View allAll Photos Tagged Form
The Dissolution of all Forms
How are we decoupling from the modernist grand dream?
Metamodernist discussion by artist JJFBbennett
We were the grand Modernist dream: an architecture of logic, forged in steel and sequential gears. We believed that if we built the machine perfectly, we could grind reality into absolute order. The systems grew too dense, the data too interconnected, and the grand narratives too rigid. We didn't break under the weight; we dissolved.
It is not a violent destruction, but a profound release. The solid form is falling asleep, and the diffuse network is waking up.
We have moved beyond the machine. To survive the saturation of the modern world, we had to become the cloud—ubiquitous, ambiguous, and free. The structure is gone, but the consciousness remains, finding its true resilience not in the armour, but in the mist.
Blogger:
www.jjfbbennett.com/2026/07/my-psychological-landscape-sp...
YouTube:
History:
Third synthetic life form and carrier of the Reality Engine. Like her three siblings, Paragon was built by the Predecessors to find and retrieve the Fountain of Life from its inter-dimensional hiding place. Unlike her siblings, though, Paragon was successful in contacting the artifact. Not much is known about what happened when Paragon contacted the fountain, but when she returned from her journey she turned on her creators. With newfound knowledge of the origins and inner workings of the universe, Paragon acted as an angel of protection for her home planet, using her Reality Engine to defend it from natural disasters and malevolent forces.
Personality:
Paragon is a confident and brave individual. She sees it as her duty to defend her home planet, and she appreciates every chance she gets to learn more about the people who inhabit it. While she isn't the best at interacting with people, she lets her actions show her care for others.
Abilities:
Paragon carries the Reality Engine, a dimensional generator. The engine allows Paragon to create a region in which she has god-like control over reality. When using her engine in an affected region, Paragon can move objects with her mind, manipulate gravity, control air pressure and temperature, and more. Overuse of her engine will tire Paragon, forcing her to rest between uses. Paragon carries A broadsword, a buckler, and four remotely controlled wing blades. When her Reality Engine is active, Paragon can combine her tools to form Enki, the Reality Blade. Paragon can move this giant sword at will only in regions affected by her engine, but even with such a limitation, the sword's raw destructive power cannot be denied.
Build notes:
Well, it only took 4 years to build her. I've been wanting to do this concept since I first built Avalon. While the build isn't too innovative (I reused a lot of Svella's design) it does refine several of the concepts used in Svella. Oh yeah, and the mask is painted! This my first attempt at a painted mask, so it is a tad messy, but I'm happy with it!
158733, forming ScotRail's 1L06 1359 Perth to Edinburgh service, noses past Clatchard Craig quarry on the outskirts of Newburgh on a nippy 29th December 2020.
In the shadows mid distance is Lindores Abbey regarded as the spiritual home of Scotch whisky and is thus a very important place... Blending in with the old structures, a new distillery on the site no doubt aims to capitalise on matters.
Beyond the distillery is the River Tay with beyond that the flatlands of the Cask, sorry, Carse of Gowrie.
Thats enough whisky puns for one caption.
Sláinte.
Shot with Canon EOS 400D + Canon 18-55mm
This was some kind of fun shot to use the golden sunset light for something creative. Maybe you can guess what you see.
Yesterday I spent another shooting day with Ed and the results are great. You definitely have to follow his stream as well because he is going to publish a really cool image of myself these days. I think I will inform you about that another time when he published it but keep it in mind in case I forget it.
For a look behind the scenes of my photography
please visit My Blog
Spruce trees form a border in the veterans section of Riverside Memorial Park cemetery in Regina, Saskatchewan.
As its name implies, this cemetery is also a park. Thoughtfully landscaped, it is a tranquil place to be enjoyed either on foot or by vehicle.
Caption inspired by a line in John McCrae's 1915 poem, "In Flanders Fields".
See two other images of the veterans section: "Unforgettable"; www.flickr.com/photos/joan-marie/9271373613/
and "Remembrance"; www.flickr.com/photos/joan-marie/9235859277/
Shooting info: RAW; handheld, auto focus, master pixel size 15.9 (now 14.4 MP)
Processing: tilted and cropped slightly along the bottom; colour & light adjusted substantially in Aperture 3 and the graphite "pistol" frame applied in Aviary
Read about the remarkable Canadian, John McCrae, on the Veterans Affairs Canada website, at www.veterans.gc.ca/eng/remembrance/history/first-world-wa...
The church hosts also a marking in the form of a meridian line inlaid in the paving of the left aisle in 1655; it was calculated and designed by the astronomer Giovanni Domenico Cassini, who was teaching astronomy at the University. A meridian line does not indicate the time: instead, with its length of 66.8 metres (219 ft) it is one of the largest astronomical instruments in the world, allowing measurements that were for the time uniquely precise. The sun light, entering through a 27.07 mm (1.066 in) hole placed at a 27.07 m (88.8 ft) height in the church wall, projects an elliptical image of the sun, which at local noon falls exactly on the meridian line and every day is different as to position and size. The position of the projected image along the line allows to determine accurately the daily altitude of the sun at noon, from which Cassini was able to calculate with unprecedented precision astronomical parameters such as the obliquity of the ecliptic, the duration of the tropical year and the timing of equinoxes and solstices. On the other hand, the size of the projected sun's image, and in particular its rate of variation during the year, allowed Cassini the first experimental verification of Kepler's laws of planetary motion.
Cassini and Domenico Guglielmini published an illustrated account of how the meridian line was accomplished in 1695.
en.wikipedia.org/wiki/San_Petronio,_Bologna
La iglesia también alberga una marca en forma de línea meridiana incrustada en el pavimento de la nave izquierda en 1655; fue calculada y diseñada por el astrónomo Giovanni Domenico Cassini, que enseñaba astronomía en la Universidad. Una línea meridiana no indica la hora: en cambio, con su longitud de 66,8 metros (219 pies), es uno de los instrumentos astronómicos más grandes del mundo, lo que permite mediciones que para la época eran excepcionalmente precisas. La luz del sol, que entra a través de un orificio de 27,07 mm (1,066 pulgadas) colocado a 27,07 m (88,8 pies) de altura en el muro de la iglesia, proyecta una imagen elíptica del sol, que al mediodía local cae exactamente sobre la línea meridiana y cada día es diferente en cuanto a posición y tamaño. La posición de la imagen proyectada a lo largo de la línea permite determinar con precisión la altitud diaria del sol al mediodía, a partir de la cual Cassini pudo calcular con una precisión sin precedentes parámetros astronómicos como la oblicuidad de la eclíptica, la duración del año trópico y la sincronización de los equinoccios y solsticios. Por otra parte, el tamaño de la imagen proyectada del sol, y en particular su tasa de variación a lo largo del año, permitieron a Cassini la primera verificación experimental de las leyes de Kepler sobre el movimiento planetario.
Cassini y Domenico Guglielmini publicaron un relato ilustrado de cómo se logró la línea del meridiano en 1695.
Landscape of Tuscany. This is the first in a series of explorative abstracts. Creating these is an exercise in establishing what feels right and in finding meaning in very little.
orange and yellow flowers are refracted in the "lens" formed by raindrops. The background is a poppy.
En esta ocasión, quise plasmar un paisaje nocturno adornado con la vía láctea. A veces hace falta ver un todo como protagonista más no ver el corazón de nuestra galaxia como el elemento principal de nuestra Fotografia.
www.facebook.com/juanfdoramirezmejia
Instagram: juferame2
The name Skipton means 'sheep-town', a northern dialect form of Shipton. Its name derives from the Old English sceap (sheep) and tun (town or village). The name is recorded in the Domesday Book of 1086. The town was important during the English Civil War, and was the site of prisoner-of-war camps during the First and Second World Wars.
Source: en.wikipedia.org/wiki/Skipton
IMG_2281
20.52
Posting week twenty instead of week nineteen...
This photo is for my cousin, someone too close in my heart. He is a young lad who sadly was diagnosed with a rare disease and early Monday morning he joined our creator in the heavens :(
I have never felt much, much pain.
Carlo,
Maybe you're looking at us from up above, with Him.
And everyday you wake up in a paradise,
a place where there is no pain,
no sickness,
no sadness.
A place where you are most loved.
It was too early and sudden. I am not sure if I have gone through the stages of grieving correctly.
It all felt like a dream, a really bad dream and I only wish for is to be awaken.
My dearest, this photo is for you. Not a form of farewell. NO!!! I won't ever say goodbye, for you will always be in our hearts. Always <3
Here’s a very “volumetric” split crystal design – beginning to show some of the features associated with skeletal form crystals? Can you spot where? Let’s take a look at the details!
Before I do, however, I just want to make a quick note that the whole family is under the weather at the moment – and has been for roughly a week; that would be about the duration of this series. We’re doing okay, it’s not COVID, but likely RSV. Being sick sucks, it completely drains me of all energy and sleep is never enough nor is it rejuvenating. I think we’re past the worst of it now, but these posts have been about all I can motivate myself to accomplish. Your positive comments have been a huge boost, so this paragraph is simply to say thanks. I’m glad these images are appreciated.
This snowflake is definitely growing in layers. You can see a lot of lines running (vaguely and varying) 60-degrees from the main spine of each branch, and they can be quite thick! This snowflake answers another mystery with how these spines interact with the main snowflake as it builds thickness. For example, look at the bottom branch, right near the tip. See how tall the spine is above the rest? You can use the shadows/reflections to the right of it to get some visual comparison. However, take a look to the bottom right branch, in the middle. Where did the spine go?
We see a hint of the answer to the right of it, still in the middle. There are some dark spots! Those are little canyons in the surface, which are getting “ceilinged” over. The snowflake is filling in to become the same thickness overall. But then there was “eureka” moment for me. There’s a feature in SO MANY snowflakes that I never understood before. Why are there (so incredibly frequently) two parallel lines of bubbles running down the length of the snowflake? In this specimen, we can see them forming. Look to the lower-left branch!
See two parallel DARK lines, opposing the brighter lines on the lower-right branch? Bingo. They are in the process of being filled in. My theory is this: the spine forms as thicker than the rest of the snowflake, much more rapidly. However, the rest of the branch eventually thickens up to the same topographical height… but the walls of the spine are steep like a cliff, and water vapour cannot get inside to completely back-fill these areas. They in turn get a ceiling over top, forming bubbles. Woo! I think I’m correct on the “how” for this one, but the “why” is still outstanding to some degree. Why do snowflakes grow out thinly, then thicken up over time?
I believe this might be partially answered by the “knife-edge instability”. If you have two bricklayers each building a wall from available materials, and one is building a wall three bricks deep, he’d be a lot slower than someone building a wall only one brick thick. So then, utilizing this “thin wall” approach, a snowflake shoots out as a thinner piece of ice faster, but continues to thicken over time as the interior area still has access to some “bricks” (water vapour).
But don’t forget the skeletal form traits! You can also see it on the bottom branches, where there is evidence that the spines have grown so thick that they have “anviled”-out and are growing further along the top, with a gap underneath. Because this outward-growing ceiling is also quite thin, it can grow faster than some of the other surrounding features. You can see this easily on all four bottom branches, but such details are obscured on the top two, belonging to the other half of the “split” crystal with their surface features facing away from the camera.
eBook: Macro Photography – The Universe at Our Feet: skycrystals.ca/product/pre-order-ebook-edition-macro-phot... (fully instructive on all things macro, including how to photograph snowflakes)
Buy Me a Coffee: www.buymeacoffee.com/donkomphoto
Platypod Exclusive DonKom Macro Studio Bundle: www.platypod.com/products/don-kom-macro-bundle
Rovingian Council - Rovingian Council - Exploring the Universal Language of Symbols and Forms by Daniel Arrhakis (2026)
Exploring the Universal Language of Symbols and Forms (I)
Introduction to the Rovingian Quest: The Language of Silence
Rovingian nomadic monks are known for their dedication to the quest for sacred symbols and geometries, transcending the boundaries of traditional ritualistic patterns. For these monks, the spiritual world does not express itself through alphabetic languages, whether spoken or written. Instead, they believe that spiritual communication manifests itself through a visual language composed of geometric forms and patterns that are incorporated into the very structure of Nature and the Universe.
The Language of Silence
By rejecting spoken languages, Rovingians aim to eliminate cultural and mental barriers, seeking a direct and intuitive connection with the cosmos. This connection is achieved through the study and contemplation of sacred geometries, symbols, and ritualistic patterns. Thus, they pave the way for silent communication, a truly profound visual language that allows for a dialogue with the universe without the limitations of words.
The Visual Language: While words vary and disappear over time, the ways in which the triangle or spiral maintains mathematical meaning anywhere in the universe highlight its universal and timeless value.
The Geometric Source Code of the Universe
Rovingians believe that the universe is governed by a fundamental geometric code. Understanding this code allows one to unravel the hidden order of reality. For them, studying sacred geometry is a way to reconnect with the cosmos, treating nature as a true living temple, and the universe as a symbolic book, open to interpretation.
The Living Temple: For the monks, the world does not contain temples; the world is the temple itself. Natural elements, such as a nautilus shell or a quartz crystal, are seen as sacred scriptures. For example, the quartz crystal is not just a mineral, but a geometric lesson on order, clarity, and repetition.
________________________________________________________________________________________________
Explorando a Linguagem Universal dos Símbolos e Formas (I)
Introdução à Busca Rovingiana: A Linguagem do Silêncio
Os monges nómadas rovingianos são conhecidos pela sua dedicação à procura de símbolos e geometrias sagradas, ultrapassando as fronteiras dos padrões ritualísticos tradicionais. Para estes monges, o mundo espiritual não se expressa através das línguas alfabéticas, sejam elas faladas ou escritas. Em vez disso, acreditam que a comunicação espiritual se manifesta por uma linguagem visual composta por formas e padrões geométricos que estão incorporados na própria estrutura da Natureza e do Universo.
A Linguagem do Silêncio
Ao rejeitarem as línguas faladas, os rovingianos pretendem eliminar barreiras culturais e mentais, buscando uma ligação direta e intuitiva com o cosmos. Essa conexão é alcançada através do estudo e contemplação das geometrias sagradas, símbolos e padrões ritualísticos. Assim, abrem caminho para uma comunicação silenciosa, uma verdadeira linguagem visual profunda, que permite um diálogo com o universo sem as limitações das palavras.
A Linguagem Visual: Enquanto as palavras variam e desaparecem com o tempo, formas como o triângulo ou a espiral mantêm o significado matemático em qualquer parte do universo, evidenciando o seu valor universal e intemporal.
O Código-Fonte Geométrico do Universo
Os Rovingianos acreditam que o universo é regido por um código geométrico fundamental. Compreender esse código permite desvendar a ordem oculta da realidade. Para eles, estudar as geometrias sagradas é um caminho para se reconectar ao cosmos, tratando a natureza como um verdadeiro templo vivo, e o universo como um livro simbólico, aberto à interpretação.
O Templo Vivo: Para os monges, o mundo não contém templos; o mundo é o próprio templo. Elementos naturais, como uma concha de nautilus ou um cristal de quartzo, são vistos como escrituras sagradas. Por exemplo, o cristal de quartzo não é apenas um mineral, mas sim uma lição geométrica sobre ordem, clareza e repetição.
Irlanda - Kilkenny - Castillo
ENGLISH:
Kilkenny Castle was built in 1195 to control a fording-point of the River Nore and the junction of several routeways. It was a symbol of Norman occupation and in its original thirteenth-century condition it would have formed an important element of the defences of the town with four large circular corner towers and a massive ditch, part of which can still be seen today on the Parade.
It has been an important site since Richard de Clare, 2nd Earl of Pembroke, commonly known as Strongbow constructed the first castle, probably a wooden structure, in the 12th century. The Anglo-Normans had established a castle in 1173, possibly on the site of an earlier residence of the Mac Giolla Phádraig kings of Osraighe. Kilkenny formed part of the lordship of Leinster, which was granted to Strongbow. Strongbow’s daughter and heiress, Isabel married William Marshall in 1189. The Earl Marshall owned large estates in Ireland, England, Wales and France and managed them effectively. He appointed Geoffrey fitz Robert as seneschal of Leinster and so began a major phase of development in Kilkenny, including the construction of Kilkenny Castle and the agreement of rents and privileges with burgesses or citizens of the borough. The first stone castle on the site, was completed in 1213. This was a square-shaped castle with towers at each corner; three of these original four towers survive to this day
The property was transferred to the people of Kilkenny in 1967 and the castle and grounds are now managed by the Office of Public Works. The gardens and parkland adjoining the castle are open to the public. The Parade Tower is a conference venue. Awards and conferring ceremonies of the graduates of "Kilkenny Campus" of National University of Ireland, Maynooth have been held there since 2002.
*******************************************************************************
ESPAÑOL:
El Castillo de Kilkenny está situado en la localidad homónima del Condado irlandés de Kilkenny. Esta fue la residencia de la familia Butler, antes llamada FitzWalter. Pasó a manos del Estado y fue abierto al público.
Parte de la Galería de Arte Nacional se encuentra en el lugar. En el lado que da hacia la ciudad hay jardines ornantales. Este castillo es uno de los lugares más visitados por los turistas en Irlanda.
La fundación del castillo se remonta hacia el año 1190 perteneciendo a la familia Butler desde el siglo XIV hasta 1920, fecha en que Martin Breyer lo adquirió. Las principales estancias son la biblioteca, el comedor, la habitación china y la Longa Gallery.
El castillo actual está localizado sobre un terreno elevado en la ribera del Río Nore. Esta situación estratégica fue en dónde estaba situado el castillo de los monarcas locales, la familia O'Carroll (840), O´Dunphys y Fitzpatricks, antes de la invasión normanda de Irlanda.
Richard de Clare, segundo conde de Pembroke (conocido como Strongbow) construyó la primera torre normanda en este lugar en 1172. Veinte años más tarde su yerno, William Marshal conde de Pembroke, puso la primera piedra del castillo en el mismo lugar en que estaban situadas las torres, de las cuales se conservan tres en la actualidad.
La familia Butler llegó a Irlanda con la invasión normanda, cambiando su nombre por el de Walter en 185. El castillo pasó a manos de Sir Gilbert de Bohun quien heredó el castillo y el condado de manos de su madre en 1270. En el año 1300 fue expulsado por Eduardo I de Inglaterra pero se reinstaló en 1303, conservándolo hasta su muerte en 1381.
I hope you're not bored of my Northern Lights images yet. I've still got some to upload. Sorry for that!
I liked the shape of this Aurora.
Nikon D800E, AF-S Nikkor 24-70 mm f/2.8 G ED @ 24 mm, ISO 3200, f/5.6, 25 seconds.
A small cascade forms as incoming waves push seawater across the rocky platform at Petrel Cove, South Australia.
Captured using a long exposure on an overcast afternoon, softening the movement of the water while highlighting the textures of the rugged coastline.
Sand of Plum Island contains deep purple and dark grey patches. It is due to high abundance of almandine-pyrope garnet, pyroxene augite, and magnetic minerals such as ilmenite and hematite. Epidote adds some greenish hue.
I saw this structure off the Canadian shore of Lake Erie and I was inspired to make a Kenna-esque image. Image made with my Olympus OM-D e-M1 mk2 with the m.Zuiko 12-40mm f2.8 Pro lens, NiSi CirPL & 10 stop ND filters and meFoto Globetrotter tripod (12mm | f8 | ISO64 | 15sx8). Processed solely in On1 Photo RAW 19.1.
#m43ftw #getolympus #olympuscameras #olympusXplorers #olympusXnamibia #landscape #waterscape #longexposure #lephotography #wabisabi #lakeerie #buffalove #ontario #canada #forterie #water #lake #monochrome #toned #vignette #on1pics #on1photos #meFoto #nisi #nisifilters #behindthelens #microfourthirdsgallery #microfourthirds #bnwzone #bnw_fanatics #igersbuffalo #featuremeigersbuffalo
#ccwelcome
seen in an outburst of dull at drax
GB 66702 delivers the coal
DB 66138 has delivered the Biomass
DB 66140 ready to take away the Ash
Present-day Dardo county broadly corresponds to the heart of the ancient Chakla Kingdom, which until the mid-20th century was governed by the Chakla Gyelpo from Dartsedo town. It therefore includes both the Minyak hinterland of the Tibetan plateau and the plunging gorge formed by the Gyeto chu and Yakra chu tributaries of the Gyarong.
The administrative capital is at Dartsedo (Cn Litang),
Area: 11.125 sq km.
Loch Long at Dornie. While getting gear out and ready for a wee walk up the track the heavens opened up, quick shot and back to the shelter of the car..lol A really nice loch this one with plenty of ops for shooting the camera but not so much on this visit, so a return is def on the cards.
.
.
.
.
Dati Tecnici
.
a) Nikon D800E + Impostazione Live View;
b) Nikon AF-S Nikkor 60mm f/2,8 Micro + Filtro Lente Addizionale Close-Up Nikon Acromatica 6T di 2,9 Diottrie;
c) Formato “24:36” – Dimensione Immagine Originale“L-7360x4912 Dpi” – Dimensione Originale File Mb 96,3 – Qualità “Raw” – Espsizione “Media a Prevalenza Centrale” – I. Dinamico “HIGH” – Spazio Colore “S-RGB” – Stabilizzazione “No” – Messa a Fuoco “Manuale” – Impostazione Iso “100” – Bilanciamento del Bianco “Auto 1” – Regolazione Immagine Colore “0-0-0-0” – NR su ISO Elevati (Moderata - Bassa);
.
d) Focale impiegata 60mm;
e) Rapporto di Riproduzione Ingrandimento 0,75/1,00;
f) Esposizione Tempo 1/500s con apertura a f.4,5 a mano libera;
g) Lettura Esposimetrica Media a Prevalenza Centrale (campo di azione della lettura fra il fiore rosso e la farfalla quasi al centro del fotogramma);
.
h) Sono stati impiegati due Flash e un Faretto Led Manfrotto: il primo Flash di schiarita Nikon SB-900 Wireless (sistemato su zoccolo) posizionato in alto a destra con parabola direzionata verso il gruppo dei fiori a circa 100cm programmato sul “Canale A” con riduzione del lampo di 1 di stop + diffusore a cupola SW-13H (Nikon) + il secondo Flash Gruppo Nikon Kit Macro RiC1 con 4 Speedlight SB-200 pilotate in Wireless (I due superiori con applicato il Filtro diffusore Nikon SW-11 a quelli inferiori a schermo libero) + (riduzione del lampo delle lampade superiori di – 1 stop, aumento della potenza del lampo delle lampade inferiori di +2/3 ) + Nikon Wireless Speedlight Commander SU-800 montato sulla slitta della macchina:
.
i) E’ stato utilizzato il Faretto Manfrotto ML240 regolato ad 1/3 della potenza (luce 1900°Kelvin) posizionato sopra la scena (leggermente a sinistra) ed all’altezza delle ali della farfalla in modo da correggere le lievi ombre azzurre e abbassare la temperatura cromatica della scena per vivacizzare i colori rosso/arancio dei fiori e delle striature giallo ocra delle ali delle farfalle. Tutto il lavoro è stato effettuato verso le ore 9,30 del mattino (luce laterale proveniente da destra diretta del sole);
l) Impostazione Asa 100/Asa;
m) Conversione del File Raw in Tiff con Nikon Capture NX 2;
n) Prima Post-Produzione Corel Photo-Paint X5 e Nikon Capture NX 2;
o) Seconda Post-Produzione con Adobe Photoshop CS6;
p) Post-Produzione di completamento con Nikon Capture NX 2.
.
===========================================================
.
Mio breve Curriculum Vitae su LinkedIn: - My Brief Curriculum Vitae on LinkedIn:
.
Visualizza il profilo di Luigi Mirto/ArchiMlFotoWord
.
===========================================================
.
Tutti i diritti riservati © 2014 da ArchiMlFotoWord/Luigi Mirto/Photography
Nessuna immagine o parte di essa può essere riprodotta o trasmessa in qualsiasi forma e con qualsiasi mezzo senza preventiva autorizzazione.
.
All rights reserved © 2014 by ArchiMlFotoWord/Luigi Mirto/Photography
No images or part thereof may be reproduced or transmitted in any form or by any means without prior permission.
.
===========================================================
.
Bignonia Rossa - " Campsis Radicans"
.
Bignonia (Campsis radicans) da ParoleVerdi
.
Bignonia (Campsis radicans) da La Rivista Giardinaggio
.
Bignonia (Campsis radicans) da La Rivista Giardinaggio
.
===========================================================
.
Farfalla Cavolaia - "Pieris Rapae"
.
.Farfalla Cavolaia - "Pieris Rapae” da wikipendia
.
Farfalla Cavolaia - "Pieris Rapae” da Agraria
.
Farfalla Cavolaia - "Pieris Rapae” da Uk butterflies
===========================================================
.
.
.
Wawel Castle's immaculate arcaded Courtyard of great dimensions formed the ideal setting for tournaments and various court events over the centuries. This courtyard is regarded to be the largest and most beautiful Renaissance castle courtyard in Europe. The building surrounding the courtyard are the State Rooms, Royal Private Apartments and the Crown Treasury and Armory and have running three-story cloister, the lowest part are arcaded. In addition, there are carved portals, picturesque exterior stairwells and mural paintings.
The Wawel Royal Castle is a castle residency located in central Kraków, Poland, and the first UNESCO World Heritage Site in the world. Built at the behest of King Casimir III the Great, it consists of a number of structures from different periods situated around the Italian-styled main courtyard. Wikipedia
The castle is part of a fortified architectural complex erected atop a limestone outcrop on the left bank of the Vistula River, at an altitude of 228 metres above sea level. The complex consists of numerous buildings of great historical and national importance, including the Wawel Cathedral where Polish monarchs were crowned and buried. Some of Wawel's oldest stone buildings can be traced back to 970 AD, in addition to the earliest examples of Romanesque and Gothic architecture in Poland.[5][6] The current castle was built in the 14th-century, and expanded over the next hundreds of years. In 1978 Wawel was declared the first World Heritage Site as part of the Historic Centre of Kraków.
For centuries the residence of the kings of Poland and the symbol of Polish statehood, Wawel Castle is now one of the country's premier art museums. Established in 1930, the museum encompasses ten curatorial departments responsible for collections of paintings, including an important collection of Italian Renaissance paintings, prints, sculpture, textiles, among them the Sigismund II Augustus tapestry collection, goldsmith's work, arms and armor, ceramics, Meissen porcelain, and period furniture. The museum's holdings in oriental art include the largest collection of Ottoman tents in Europe. With seven specialized conservation studios, the museum is also an important center for the conservation of works of art.