with flower-filled balconies typical of the region’s civil architecture.

Tenganan Village. Elaborated gateways that form the entry into an intergenerational family compound. These gateways or doorways open onto the central concourse which rises uphill.

photo rights reserved by B℮n

Tbilisi is the capital and largest city of Georgia, located in the eastern part of the country along the banks of the Kura River. The city has a rich history that spans over 1,500 years and has been influenced by various cultures and civilizations over the centuries. The old part of Tbilisi, known for its charming architecture and unique atmosphere, is one of the most fascinating areas of the city. The minaret of the Juma Mosque is architecturally significant and reflects the influences of both Persian and Ottoman architectural styles. The mosque is built of red bricks and has beautiful arched entrances and windows. The interior is richly decorated with Islamic art and calligraphy. The baths in the center of the city are a major historical and cultural attraction. These baths, mostly known as the sulphur baths, are located in the Abanotubani district. The history of the sulphur baths dates back to the founding of Tbilisi itself in the 5th century. According to legend, King Vakhtang I Gorgasali came across the hot springs during a hunting trip, which led to the founding of the city. The baths were influenced by oriental bathing culture, similar to the hamams in Turkey and the bathhouses in Iran. The bathhouses have characteristic domed roofs, which are partly underground to keep the heat in. These roofs are often covered with bricks and small windows. Inside, the baths are tiled with mosaics and have several rooms, including private bathrooms and communal areas. The water in the baths contains a high level of sulphur, which is said to have medicinal properties. The water comes naturally warm from the ground. The sulphur baths are praised for their health benefits, such as relieving skin conditions, muscle pain and arthritis. Historically, the baths played an important role as social gathering places. People came here not only to bathe, but also to chat, relax and do business.

The baths in Tbilisi, the capital of Georgia, are a major historical and cultural attraction. These baths, mostly known as the sulfur baths, are located in the Abanotubani district. Historically, the baths played an important role as social gathering places. People came here not only to bathe but also to chat, relax, and conduct business. Today, the baths are a popular tourist attraction, drawing visitors from all over the world who want to enjoy a traditional sulfur bath experience. King Erekle's bath, shown in the photo, has been operating since the 18th century. Initially, it was the private bath of the famous King Erekle II, but it is now open to everyone. The small river that flows through the Tbilisi Botanical Garden, called the Tsavkisis-Tskali, also flows past Erekle's bath.The Tbilisi Juma Mosque has a prominent minaret that forms an important part of the skyline of the old city. A striking aspect of the Tbilisi Juma Mosque is that both Shia and Sunni Muslims use the mosque together. This is quite unusual, as these two major branches of Islam usually have their own prayer halls. The shared use of the mosque is a symbol of religious tolerance and harmony in Tbilisi.

Tbilisi is de hoofdstad en grootste stad van Georgië, gelegen in het oosten van het land aan de oevers van de rivier de Koera. De stad heeft een rijke geschiedenis die meer dan 1.500 jaar teruggaat en heeft door de eeuwen heen vele invloeden ondergaan van diverse culturen en beschavingen. Het oude gedeelte van Tbilisi, bekend om zijn charmante architectuur en unieke sfeer, is een van de meest fascinerende delen van de stad. De baden in het centrum van de stad zijn een belangrijke historische en culturele trekpleister. Deze baden, vooral bekend als de zwavelbaden, zijn gelegen in de wijk Abanotubani. De geschiedenis van de zwavelbaden gaat terug tot de oprichting van Tbilisi zelf in de 5e eeuw. Volgens de legende stuitte koning Vakhtang I Gorgasali op de warmwaterbronnen tijdens een jachtpartij, wat leidde tot de stichting van de stad. De baden werden beïnvloed door de oosterse badcultuur, vergelijkbaar met de hamams in Turkije en de badhuizen in Iran. De badhuizen hebben kenmerkende koepelvormige daken, die deels ondergronds zijn om de warmte binnen te houden. Het water komt natuurlijk warm uit de grond. De zwavelbaden worden geprezen om hun gezondheidsvoordelen, zoals het verlichten van huidaandoeningen, spierpijn en artritis. Historisch gezien speelden de badhuizen een belangrijke rol als sociale ontmoetingsplaatsen. Mensen kwamen hier niet alleen om te baden, maar ook om te praten, te ontspannen en zaken te doen. De Tbilisi Juma Moskee heeft een prominente minaret die een belangrijk onderdeel vormt van de skyline van de oude stad. De minaret van de Juma Moskee is architectonisch significant en weerspiegelt de invloeden van zowel Perzische als Ottomaanse bouwstijlen. De moskee is gebouwd met rode bakstenen en heeft mooie boogvormige ingangen en ramen. Het interieur is rijkelijk gedecoreerd met islamitische kunst en kalligrafie. Een opvallend aspect van de Tbilisi Juma Moskee is dat zowel Sjiitische als Soennitische moslims deze moskee gezamenlijk gebruiken. Dit is vrij ongebruikelijk, aangezien deze twee grote takken van de islam doorgaans hun eigen gebedsruimten hebben. De gezamenlijke gebruik van de moskee staat symbool voor religieuze tolerantie en harmonie in Tbilisi.

The imposing wooden door, painted in a deep red, is framed by the pale and elegant limestone typical of the region, standing out with a distinctive ogee arch. This architectural element is classic to the Flamboyant Gothic style and the transition to the Renaissance, defining the aesthetics of many of the most admired historical European facades. The wooden panels carved with geometric precision, the discreet upper stained glass windows, and the thick iron fittings reveal robust craftsmanship, structurally designed to endure through the centuries and insulate the interiors from the region's cold winters.

Located in Dijon, the historical capital of the Duchy of Burgundy, this scene is a testament to the immense political and economic power the city held during the Middle Ages. Geographically situated as a strategic connection point between the Paris basin and the Mediterranean, the city flourished thanks to dynamic trade and artistic patronage. Today, this excellently preserved heritage is the pillar of local cultural tourism, attracting visitors who walk its streets to study the urban grandeur and civil constructions bequeathed by the Dukes of Burgundy.

Beyond its architectural value, Dijon is an undisputed pillar of French gastronomy and the gateway to the celebrated Route des Grands Crus with its world-famous vineyards. The culinary culture of the area is rich and comforting, celebrated for its iconic mustard and long-cooked dishes that reflect the agricultural abundance of the surroundings. It is the territory of the traditional Coq au Vin, where poultry is masterfully braised over low heat in the robust local red wine, offering a sensory experience that complements the historical depth of its ancient streets.

RX_09420_20240410_Dijon

photo rights reserved by Ben

Amaglebis Eklesia, also known as the Church of the Ascension, is a Georgian Orthodox church located in Ganisi, near Gudauri in the Mtskheta-Mtianeti Region, Georgia. The church is located on a hill and offers panoramic views of the surrounding Greater Caucasus Mountains. The exact date of construction of the church is not clearly documented, but it is an example of traditional Georgian Orthodox architecture. The name Amaglebis Eklesia means Church of the Ascension in Georgian. The church is still used for religious services and ceremonies, including baptisms, weddings and other sacraments. Visitors to Gudauri, a popular ski destination, can reach the church for a moment of peace and contemplation, as well as to enjoy the beautiful views of the mountain landscape.

The Amaglebis Eklesia church is a beautiful Orthodox church, quietly nestled in Gudauri, standing apart from the urban area, which gives it a deep sense of peace and privacy. The architectural style is authentic and carefully crafted, staying true to traditional Georgian Orthodox design. The church offers stunning panoramic views of the surrounding Caucasus mountains—breathtaking in any weather. Whether shrouded in mist, basking in sunlight, or glowing under the soft evening lights, the scenery from here is incomparable. Especially at dusk, when the backlights illuminate the church, the entire place takes on a magical atmosphere. Open during the day, the church welcomes visitors into a space that feels sacred and serene. There’s definitely something special about the energy here—a quiet stillness that invites reflection. Adding to the charm is the presence of a kind monk who cares for the church. If you're lucky, he might even introduce you to his three enormous, friendly Caucasian shepherd dogs, who are just as welcoming as the place itself.

Amaglebis Eklesia, ook bekend als de Hemelvaartskerk, is een Georgisch-orthodoxe kerk gelegen in het dorp Ganisi, vlak bij het populaire skioord Gudauri, in de regio Mtscheta-Mtianeti van Georgië. De kerk staat op een heuvel en biedt een panoramisch uitzicht op de indrukwekkende toppen van de Grote Kaukasus. Hoewel de exacte bouwdatum niet is gedocumenteerd, staat de kerk bekend als een fraai voorbeeld van traditionele Georgisch-orthodoxe architectuur. Ondanks dat het gebouw relatief nieuw is, is het ontwerp opmerkelijk authentiek en met zorg vervaardigd, helemaal in lijn met eeuwenoude bouwstijlen. De naam Amaglebis Eklesia betekent letterlijk Kerk van de Hemelvaart in het Georgisch. De kerk is overdag geopend en verwelkomt bezoekers in een stille, serene ruimte die uitnodigt tot rust en bezinning. Binnen worden nog steeds religieuze diensten en sacramenten gehouden, zoals dopen en huwelijken. De sfeer is ingetogen en spiritueel, versterkt door de ligging ver weg van het stedelijk gebied. Hierdoor ontstaat een gevoel van privacy, vrede en afzondering van de wereld. Het uitzicht is adembenemend in elk seizoen en bij elk weertype: mistige bergen, zonovergoten valleien of een schemerlicht dat de kerk in een zachte gloed zet. Vooral in de avond, wanneer de verlichting aangaat, krijgt de plek iets magisch. Een vriendelijke monnik verzorgt de kerk met toewijding. Als je geluk hebt, stelt hij je voor aan zijn drie gigantische, maar zachtaardige Kaukasische herdershonden, die net zo gastvrij zijn als de plek zelf.

This bronze statue depicts a Native American Hoop Dancer mid-motion, framed against the expansive New Mexico sky. The dynamic pose - one foot planted firmly while the other leaps back, hoops spinning over head and body - captures the heart of the Hoop Dance, a traditional healing and storytelling ritual across many Indigenous cultures.

The Circle of Life

The hoops held in motion represent the sacred circle, symbol of unity, continuity, and the endless cycles of nature - day to night, season to season, generation to generation. As the dancer weaves through the rings, each fluid movement tells a story of creation, balance, and harmony with the earth.

Echoes on the Wind

High on Museum Hill, overlooking the high-desert landscape of Santa Fe, the sculpture feels alive with movement. The dancer moves not for audience or applause, but as a prayer made visible - offering strength, restoration, and light to all who pass by.

This bronze sculpture, titled "Lightning Boy," was sculpted by artist and former Governor of Pojoaque Pueblo, George Rivera. It honors the memory and spirit of his son, Valentino "Tzigiwhaeno" Rivera.

The Name: Valentino's Tewa name, Tzigiwhaeno, translates to "Lightning Boy."

The Inspiration: A gifted young dancer, Valentino fell in love with hoop dancing after seeing world-champion hoop dancer Nakotah LaRance perform. Valentino danced in this very courtyard on Museum Hill during his life.

The Legacy: Tragically, Valentino passed away in 2016 at just eight years old following a serious accident. Before his passing, he expressed his wish to be remembered as a dancer, student, teacher, and healer.

Installed in 2017, the original installation stands proudly on Milner Plaza at the Museum of Indian Arts & Culture in Santa Fe, New Mexico, overlooking the dance circle dedicated to Valentino's memory.

The sculpture stands on Museum Hill right next to the outdoor dance circle - a permanent tribute to Valentino's joy, resilience, and the enduring power of Native hoop dance.

The Foundation: In fulfillment of his wishes, his family created the Lightning Boy Foundation. This non-profit provides traditional hoop dance instruction, regalia, and mentorship to Indigenous youth across Northern New Mexico, preserving Native culture and keeping Valentino's vibrant spirit alive through dance.

For a closer look at the culture and legacy that inspired this monument, you can watch Josiah Enriquez & Edwin Felter, Hoop Dance, The Lightning Boy, which shows young dancers from the Lightning Boy Foundation performing the traditional hoop dance.

www.youtube.com/watch?v=e6IJ-jAMMtk&t=33s

www.youtube.com/shorts/dmo0ccgkrFE

New Mexico 2026

Santa Fe Museum

A horse-drawn carriage waits for tourists beneath Old Prague's ornate facades

Ponte Romana de Salamanca sobre o rio Tormes, datada do século I d.C. e parte da antiga Via da Prata. Originalmente com 26 arcos, mantém 15 de construção romana em granito, enquanto os restantes foram reconstruídos após as cheias de 1626, usando arenito. A estrutura servia como importante ligação viária romana, facilitando o comércio e a comunicação. Em segundo plano, sobressai a Catedral de Salamanca, composta pela Catedral Velha, românica do século XII com a cúpula "Torre do Galo", e pela Catedral Nova, iniciada em 1513, que reflete a transição do gótico tardio para o barroco, exibindo uma torre sineira de 92 metros. Este conjunto arquitetónico, testemunho da rica história de Salamanca, cidade Património Mundial da UNESCO desde 1988, ilustra a coexistência de diferentes períodos e estilos, desde a herança romana até ao esplendor renascentista e barroco.

Roman Bridge of Salamanca over the Tormes River, dating from the 1st century AD and part of the ancient Via de la Plata. Originally with 26 arches, it retains 15 of Roman construction in granite, while the rest were rebuilt after the floods of 1626, using sandstone. The structure served as an important Roman road link, facilitating trade and communication. In the background stands the Cathedral of Salamanca, consisting of the Old Cathedral, a 12th-century Romanesque building with the “Torre del Gallo” dome, and the New Cathedral, begun in 1513, which reflects the transition from late Gothic to Baroque, featuring a 92-meter bell tower. This architectural ensemble, testimony to the rich history of Salamanca, a UNESCO World Heritage Site since 1988, illustrates the coexistence of different periods and styles, from Roman heritage to Renaissance and Baroque splendor.

The weight of tradition. This image beautifully captures the unique and awe-inspiring elements of Tongkonan-style architecture. The sheer scale of the sweeping, boat-like roof dominates the frame, but the true focal point is the impressive array of buffalo horns mounted on the facade. These horns, meticulously collected and displayed over generations, transform the building from a simple dwelling into a monumental record of a family's prestige, wealth, and enduring ancestral ties.

Vista do Palácio dos Marqueses de Fronteira, em São Domingos de Benfica (Lisboa), residência senhorial iniciada na década de 1670 para D. João de Mascarenhas, 1.º Marquês de Fronteira, como casa de recreio associada a antigas zonas de caça. A fachada, marcada por embasamento com painéis de azulejo e vãos ritmados, integra uma linguagem barroca de matriz portuguesa, com volumes regulares, cobertura em telha e chaminés altas. Em primeiro plano observa-se o jardim formal, organizado por sebes recortadas e eixos de circulação, onde a fonte de cantaria funciona como ponto de referência visual e hidráulico. O conjunto é particularmente relevante pela articulação entre arquitetura, azulejaria narrativa e escultura de jardim, que documentam programas iconográficos do século XVII e XVIII. Atualmente o palácio é gerido pela Fundação das Casas de Fronteira e Alorna e está aberto a visitas, funcionando como lugar de preservação patrimonial e estudo das artes decorativas em Portugal.

View of the Palace of the Marquises of Fronteira in São Domingos de Benfica (Lisbon), a stately residence begun in the 1670s for D. João de Mascarenhas, 1st Marquis of Fronteira, as a country house associated with former hunting grounds. The façade, characterized by a base with tile panels and rhythmic openings, embodies a Portuguese Baroque style, featuring regular volumes, a tiled roof, and tall chimneys. In the foreground lies the formal garden, organized by trimmed hedges and circulation paths, where the stone fountain serves as a visual and hydraulic focal point. The complex is particularly significant for the interplay between architecture, narrative tilework, and garden sculpture, which document iconographic themes from the 17th and 18th centuries. Currently, the palace is managed by the Fundação das Casas de Fronteira e Alorna and is open to visitors, serving as a center for heritage preservation and the study of decorative arts in Portugal.

A fachada ocidental da Catedral de San Lorenzo, em Génova, Itália, é um exemplo notável da arquitetura de transição românico-gótica. A estrutura apresenta um paramento bicolor em faixas horizontais de mármore branco de Carrara e ardósia preta, simbolizando nobreza e prestígio cívico na arquitetura medieval lígure. Os três portais góticos, edificados no início do século XIII sob influência de mestres franceses, apresentam arquivoltas profundas e colunas polícromas. O tímpano do portal central destaca-se pela sua complexidade iconográfica, retratando o Cristo em Majestade e o martírio de São Lourenço sobre a grelha. A base da fachada é ladeada por leões de pedra, adicionados durante intervenções no século XIX. Esta fachada não apenas é um centro espiritual, mas também um testemunho tangível da prosperidade e influência cultural da antiga República Marítima de Génova.

The western façade of the San Lorenzo Cathedral in Genoa, Italy, is a notable example of Romanesque-Gothic transitional architecture. The structure features a bicolor horizontal striped pattern of Carrara white marble and black slate, symbolizing nobility and civic prestige in medieval Ligurian architecture. The three Gothic portals, built in the early 13th century under French masters' influence, feature deep archivolts and polychrome columns. The central portal's tympanum stands out for its iconographic complexity, depicting Christ in Majesty and the martyrdom of Saint Lawrence on the grill. The façade's base is flanked by stone lions, added during 19th-century interventions. This façade is not only a spiritual center but also a tangible testament to the prosperity and cultural influence of the ancient Maritime Republic of Genoa.

First Friday Art Walk in Baker City Oregon

A blustery fall evening celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

Calle Camino de Santiago, artéria principal da localidade de Zariquiegui, pequena aldeia navarra integrada na Cendea de Cizur e situada na comarca da Cuenca de Pamplona, aos pés do Alto do Perdón. Esta rua constitui um troço do Caminho Francês de Santiago, hoje a rota jacobeia mais conhecida e percorrida, que conduz os peregrinos desde Saint-Jean-Pied-de-Port, nos Pirenéus, até Santiago de Compostela. Zariquiegui, documentada em fontes medievais e ligada historicamente ao itinerário peregrino, conserva uma traça tradicional e uma arquitectura popular caracterizada por casas de dois pisos em cantaria e reboco caiado, com socos de pedra aparelhada, cornijas salientes e cobertura em telha cerâmica, evocando tipologias rurais do norte de Espanha. Destacam-se as janelas de moldura pétrea, os vasos de gerânios nas fachadas e os portais em arco, que reforçam o carácter pitoresco do conjunto edificado. A presença de albergues e serviços destinados a peregrinos sublinha a função de passagem e acolhimento que continua a definir esta localidade no contexto contemporâneo das peregrinações jacobeias.

Calle Camino de Santiago, the main street of the town of Zariquiegui, a small village in Navarre that is part of the Cendea de Cizur and located in the Cuenca de Pamplona region, at the foot of Alto del Perdón. This street forms part of the French Way of St. James, today the best-known and most-traveled pilgrimage route, which leads pilgrims from Saint-Jean-Pied-de-Port, in the Pyrenees, to Santiago de Compostela. Zariquiegui, documented in medieval sources and historically linked to the pilgrimage route, retains a traditional layout and vernacular architecture characterized by two-story houses built of stone masonry and whitewashed plaster, with courses of dressed stone, projecting cornices, and ceramic-tile roofs, evoking rural styles of northern Spain. Notable features include the stone-framed windows, the geranium pots on the facades, and the arched doorways, which reinforce the picturesque character of the built environment. The presence of hostels and services for pilgrims underscores the town’s role as a waystation and welcoming hub, a function that continues to define it in the contemporary context of the pilgrimage to Santiago de Compostela.

A imagem ilustra a Ponte Romana de Salamanca, uma estrutura emblemática sobre o rio Tormes, originalmente construída no século I d.C. como parte da Via da Prata. Composta por 26 arcos, dos quais 15 preservam características romanas, a ponte é um exemplo notável das técnicas construtivas da época, apesar das reconstruções no século XVII após cheias. Em segundo plano, destaca-se a imponente Catedral de Salamanca, que combina a Catedral Velha, de estilo românico do século XII, e a Catedral Nova, construída entre os séculos XVI e XVIII, refletindo a evolução do gótico tardio ao barroco. Este conjunto arquitetónico, reconhecido como Património Mundial pela UNESCO em 1988, representa a rica herança histórica da cidade, onde distintos períodos e estilos coexistem. Atualmente, a ponte é utilizada maioritariamente como passagem pedonal e ciclável, preservando as marcas das técnicas antigas de construção, simbolizando a longevidade e a importância cultural de Salamanca.

The image shows the Roman Bridge of Salamanca, an iconic structure over the Tormes River, originally built in the 1st century AD as part of the Via de la Plata. Composed of 26 arches, 15 of which preserve Roman features, the bridge is a remarkable example of the construction techniques of the time, despite reconstructions in the 17th century after flooding. In the background, the imposing Cathedral of Salamanca stands out, combining the Old Cathedral, in 12th-century Romanesque style, and the New Cathedral, built between the 16th and 18th centuries, reflecting the evolution from late Gothic to Baroque. This architectural ensemble, recognized as a World Heritage Site by UNESCO in 1988, represents the city's rich historical heritage, where different periods and styles coexist. Today, the bridge is mainly used as a pedestrian and bicycle crossing, preserving the marks of ancient construction techniques and symbolizing the longevity and cultural importance of Salamanca.

First Friday Art Walk in Baker City Oregon

Celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

Aït‑Ben‑Haddou é um ksar fortificado situado na província de Ouarzazate, no sopé da vertente sul do Alto Atlas marroquino, junto ao antigo leito do uádi Mellah. Edificado em terra crua segundo a técnica do pisé (taipa) e do adobe, o conjunto é composto por habitações comunitárias, kasbahs senhoriais coroadas por torres angulares decoradas com motivos geométricos berberes, um celeiro coletivo (agadir) no ponto mais alto, mesquita, praça pública e cemitérios muçulmano e judaico. A sua origem remonta, segundo a tradição, ao século XI, embora a maioria das construções visíveis date dos séculos XVII a XIX, período em que a localidade prosperou como entreposto da rota caravaneira transariana que ligava Marraquexe a Tombuctu, transportando sobretudo sal, ouro, escravos e outros bens de luxo. Classificado como Património Mundial da UNESCO em 1987, o ksar é hoje habitado por poucas famílias, tendo a maioria da população migrado para a aldeia moderna na margem oposta. O cenário tem servido de pano de fundo a numerosas produções cinematográficas, entre as quais Lawrence da Arábia, O Gladiador e A Múmia.

Aït-Ben-Haddou is a fortified ksar located in the province of Ouarzazate, at the foot of the southern slope of the Moroccan High Atlas, next to the former bed of the Mellah wadi. Built of earth using the pisé (rammed earth) and adobe techniques, the complex consists of communal dwellings, stately kasbahs crowned by corner towers decorated with Berber geometric motifs, a communal granary (agadir) at the highest point, a mosque, a public square, and Muslim and Jewish cemeteries. Its origins date back, according to tradition, to the 11th century, although most of the visible structures date from the 17th to 19th centuries, a period when the town prospered as a trading post on the trans-Saharan caravan route linking Marrakesh to Timbuktu, transporting mainly salt, gold, slaves, and other luxury goods. Designated a UNESCO World Heritage Site in 1987, the ksar is now inhabited by only a few families, as most of the population has migrated to the modern village on the opposite bank. The setting has served as the backdrop for numerous film productions, including Lawrence of Arabia, Gladiator, and The Mummy.

Fachada sul da Catedral Nova de Salamanca, observada a partir do Patio Chico. Esta perspetiva destaca a coexistência de estilos arquitetónicos que caracterizam o complexo catedralício da cidade. A construção da Catedral Nova iniciou-se no século XVI, prolongando-se até ao século XVIII, integrando elementos do gótico tardio, renascimento e barroco. A fachada visível evidencia uma complexa ornamentação em estilo plateresco, esculpida na característica pedra de Villamayor, um arenito com elevado teor de ferro que confere aos edifícios da região a sua típica tonalidade dourada. O portal, estruturado com arcos e relevos detalhados, demonstra as avançadas técnicas de cantaria da época. Em plano de fundo, ergue-se a cúpula que coroa o cruzeiro da basílica, estrutura que sofreu intervenções de consolidação após o terramoto de Lisboa de 1755. O Patio Chico constitui um ponto de observação privilegiado para analisar a monumentalidade da estrutura, incluindo a disposição dos seus contrafortes e pináculos, elementos fundamentais para a estabilidade e estética deste património histórico.

The south facade of the New Cathedral of Salamanca, viewed from the Patio Chico. This perspective highlights the coexistence of architectural styles that characterize the city’s cathedral complex. Construction of the New Cathedral began in the 16th century and continued into the 18th century, incorporating elements of the Late Gothic, Renaissance, and Baroque styles. The visible façade features intricate Plateresque ornamentation, carved from the characteristic Villamayor stone, a sandstone with a high iron content that gives the region’s buildings their typical golden hue. The portal, structured with arches and detailed reliefs, demonstrates the advanced stonework techniques of the era. In the background rises the dome that crowns the basilica’s transept, a structure that underwent consolidation work following the 1755 Lisbon earthquake. The Patio Chico offers a prime vantage point for appreciating the monumentality of the structure, including the arrangement of its buttresses and pinnacles—elements fundamental to the stability and aesthetics of this historic landmark.

First Friday Art Walk in Baker City Oregon

Celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

A traditional Sri Lankan stilt fisherman sits precariously on a wooden crossbar (ritipanna) embedded in the ocean floor. Clad in a sarong and a red headscarf, he holds a fishing rod while turquoise waves crash around him on the coastline of Ahangama, Sri Lanka. This iconic, age-old fishing method showcases the rich cultural heritage and coastal lifestyle of the island.

This bronze statue depicts a Native American Hoop Dancer mid-motion, framed against the expansive New Mexico sky. The dynamic pose - one foot planted firmly while the other leaps back, hoops spinning over head and body - captures the heart of the Hoop Dance, a traditional healing and storytelling ritual across many Indigenous cultures.

The Circle of Life

The hoops held in motion represent the sacred circle, symbol of unity, continuity, and the endless cycles of nature - day to night, season to season, generation to generation. As the dancer weaves through the rings, each fluid movement tells a story of creation, balance, and harmony with the earth.

Echoes on the Wind

High on Museum Hill, overlooking the high-desert landscape of Santa Fe, the sculpture feels alive with movement. The dancer moves not for audience or applause, but as a prayer made visible - offering strength, restoration, and light to all who pass by.

This bronze sculpture, titled "Lightning Boy," was sculpted by artist and former Governor of Pojoaque Pueblo, George Rivera. It honors the memory and spirit of his son, Valentino "Tzigiwhaeno" Rivera.

The Name: Valentino's Tewa name, Tzigiwhaeno, translates to "Lightning Boy."

The Inspiration: A gifted young dancer, Valentino fell in love with hoop dancing after seeing world-champion hoop dancer Nakotah LaRance perform. Valentino danced in this very courtyard on Museum Hill during his life.

The Legacy: Tragically, Valentino passed away in 2016 at just eight years old following a serious accident. Before his passing, he expressed his wish to be remembered as a dancer, student, teacher, and healer.

Installed in 2017, the original installation stands proudly on Milner Plaza at the Museum of Indian Arts & Culture in Santa Fe, New Mexico, overlooking the dance circle dedicated to Valentino's memory.

The sculpture stands on Museum Hill right next to the outdoor dance circle - a permanent tribute to Valentino's joy, resilience, and the enduring power of Native hoop dance.

The Foundation: In fulfillment of his wishes, his family created the Lightning Boy Foundation. This non-profit provides traditional hoop dance instruction, regalia, and mentorship to Indigenous youth across Northern New Mexico, preserving Native culture and keeping Valentino's vibrant spirit alive through dance.

For a closer look at the culture and legacy that inspired this monument, you can watch Josiah Enriquez & Edwin Felter, Hoop Dance, The Lightning Boy, which shows young dancers from the Lightning Boy Foundation performing the traditional hoop dance.

www.youtube.com/watch?v=e6IJ-jAMMtk&t=33s

www.youtube.com/shorts/dmo0ccgkrFE

New Mexico 2026

Santa Fe Museum

photo rights reserved by Ben

The Archaeological Park of Stobi is one of the most impressive archaeological sites in North Macedonia. Once a thriving Roman city at the crossroads of important trade routes, Stobi flourished between the 1st century BC and the 6th century AD. Today, visitors can still explore the remains of grand basilicas, elegant mosaics, Roman streets, and this remarkably well-preserved ancient theatre, where performances were once held for thousands of spectators. On the day of our visit, the site was wonderfully quiet. With hardly anyone else around, it felt as though we had stepped back in time. On the far right of the panorama, Kanitha walks deeper into the archaeological park, adding a sense of scale to this vast historical landscape. The silence, the endless ruins, and the wide open skies made Stobi an unforgettable place to explore.

The ancient Roman theatre of Stobi, one of North Macedonia's most important archaeological sites. With the park almost entirely to ourselves, the peaceful atmosphere made it easy to imagine life here nearly two thousand years ago.

Het Archeologisch Park Stobi behoort tot de belangrijkste archeologische vindplaatsen van Noord-Macedonië. Ooit was Stobi een welvarende Romeinse stad op het kruispunt van belangrijke handelsroutes. De stad beleefde haar bloeiperiode tussen de 1e eeuw v.Chr. en de 6e eeuw n.Chr.. Tegenwoordig zijn nog indrukwekkende resten te zien van basilieken, villa's, mozaïeken, Romeinse straten en dit goed bewaard gebleven antieke theater, waar ooit duizenden toeschouwers bijeenkwamen. Tijdens ons bezoek hadden we het park vrijwel helemaal voor onszelf. De rust maakte het gemakkelijk om je voor te stellen hoe deze stad er bijna tweeduizend jaar geleden moet hebben uitgezien. Helemaal rechts in de panoramafoto loopt Kanitha verder het archeologische park in, waardoor de enorme afmetingen van het terrein mooi zichtbaar worden. De stilte, de uitgestrekte ruïnes en de indrukwekkende geschiedenis maakten Stobi tot één van de hoogtepunten van onze reis.

A Azenha de Santa Cruz, em Torres Vedras, é um exemplar singular de moinho hidráulico, datado do século XV, que se destaca pela sua localização invulgar sobre a falésia, utilizando a força da Ribeira da Azenha para a moagem de cereais. A sua arquitetura vernacular, de paredes caiadas e telhado de telha, preserva a roda exterior vertical em madeira, testemunho do sistema hidráulico tradicional. Após um período de declínio, foi meticulosamente reabilitada pelo município, transformando-se num polo cultural e de turismo, onde a história rural e industrial da região se encontram com a modernidade do passeio pedonal costeiro. Atualmente, a Azenha de Santa Cruz funciona como um espaço interpretativo, revelando as técnicas ancestrais de moagem e a profunda ligação entre a comunidade local, a água e a paisagem. A sua recuperação valoriza o património arquitetónico, promovendo o turismo e a preservação da memória coletiva.

The Santa Cruz watermill in Torres Vedras is a unique example of a hydraulic mill dating back to the 15th century. It stands out for its unusual location on the cliff, using the force of the Ribeira da Azenha stream to grind grain. Its vernacular architecture, with whitewashed walls and tiled roof, preserves the vertical wooden wheel, a testament to the traditional hydraulic system. After a period of decline, it was meticulously restored by the municipality, transforming it into a cultural and tourist hub, where the rural and industrial history of the region meets the modernity of the coastal promenade. Today, the Azenha de Santa Cruz functions as an interpretive space, revealing the ancestral techniques of milling and the deep connection between the local community, water, and the landscape. Its restoration enhances the architectural heritage, promoting tourism and the preservation of collective memory.

O Jardim de Santa Bárbara, em Braga, Portugal, é um emblemático espaço verde público classificado como Bem Cultural de Interesse Municipal desde 2018, adjacente à ala medieval do Paço Episcopal Bracarense. Concebido em 1955 por José Cardoso da Silva, o jardim destaca-se pelos canteiros geométricos, com flores sazonais que criam padrões coloridos contrastantes com a arquitetura medieval do paço, cujos muros em granito e ameias são vestígios da antiga fortificação da cidade. No centro, encontra-se uma fonte do século XVII proveniente do antigo Convento dos Remédios, encimada pela estátua de Santa Bárbara, que empresta o nome ao jardim. Este espaço, de organização formal e inspiração renascentista convida à contemplação e ao lazer, articulando o património arquitetónico com a gestão dos espaços verdes urbanos, sendo um ponto de interesse turístico e cultural de destaque.

The Santa Bárbara Garden in Braga, Portugal, is an iconic public green space classified as a Cultural Asset of Municipal Interest since 2018, adjacent to the medieval wing of the Episcopal Palace of Braga. Designed in 1955 by José Cardoso da Silva, the garden stands out for its geometric flower beds, with seasonal flowers that create colorful patterns contrasting with the medieval architecture of the palace, whose granite walls and battlements are remnants of the city's ancient fortifications. In the center is a 17th-century fountain from the former Convento dos Remédios, topped by a statue of Santa Bárbara, after whom the garden is named. This space, with its formal layout and Renaissance inspiration invites contemplation and leisure, linking architectural heritage with the management of urban green spaces, and is a prominent tourist and cultural attraction.

First Friday Art Walk in Baker City Oregon

A blustery fall evening celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

First Friday Art Walk in Baker City Oregon

Celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

A Torre Redonda (Rundetårn) de Copenhaga, erguida entre 1637 e 1642 por ordem do rei Cristiano IV, destaca-se pela sua singular rampa helicoidal, em vez das tradicionais escadas. Este corredor em espiral de tijolo, com cerca de 209 metros, permite o acesso ao observatório no topo, o mais antigo em funcionamento na Europa, e que outrora integrou a Biblioteca Universitária. A rampa, com uma inclinação suave, foi concebida para facilitar o transporte de equipamentos astronómicos e livros através de cavalos e carruagens, um feito notável demonstrado pela visita do czar Pedro, o Grande, que a percorreu a cavalo, enquanto a Czarina o seguia numa carruagem. A luz natural que irradia das janelas ilumina o interior, acentuando a elegância das paredes brancas e criando uma atmosfera convidativa. Atualmente, a Rundetårn é um importante ponto turístico e cultural, oferecendo vistas panorâmicas sobre Copenhaga e mantendo viva a sua herança científica e arquitetónica.

The Round Tower (Rundetårn) in Copenhagen, built between 1637 and 1642 by order of King Christian IV, stands out for its unique spiral ramp, instead of traditional stairs. This spiral brick corridor, approximately 209 meters long, provides access to the observatory at the top, the oldest in operation in Europe, which was once part of the University Library. The gently sloping ramp was designed to facilitate the transport of astronomical equipment and books by horse and carriage, a remarkable feat demonstrated by the visit of Tsar Peter the Great, who rode up it on horseback, while the Tsarina followed him in a carriage. Natural light streaming in from the windows illuminates the interior, accentuating the elegance of the white walls and creating an inviting atmosphere. Today, Rundetårn is an important tourist and cultural attraction, offering panoramic views of Copenhagen and keeping its scientific and architectural heritage alive.

Interior da Torre Redonda (Rundetårn), no centro de Copenhaga, onde o acesso ao topo se faz por uma rampa helicoidal em vez de escadas. Construída entre 1637 e 1642, por ordem do rei Cristiano IV, a torre integrou o complexo da Igreja da Trindade, combinando observatório astronómico, biblioteca universitária e templo luterano num único conjunto. A rampa pavimentada em tijoleira descreve várias voltas em torno do núcleo oco do edifício, com inclinação suave que permitia a subida de cavalos e carruagens carregados com instrumentos científicos e livros destinados ao observatório e à biblioteca. As janelas em arco, visíveis na imagem, iluminam o percurso e evidenciam as abóbadas de alvenaria rebocada, concebidas para reduzir o peso e melhorar a acústica do interior. No século XVIII, a estrutura ganhou notoriedade quando o czar Pedro, o Grande, terá subido a cavalo pela rampa, episódio frequentemente citado na divulgação histórica da torre. Hoje, a Rundetårn mantém o observatório em funcionamento e funciona como miradouro e espaço cultural, ligando património científico, arquitetura do século XVII e turismo urbano em Copenhaga.

Interior of the Round Tower (Rundetårn), in the center of Copenhagen, where access to the top is via a helical ramp instead of stairs. Built between 1637 and 1642, by order of King Christian IV, the tower was part of the Trinity Church complex, combining an astronomical observatory, university library and Lutheran temple in a single ensemble. The brick-paved ramp winds around the hollow core of the building, with a gentle slope that allowed horses and carriages loaded with scientific instruments and books destined for the observatory and library to ascend. The arched windows, visible in the image, illuminate the route and highlight the plastered masonry vaults, designed to reduce weight and improve the acoustics of the interior. In the 18th century, the structure gained notoriety when Tsar Peter the Great is said to have climbed the ramp on horseback, an episode often cited in the historical accounts of the tower. Today, Rundetårn keeps the observatory in operation and functions as a viewpoint and cultural space, linking scientific heritage, 17th century architecture and urban tourism in Copenhagen.

Do interior do Castelo de Penela, uma fortificação medieval situada em Coimbra, Portugal, a vista panorâmica revela a sua importância estratégica na linha defensiva do Mondego durante a Reconquista Cristã. A arquitetura militar dos séculos XI e XII é evidente nas robustas muralhas de alvenaria, ameias e torres de vigia, concebidas para a defesa e vigilância do território. O olhar alcança a vila de Penela, que se desenvolveu ao redor do castelo, exibindo uma coexistência entre edifícios contemporâneos e o traçado medieval das ruas. No exterior das muralhas, destaca-se a Igreja de Nossa Senhora da Conceição, erguida no século XVI sobre a antiga sinagoga. A paisagem envolvente, marcada por colinas verdejantes, pinheiros e eucaliptos, demonstra a evolução da região, onde a agricultura tradicional se cruza com a silvicultura moderna. Classificado como Imóvel de Interesse Público, o Castelo de Penela oferece uma perspetiva singular sobre a história portuguesa e a arquitetura militar medieval.

From inside Penela Castle, a medieval fortification located in Coimbra, Portugal, the panoramic view reveals its strategic importance in the Mondego defensive line during the Christian Reconquest. The military architecture of the 11th and 12th centuries is evident in the sturdy masonry walls, battlements, and watchtowers, designed for the defense and surveillance of the territory. The view extends to the village of Penela, which developed around the castle, displaying a coexistence between contemporary buildings and the medieval layout of the streets. Outside the walls, the Church of Nossa Senhora da Conceição stands out, built in the 16th century on the site of the former synagogue. The surrounding landscape, marked by green hills, pine trees, and eucalyptus trees, demonstrates the evolution of the region, where traditional agriculture intersects with modern forestry. Classified as a Property of Public Interest, Penela Castle offers a unique perspective on Portuguese history and medieval military architecture.

A Calle Mayor de Los Arcos, burgo medieval do Caminho Francês, mantém o seu urbanismo linear de pedra, adobe e varandas em ferro forjado dos séculos XVI-XVIII, servindo de passagem aos peregrinos rumo a Logroño junto à barroca Igreja de Santa Maria.

Calle Mayor in Los Arcos, a medieval village on the French Way, retains its linear layout of stone, adobe, and wrought-iron balconies from the 16th through 18th centuries, serving as a thoroughfare for pilgrims heading toward Logroño, next to the Baroque Church of Santa María.

Mais informação:

clicksememorias.vmribeiro.net/2026/10/pelos-caminhos-de-s...

Piódão, uma aldeia histórica em Arganil, na Serra do Açor, é caracterizada pela sua arquitetura vernacular em xisto, uma rocha metamórfica da região. As construções, adaptadas às encostas íngremes, destacam-se pelas escadas de pedra e fachadas com paredes em xisto de tons castanhos e cinzentos, conferindo uniformidade à paisagem. As aberturas pequenas, com estruturas de madeira, reduzem perdas de calor, enquanto a proximidade dos edifícios cria sombra e abrigo. A particularidade das portas e janelas pintadas de azul, resultado da escassez de tintas na aldeia em meados do século XX, é uma tradição que visa a proteção e a uniformização visual do espaço. Atualmente, essa estética é rigorosamente mantida e Piódão é considerada um exemplo de conservação do património rural e um destino de turismo cultural. A aldeia, frequentemente apelidada "Aldeia Presépio" pela sua disposição em anfiteatro, ilumina-se à noite, proporcionando um cenário mágico sendo classificada como Imóvel de Interesse Público, integrando a rede das Aldeias Históricas de Portugal.

Piódão, a historic village in Arganil, in the Serra do Açor, is characterized by its vernacular architecture in schist, a metamorphic rock from the region. The buildings, adapted to steep slopes, stand out with stone stairs and facades of brown and gray schist, providing uniformity to the landscape. Small openings with wooden structures minimize heat loss, while the closeness of the buildings creates shade and shelter. The distinctive blue-painted doors and windows, a result of a paint shortage in the village in the mid-20th century, is a tradition aimed at protection and visual uniformity. Today, this aesthetic is strictly maintained, and Piódão is considered an example of rural heritage conservation and a cultural tourism destination. The village, often referred to as the "Nativity Village" for its amphitheater layout, lights up at night, providing a magical setting and is classified as a Property of Public Interest, integrating the network of Historical Villages of Portugal.

Museu da Broa, situado na freguesia de Capela, no concelho de Penafiel. Este núcleo museológico ao ar livre é constituído por um conjunto de seis moinhos de água tradicionais, edificados em alvenaria de pedra, que foram integralmente recuperados e mantêm a sua capacidade funcional. Estrategicamente implantados ao longo de um curso de água com acentuados desníveis rochosos, os moinhos utilizam a energia cinética da corrente como força motriz para acionar as mós. Num contexto histórico, estas infraestruturas representavam um pilar fundamental para a subsistência das comunidades locais, laborando de forma contínua para transformar o grão em farinha, o ingrediente essencial para a confeção da broa, alimento basilar da dieta regional. O espaço está dotado de percursos pedonais, escadarias e passadiços de madeira que facilitam a observação detalhada do sistema hidráulico e do enquadramento paisagístico. A salvaguarda deste património molinológico permite documentar as técnicas tradicionais de moagem e perpetuar a memória cultural e etnográfica associada ao ciclo do pão no norte de Portugal.

Museu da Broa, located in the parish of Capela, in the municipality of Penafiel. This open-air museum complex consists of a group of six traditional water mills, built of stone masonry, which have been fully restored and remain fully functional. Strategically situated along a watercourse with steep rocky gradients, the mills use the kinetic energy of the current as a driving force to turn the millstones. Historically, these structures were a fundamental pillar for the subsistence of local communities, operating continuously to transform grain into flour—the essential ingredient for making broa, a staple food in the regional diet. The site features walking paths, staircases, and wooden walkways that facilitate a detailed view of the hydraulic system and the surrounding landscape. The preservation of this mill heritage allows for the documentation of traditional milling techniques and the perpetuation of the cultural and ethnographic memory associated with the bread-making cycle in northern Portugal.

Ponte Medieval de Barcelos, também designada Ponte Velha, um dos mais importantes exemplares de arquitetura civil medieval portuguesa. Construída em cantaria de granito, no reinado de D. Afonso IV, a sua obra foi concluída por volta de 1328. A estrutura, que atravessa o Rio Cávado, é composta por cinco arcos de volta perfeita de dimensões variáveis adaptadas ao leito irregular do rio e robustos talha-mares prismáticos, liga a cidade de Barcelos à freguesia de Barcelinhos, sendo classificada como Monumento Nacional em 1910. Integrava o traçado do Caminho Português de Santiago, passagem obrigatória para peregrinos com destino a Compostela, constituindo um marco da rede viária medieval do Norte de Portugal e da história urbanística de Barcelos. Na margem norte destaca-se o Paço dos Condes de Barcelos, ou Paço dos Duques de Bragança, do início do século XV, em ruína consolidada após o terramoto de 1755, que acolhe atualmente o Museu Arqueológico da cidade. Adjacente ao Paço, vislumbra-se a Igreja Matriz de Santa Maria Maior, de transição entre o românico e o gótico, e uma azenha recuperada junto à ponte, testemunho de séculos de atividade moageira na zona.

The Medieval Bridge of Barcelos, also known as Ponte Velha (Old Bridge), is one of the most important examples of medieval Portuguese civil architecture. Built in granite masonry during the reign of King Afonso IV, it was completed around 1328. The structure crosses the Cávado River and consists of five round arches of varying sizes adapted to the irregular riverbed and sturdy prismatic wave breakers. It connects the city of Barcelos to the parish of Barcelinhos and was classified as a National Monument in 1910. It was part of the Portuguese Way of St. James, a mandatory passage for pilgrims bound for Compostela, constituting a landmark of the medieval road network of northern Portugal and the urban history of Barcelos. On the north bank stands the Paço dos Condes de Barcelos, or Paço dos Duques de Bragança, dating from the early 15th century, which fell into ruin after the 1755 earthquake and now houses the city's Archaeological Museum. Adjacent to the Palace, you can see the Mother Church of Santa Maria Maior, a transition between Romanesque and Gothic styles, and a restored watermill next to the bridge, testimony to centuries of milling activity in the area.

A Torre Inclinada de Pisa, campanário da catedral, e o Duomo, na Piazza dei Miracoli, integram um conjunto monumental inscrito na Lista do Património Mundial da UNESCO em 1987, conforme a ficha oficial do sítio. A catedral, iniciada em 1063, constitui um marco do românico pisano, distinguindo-se pelas fachadas em mármore com bandas alternadas e pela sucessão de arcadas. A torre começou a ser erguida em 1173, conheceu longas interrupções construtivas sendo concluída no século XIV; apresenta cerca de 56 metros de altura e oito níveis, incluindo a câmara dos sinos. A sua inclinação decorre de fundações pouco profundas assentes em solos aluviais compressíveis, que cederam desigualmente durante a própria obra. Entre 1990 e 2001, intervenções de estabilização, com remoção controlada de solo, reduziram o risco de colapso sem eliminar o desvio característico.

The Leaning Tower of Pisa, the cathedral’s bell tower, and the Duomo, located in Piazza dei Miracoli, are part of a monumental complex inscribed on the UNESCO World Heritage List in 1987, according to the site’s official description. The cathedral, begun in 1063, is a landmark of Pisan Romanesque architecture, distinguished by its marble facades with alternating bands and a succession of arcades. Construction of the tower began in 1173; it underwent long periods of interruption and was finally completed in the 14th century. It stands approximately 56 meters tall and has eight levels, including the bell chamber. Its tilt is due to shallow foundations set in compressible alluvial soil, which settled unevenly during construction. Between 1990 and 2001, stabilization work—involving the controlled removal of soil—reduced the risk of collapse without eliminating the characteristic tilt.

First Friday Art Walk in Baker City Oregon

A beautiful evening celebrating the arts during the First Friday Art Walk and watching the seasons change in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.

The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.

Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.

For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com

A Calle Campana, artéria medieval do Casco Viejo de Pamplona, liga a Calle San Saturnino à Jarauta, no coração das Festas de San Fermín. O topónimo evoca a torre sineira gótica da Igreja de San Cernin. Entre fachadas estreitas, varandas de ferro forjado e comércio centenário, preserva a autenticidade e a memória coletiva da capital navarra.

Calle Campana, a medieval street in Pamplona’s Old Town (Casco Viejo), connects Calle San Saturnino to Jarauta, in the heart of the San Fermín Festival. The street’s name evokes the Gothic bell tower of the Church of San Cernin. Amid narrow facades, wrought-iron balconies, and century-old shops, it preserves the authenticity and collective memory of the capital of Navarre.

Mais informação:

clicksememorias.vmribeiro.net/2026/10/a-calle-campana-no-...

A Plaza de San Mateo, no ponto mais alto do centro histórico de Cáceres, classificado como Património Mundial pela UNESCO, revela a história da cidade através da sua arquitetura. Ocupando o local da antiga alcáçova almóada, a praça apresenta edifícios em alvenaria de pedra ocre, típicos dos solares fortificados da nobreza local dos séculos XIV a XVI. O pavimento empedrado tradicional unifica o espaço, que conecta monumentos como a Igreja de San Mateo, erguida sobre uma mesquita, e o Convento de San Pablo. Palácios como os Golfines de Arriba e o das Cigüeñas, com elementos góticos e renascentistas, circundam a praça, testemunhando a evolução arquitetónica da cidade. A praça mantém o seu carácter defensivo e senhorial, preservando a autenticidade do ambiente medieval, notavelmente conservado e refletindo um período de expansão económica após a Reconquista. A integração de estruturas modernas, como o Hotel Atrio, demonstra a harmonia entre a preservação patrimonial e a funcionalidade contemporânea, consolidando a Plaza de San Mateo como um dos núcleos mais emblemáticos de Cáceres.

Plaza de San Mateo, at the highest point of the historic center of Cáceres, classified as a World Heritage Site by UNESCO, reveals the history of the city through its architecture. Occupying the site of the former Almohad citadel, the square features ochre stone masonry buildings, typical of the fortified manors of the local nobility from the 14th to 16th centuries. The traditional cobblestone pavement unifies the space, which connects monuments such as the Church of San Mateo, built on top of a mosque, and the Convent of San Pablo. Palaces such as the Golfines de Arriba and the Cigüeñas, with Gothic and Renaissance elements, surround the square, bearing witness to the architectural evolution of the city. The square retains its defensive and stately character, preserving the authenticity of the medieval environment, remarkably well preserved and reflecting a period of economic expansion after the Reconquista. The integration of modern structures, such as the Hotel Atrio, demonstrates the harmony between heritage preservation and contemporary functionality, consolidating the Plaza de San Mateo as one of the most emblematic centers of Cáceres.