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The Alhambra is a palace and fortress complex located in Granada, Andalusia, Spain.
It was originally constructed as a small fortress in AD 889 on the remains of Roman fortifications
and then largely ignored until its ruins were renovated and rebuilt in the mid-13th century by the Moorish
emir Mohammed ben Al-Ahmar of the Emirate of Granada, who built its current palace and walls.
It was converted into a royal palace in 1333 by Yusuf I, Sultan of Granada.
After the conclusion of the Christian Reconquista in 1492, the site became the Royal Court of Ferdinand
and Isabella (where Christopher Columbus received royal endorsement for his expedition)
and the palaces were partially altered to Renaissance tastes.
In 1526 Charles I & V commissioned a new Renaissance palace better befitting
of the Holy Roman Emperor in the revolutionary Mannerist style influenced by Humanist philosophy
in direct juxtaposition with the Nasrid Andalusian architecture, but which was ultimately never completed
due to Morisco rebellions in Granada.
Despite long neglect, willful vandalism, and some ill-judged restoration, the Alhambra endures
as an atypical example of Muslim art.
The Alhambra is a UNESCO World Heritage Site and the inspiration for many songs and stories.
It is the main building Mannerist-Baroque of Zamość Old Town. It has a 52-meter-high clock tower and wide, fan-shaped staircase.
The construction of the first forms of the town hall began in 1591. It was repeatedly rebuilt and modernized. In the interwar period (1937-1939), carried out a thorough reconstruction of the town hall. Restored then his grander, Mannerist-Baroque appearance from 17th century - again decorated attics and numerous decorations.
The entire Old Town in Zamość was entered on the UNESCO world list of monuments in 1992.
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Jest on głównym budynkiem manierystyczno-barokowym, na zamojskim Starym Mieście. Posiada 52-metrową wieżę zegarową oraz szerokie, wachlarzowe schody.
Budowę pierwszej formy ratusza rozpoczęto w roku 1591. Był wielokrotnie przebudowywany i modernizowany. W okresie międzywojennym (1937-39 r.) przeprowadzono gruntowną rekonstrukcję ratusza. Przywrócono wówczas jego świetniejszy, manierystyczno-barokowy wygląd z XVII wieku - ponownie ozdobiony attykami i licznymi dekoracjami.
Całe Stare Miasto w Zamościu zostało wpisane na światową listę zabytków UNESCO w 1992 roku.
Piazza Cavalli is the main square of Piacenza (italian region of Emilia-Romagna). It is named ("Cavalli" means "horses") for the two bronze equestrian monuments of Alexander Farnese, Duke of Parma (r. 1586-), nephew and valiant general of Philip II of Spain) and his son Ranuccio I Farnese, Duke of Parma, who succeeded him. The statues are masterpieces of Francesco Mochi, a Mannerist sculptor.
Fontana dei Mori, Villa Lante. Villa Lante (16th century) at Bagnaia (Viterbo) is one of the most famous Mannerist "garden of surprise" in Italy.
La Fontana dei Mori a Villa Lante, nei pressi di Viterbo. Villa Lante è una delle maggiori realizzazioni del Cinquecento in Italia. I suoi giardini all'italiana "a sorpresa" sono stato votati nel 2011 come i più belli d'Italia.
The castle in Krasiczyn was built in Renaissance-Mannerist style in 16th and 17th centuries. The construction of castle was started by Stanisław Krasicki. Characteristic for it are 4 different corner towers: Divine, Papal, Royal and Noble. The castle is surrounded by a park.
At the beginning of World War II, the castle was robbed by Soviet soldiers. In 1940, in the castle, Soviet filmmakers made an anti-Polish film entitled "Wind from the East", justifying the invasion of the USSR together with Germany on Poland in September 1939.
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Zamek w Krasiczynie był wybudowany w stylu renesansowo-manierystycznym w XVI i XVII wieku. Budowę zamku rozpoczął Stanisław Krasicki. Charakterystyczne dla niego są 4 odmienne wieże narożne: Boska, Papieska, Królewska i Szlachecka. Zamek jest otoczony parkiem.
Na początku II wojny światowej zamek został ograbiony przez żołnierzy sowieckich. W 1940 na terenie tego zamku filmowcy radzieccy zrobili antypolski film pt. „Wiatr ze Wschodu”, uzasadniający inwazję ZSRR razem z Niemcami na Polskę we wrześniu 1939.
Toledo es una antigua ciudad ubicada en una colina sobre las llanuras de Castilla-La Mancha, en España central. Es la capital de la región y es conocida por los monumentos medievales árabes, judíos y cristianos en su ciudad antigua amurallada. También fue la antigua casa del pintor manierista El Greco. La Puerta de Bisagra, de estilo morisco, y la Puerta del Sol, de estilo mudéjar, llevan al barrio antiguo.
Toledo is an ancient city located on a hill above the plains of Castilla-La Mancha, in central Spain. It is the capital of the region and is known for the medieval Arab, Jewish and Christian monuments in its ancient walled city. It was also the former home of the Mannerist painter El Greco. The Moorish-style Puerta de Bisagra and the Mudejar-style Puerta del Sol lead to the old quarter.
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Bernardine monastery complex in Leżajsk - The origins of the monastery date back to the first half 17th century.
The monastery complex built on the site where according to tradition was appear to Thomas Michałkowki Virgin Mary with St. Joseph. The team consists with church Annunciation N.M.P. and adjacent to its monastery. It was surrounded by walls with towers and gates. In the church extremely valuable organs and rigging style Baroque, Rococo and Mannerist.
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Zespół klasztorny bernardynów w Leżajsku – Początki klasztoru sięgają I poł. XVII w.
Zespół klasztorny wzniesiony w miejscu, gdzie według tradycji miała ukazać się Tomaszowi Michałkowki Matka Boska ze św. Józefem. W skład zespołu wchodzi: kościół p.w. Zwiastowania N.M.P. oraz przyległy do niego klasztor. Całość otoczona murami obronnymi z basztami i bramami. W kościele niezwykle cenne organy oraz wyposażenie barokowe, rokokowe i manierystyczne
The castle in Krasiczyn was built in Renaissance-Mannerist style in 16th and 17th centuries. The construction of castle was started by Stanisław Krasicki. Characteristic for it are 4 different corner towers: Divine, Papal, Royal and Noble. The castle is surrounded by a park.
At the beginning of World War II, the castle was robbed by Soviet soldiers. In 1940, in the castle, Soviet filmmakers made an anti-Polish film entitled "Wind from the East", justifying the invasion of the USSR together with Germany on Poland in September 1939.
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Zamek w Krasiczynie był wybudowany w stylu renesansowo-manierystycznym w XVI i XVII wieku. Budowę zamku rozpoczął Stanisław Krasicki. Charakterystyczne dla niego są 4 odmienne wieże narożne: Boska, Papieska, Królewska i Szlachecka. Zamek jest otoczony parkiem.
Na początku II wojny światowej zamek został ograbiony przez żołnierzy sowieckich. W 1940 na terenie tego zamku filmowcy radzieccy zrobili antypolski film pt. „Wiatr ze Wschodu”, uzasadniający inwazję ZSRR razem z Niemcami na Polskę we wrześniu 1939.
El Real Alcázar de Sevilla es un conjunto palaciego amurallado construido en diferentes etapas históricas. El palacio original se edificó en la Alta Edad Media. Se conservan algunos vestigios de arte islámico y, de la etapa posterior a la conquista castellana, un espacio palaciego mudéjar y otro de estilo gótico. En reformas posteriores se añadieron elementos renacentistas, manieristas y barrocos
The Real Alcazar of Seville is a walled palace complex built in different historical stages. The original palace was built in the early Middle Ages. Some traces of Islamic art are preserved and, from the period after the Castilian conquest, a Mudejar palace space and another of Gothic style. Later renovations added Renaissance, Mannerist and Baroque elements.
Bernardine monastery complex in Leżajsk - The origins of the monastery date back to the first half 17th century.
The monastery complex built on the site where according to tradition was appear to Thomas Michałkowki Virgin Mary with St. Joseph. The team consists with church Annunciation N.M.P. and adjacent to its monastery. It was surrounded by walls with towers and gates. In the church extremely valuable organs and rigging style Baroque, Rococo and Mannerist.
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Zespół klasztorny bernardynów w Leżajsku – Początki klasztoru sięgają I poł. XVII w.
Zespół klasztorny wzniesiony w miejscu, gdzie według tradycji miała ukazać się Tomaszowi Michałkowki Matka Boska ze św. Józefem. W skład zespołu wchodzi: kościół p.w. Zwiastowania N.M.P. oraz przyległy do niego klasztor. Całość otoczona murami obronnymi z basztami i bramami. W kościele niezwykle cenne organy oraz wyposażenie barokowe, rokokowe i manierystyczne
"The Szczebrzeska Gate in Zamość – one of the old gates in the Old Town of Zamość, and also part of the Zamość fortress.
The former Szczebrzeska Gate (also known as Floriańska Gate) was built at the beginning of the 17th century, when Zamość was expanded, as one of three gates at that time, located on the southern line of the city walls, on the road to the west. This Mannerist gate with attics was rebuilt in the second half of the 18th century, when it was decorated with Rococo attics and sculptures, including St. Florian (destroyed during World War II) and St. Michael the Archangel, which is now located on one of the streets of the New Town.
Further changes were made during the partitions, in the first half of the 19th century, when its appearance was changed to the classicist style that remains to this day.
It was not the only building that was rebuilt and deprived of its original, richer appearance during the expansion of the fortress. Passage through this gate was possible until 1866, when it was bricked up. A new Szczebrzeska Gate was not built, as was the case with the new Lubelska and Lwowska Gates, which were built in the 1820s. During this period, it also housed a prison where Walerian Łukasiński (a Polish independence activist and major) was held captive.
In the interwar period, the “Sejmikowy” hotel was located here. Until the 1990s, it housed a police station, and later, for a certain period, the building was unused. Between 2007 and 2009, it underwent a thorough renovation (similar to other parts of the former city fortifications) as part of a project called “Conservation, renovation, and adaptation for cultural purposes of the Old Town fortifications in Zamość”, giving it its current appearance. Since 2012, a wooden footbridge, built as part of another project, has led to the green areas south of the gate.
After the aforementioned renovation works, it became possible to pass through the gate. Among others, the office of the Zamość Economic Subzone and the “Kosz” Jazz Club are located here."
The castle built in the style of the Renaissance and Mannerist, in the 16th and 17th centuries. The construction of the castle began Stanislaw Krasicki. Characteristic of it are 4 different corner towers: the Divine, Papal, Royal and Manor House. The castle is surrounded by a park.
At the beginning of the Second World War the castle was looted by Soviet soldiers. In 1940 the castle grounds filmmakers Soviet shook their anti-Polish film "Wind from the East", to justify the Soviet invasion of Poland September 17, 1939.
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Zamek wybudowany w stylu renesansowo-manierystycznym, w XVI i XVII wieku. Budowę zamku rozpoczął Stanisław Krasicki. Charakterystyczne dla niego są 4 odmienne wieże narożne: Boska, Papieska, Królewska i Szlachecka. Zamek jest otoczony parkiem.
Na początku II wojny światowej zamek został ograbiony przez żołnierzy sowieckich. W 1940 na terenie zamku filmowcy radzieccy kręcili antypolski film pt. „Wiatr ze Wschodu”, uzasadniający inwazję ZSRR na Polskę 17 września 1939.
The Alhambra is a palace and fortress complex located in Granada, Andalusia, Spain. It is now one of Spain's major tourist attractions, exhibiting the country's most significant and well-known Islamic architecture, together with 16th-century and later Christian building and garden interventions. The Alhambra is a UNESCO World Heritage Site.
It was originally constructed as a small fortress in AD 889 on the remains of Roman fortifications, and then largely ignored until its ruins were renovated and rebuilt in the mid-13th century by the Nasrid emir Mohammed ben Al-Ahmar of the Emirate of Granada, who built its current palace and walls. It was converted into a royal palace in 1333 by Yusuf I, Sultan of Granada.[1] After the conclusion of the Christian Reconquista in 1492, the site became the Royal Court of Ferdinand and Isabella (where Christopher Columbus received royal endorsement for his expedition), and the palaces were partially altered in the Renaissance style. In 1526 Charles I & V commissioned a new Renaissance palace better befitting the Holy Roman Emperor in the revolutionary Mannerist style influenced by humanist philosophy in direct juxtaposition with the Nasrid Andalusian architecture, but it was ultimately never completed due to Morisco rebellions in Granada.
This photo is taken from Plaza de San Nicolas, in front of the San Nicolas Church. While visiting Alhambra, one must visit this place to get the panoramic view of Alhambra. In our case it was rather by chance as we had free time and we asked a taxi driver to take us to some sites in Granada.
The Sierra Nevada mountain range is in the background.
Bernardine monastery complex in Leżajsk - The origins of the monastery date back to the first half 17th century.
The monastery complex built on the site where according to tradition was appear to Thomas Michałkowki Virgin Mary with St. Joseph. The team consists with church Annunciation N.M.P. and adjacent to its monastery. It was surrounded by walls with towers and gates. In the church extremely valuable organs and rigging style Baroque, Rococo and Mannerist.
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Zespół klasztorny bernardynów w Leżajsku – Początki klasztoru sięgają I poł. XVII w.
Zespół klasztorny wzniesiony w miejscu, gdzie według tradycji miała ukazać się Tomaszowi Michałkowki Matka Boska ze św. Józefem. W skład zespołu wchodzi: kościół p.w. Zwiastowania N.M.P. oraz przyległy do niego klasztor. Całość otoczona murami obronnymi z basztami i bramami. W kościele niezwykle cenne organy oraz wyposarzenie barokowe, rokokowe i manierystyczne
Bronze group by the sculptor Hans Reichle, cast by Wolfgang Neidhardt, above the portal of the Augsburg Zeughaus
(Arsenal)
The Zeughaus was erected between 1602 and 1607 by the Augsburg master builder Elias Holl, "the most important architect of late German Renaissance architecture." en.wikipedia.org/wiki/Elias_Holl
The designs for the Mannerist façade were made by the Swiss painter and architect Joseph Heintz the Elder. de.wikipedia.org/wiki/Augsburger_Zeughaus de.wikipedia.org/wiki/Joseph_Heintz_der_%C3%84ltere
Hans Reichle (* c. 1565-70 in Schongau; † 1642 in Brixen) was a South German and Tyrolean sculptor and Architect. Wolfgang Neidhardt (* 1575 in Ulm; † 1632 in Augsburg) was a German bronze founder and also a bell and gun founder (Glocken- und Stückgießer). de.wikipedia.org/wiki/Hans_Reichle de.wikipedia.org/wiki/Wolfgang_Neidhardt
The origin of this church dates back to 1320, although the current building dates from the second half of the 16th century, designed by the architect Antonio Rodrigues. In the Mannerist style, its interior is divided into three naves, supported by Tuscan columns, and is decorated with tiles depicting scenes from the life of Saint Peter. This decoration dates from the mid-18th century, when the interior of the church had to be rebuilt after a fire in April 1713. The earthquake of 1755 destroyed the main façade, and its reconstruction lasted until the end of the 18th century. In addition to the tile decoration, the ceiling of the central nave, which depicts the Triumph of Saint Peter, is noteworthy, as is the Rococo altarpiece on the main altar. It boasts an important sculptural and pictorial heritage. [...].
{JS, January 2018)
This is where I was led by my granddaughter Nora (left front with the tricycle).
In the background you can see the Catholic parish church of Mariä Himmelfahrt (Assumption of Mary). The predecessor of the present church dates back to the 13th and 14th centuries and was built in Gothic style. Of this, only the tower was left standing during the demolition in 1624. By 1628, a new building was erected in Mannerist style.
de.wikipedia.org/wiki/Weilheim_in_Oberbayern
de.wikipedia.org/wiki/Stadtpfarrkirche_Mari%C3%A4_Himmelf...(Weilheim)
The Alfama is the oldest neighborhood of Lisbon, spreading on the slope between the São Jorge Castle and the Tagus river. Its name comes from the Arabic al-ḥamma, meaning "hot fountains" or "baths," akin to "hammam". The district includes the freguesias (parishes) of São Miguel, Santo Estêvão, São Vicente de Fora and part of the two streets, "Freguesia da Sé: Rua do Barão" and "Rua São João da Praça". It contains many important historical attractions, as well as an abundance of Fado bars and restaurants.
The Rua do Barão is one of the streets of the Freguesia da Sé, which begins at the Rua São João da Praça (where once stood the Door of the Alfama) and ends at Rua Augusto Rosa (at the Cathedral's walls). The toponym "Rua do Barão" is because João Fernandes da Silveira, the first Baron of Alvito, minister of Portuguese kings Dom Afonso V and Dom João II, lived here.
During the times of Moorish rule, Alfama constituted the whole of the city, which later spread to the West (Baixa neighbourhood). Alfama became inhabited by the fishermen and the poor, and its condition as the neighbourhood of the poor continues to this day.
The 1755 Lisbon earthquake did not destroy the Alfama, which has remained a labyrinth of narrow streets and small squares. Lately the neighbourhood has been restored with the renovation of the old houses and new restaurants where Fado Portuguese typical is sometimes played.
Overlooking the Alfama is the medieval Castle of São Jorge, royal residence until the early 16th century with views of the city. In the slopes of Alfama there are other terraces (miradouros) from which to see the city, like the Miradouro de Santa Luzia, near the church of the same name and over remnants of the Moorish city walls, and the Miradouro das Portas do Sol (Gates of the Sun). Near Miradouro of Santa Luzia is located the Museum of Decorative Arts (Museu de Artes Decorativas), a 17th-century mansion.
From 2012, Alfama is part of the freguesia of Santa Maria Maior.
Among the churches of the Alfama are Lisbon Cathedral (12th–14th centuries), the oldest of the city and located to the West of the neighbourhood, the Convent of the Grace (Convento da Graça, 18th century), near the Castle, the mannerist Monastery of São Vicente de Fora (late 16th–18th century), where the Kings of the House of Braganza are buried, and the baroque Church of Santa Engrácia (17th century), now converted into a National Pantheon for important Portuguese personalities.
Fotografía capturada en el interior de el Real Alcá zar de Sevilla. Este lugar en el centro urbano de la ciudad y eje del casco histórico sevillano, es un conjunto palaciego amurallado construido en diferentes etapas históricas.
El palacio original se edificó en la alta edad media. Se conservan diferentes partes de arte islámico y de la etapa posterior a la conquista castellana, también un espacio palaciego mudéjar y otro de estilo gótico. En reformas posteriores se añadieron elementos renacentistas, manieristas y barrocos
Es la residencia de los miembros de la familia real española cuando visitan Sevilla, esto hace que sea el palacio real en uso más antiguo de Europa. La Unesco lo declaró Patrimonio de la Humanidad, junto a la catedral de Sevilla y al Archivo de Indias, en el año 1987.
English
Photograph captured inside the Real Alcázar in Seville. This place in the urban center of the city and axis of the historic center of Seville, is a walled palace complex built in different historical stages. The original palace was built in the high Middle Ages. Different parts of Islamic art and from the period after the Castilian conquest are preserved, as well as a Mudejar palatial space and another in the Gothic style. In later reforms, Renaissance, Mannerist and Baroque elements were added. It is the residence of the members of the Spanish royal family when they visit Seville, this makes it the oldest royal palace in use in Europe. Unesco declared it a World Heritage Site, next to the Cathedral of Seville and the Archivo de Indias, in 1987.
Cámara Nikon D850 con lente Nikkor 14-24 F2.8/G-ED, editada con Camera Raw y Photoshop CC 2019.
Recomiendo hacer doble click sobre la imagen y ver en grande.
I recommend see in larger, clicking double on the imagen.
Bernardine monastery complex in Leżajsk - The origins of the monastery date back to the first half 17th century.
The monastery complex built on the site where according to tradition was appear to Thomas Michałkowki Virgin Mary with St. Joseph. The team consists with church Annunciation N.M.P. and adjacent to its monastery. It was surrounded by walls with towers and gates. In the church extremely valuable organs and rigging style Baroque, Rococo and Mannerist.
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Zespół klasztorny bernardynów w Leżajsku – Początki klasztoru sięgają I poł. XVII w.
Zespół klasztorny wzniesiony w miejscu, gdzie według tradycji miała ukazać się Tomaszowi Michałkowki Matka Boska ze św. Józefem. W skład zespołu wchodzi: kościół p.w. Zwiastowania N.M.P. oraz przyległy do niego klasztor. Całość otoczona murami obronnymi z basztami i bramami. W kościele niezwykle cenne organy oraz wyposażenie barokowe, rokokowe i manierystyczne
Salt Cellar
Benvenuto Cellini (1500 - 1571)
Paris 1540-43
Gold, enamel, ebony, ivory
Kunsthistorisches Museum, Wien
Kunstkammer
de.wikipedia.org/wiki/Saliera en.wikipedia.org/wiki/Cellini_Salt_Cellar www.khm.at/en/objectdb/detail/87080/?offset=0&lv=list
Das Bürgermeister-Hintze-Haus ist ein Giebelhaus am Alten Hansehafen in Stade mit einer reich verzierten Weserrenaissance-Fassade. Es ist nach seinem ehemaligen Besitzer, dem Stader Bürgermeister (1617–1646), Reeder und Kaufmann Heino Hintze benannt, der 1621 die prachtvolle Hausfront vorblenden ließ. Das Gebäude war ursprünglich ein typisch spätmittelalterliches Kaufmannshaus. Auf dem Prunkgiebel befinden sich sieben Türmchen, an der Werksteinfassade aus grauweißem Sandstein mit Flächen aus verputztem Backstein, tropfende Goldbuchstaben und manieristischer Fassadenstuck. Das Gebäude wurde 1930 wegen Baufälligkeit (Überschwemmungen, schlechtes Fundament) abgerissen und die Fassade mit dem gesicherten alten Material 1932/33 wiederaufgebaut; dahinter entstand ein verkürzter Neubau.
de.wikipedia.org/wiki/B%C3%BCrgermeister-Hintze-Haus
The Mayor-Hintze House is a gabled house located at the Old Hanseatic Harbor in Stade, featuring a richly decorated Weser Renaissance façade. It is named after its former owner, the mayor of Stade (1617–1646), shipowner, and merchant Heino Hintze, who had the magnificent facade added in 1621. The building was originally a typical late medieval merchant's house. The magnificent gable features seven turrets, while the gray-white sandstone façade with plastered brick surfaces features dripping gold lettering and Mannerist stucco. The building was demolished in 1930 due to dilapidation (flooding, poor foundation), and the façade was rebuilt using the preserved old materials in 1932/33. A shortened new building was constructed behind it.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Italia, Emilia-Romagna, Bologna, Primavera 2023
Bologna è una città e la capitale della regione Emilia-Romagna nel nord Italia. È conosciuta come la Città Grassa per la sua ricca cucina e la Città Rossa per i suoi tetti di tegole rosse in stile spagnolo e, più recentemente, per la sua politica di sinistra. È chiamata anche la Città Dotta perché ospita la più antica università del mondo. Di origine etrusca, la città è stata per secoli un importante centro urbano, prima sotto gli Etruschi (che la chiamarono Felsina), poi sotto i Celti come Bona, poi sotto i Romani (Bonōnia), poi ancora nel Medioevo, come libero municipio e poi signoria, quando era tra le più grandi città europee per popolazione. Famosa per le sue torri, chiese e lunghi portici, Bologna ha un centro storico ben conservato, grazie a un'attenta politica di restauro e conservazione iniziata alla fine degli anni '70. Sede della più antica università in attività continua fondata nel 1088 d.C., la città ha una numerosa popolazione studentesca che le conferisce un carattere cosmopolita. La Fontana del Nettuno (italiano: Fontana di Nettuno) è una monumentale fontana civica situata nell'omonima piazza, Piazza del Nettuno, accanto a Piazza Maggiore. La fontana è un esempio esemplare del gusto manierista dell'élite cortigiana italiana della metà del Cinquecento.
Bologna is a city in and the capital of the Emilia-Romagna region in Northern Italy. It is known as the Fat City for its rich cuisine, and the Red City for its Spanish-style red tiled rooftops and, more recently, its leftist politics. It is also called the Learned City because it is home to the oldest university in the world. Originally Etruscan, the city has been an important urban center for centuries, first under the Etruscans (who called it Felsina), then under the Celts as Bona, later under the Romans (Bonōnia), then again in the Middle Ages, as a free municipality and later signoria, when it was among the largest European cities by population. Famous for its towers, churches and lengthy porticoes, Bologna has a well-preserved historical centre, thanks to a careful restoration and conservation policy which began at the end of the 1970s. Home to the oldest university in continuous operation established in AD 1088, the city has a large student population that gives it a cosmopolitan character. The Fountain of Neptune (Italian: Fontana di Nettuno) is a monumental civic fountain located in the eponymous square, Piazza del Nettuno, next to Piazza Maggiore. The fountain is a model example of Mannerist taste of the Italian courtly elite in the mid-sixteenth century.
Neptune's Fountain (German: Neptunbrunnen) is a historic fountain in Gdańsk (Danzig), a mannerist-rococo masterpiece, and one of the most distinctive landmarks of the city. The fountain is located at the Długi Targ, in front of the entrance to the Artus Court. It was constructed in the early 17th century. Kashubians use a nickname Krësztof for the sculpture.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Bernardine monastery complex in Leżajsk - The origins of the monastery date back to the first half 17th century.
The monastery complex built on the site where according to tradition was appear to Thomas Michałkowki Virgin Mary with St. Joseph. The team consists with church Annunciation N.M.P. and adjacent to its monastery. It was surrounded by walls with towers and gates. In the church extremely valuable organs and rigging style Baroque, Rococo and Mannerist.
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Zespół klasztorny bernardynów w Leżajsku – Początki klasztoru sięgają I poł. XVII w.
Zespół klasztorny wzniesiony w miejscu, gdzie według tradycji miała ukazać się Tomaszowi Michałkowki Matka Boska ze św. Józefem. W skład zespołu wchodzi: kościół p.w. Zwiastowania N.M.P. oraz przyległy do niego klasztor. Całość otoczona murami obronnymi z basztami i bramami. W kościele niezwykle cenne organy oraz wyposażenie barokowe, rokokowe i manierystyczne
Francesco Salviati, pseudonym of Francesco de' Rossi, was a Florentine mannerist painter. He was named after his loyal patron, Cardinal Giovanni Salviati, the uncle of Cosimo I. Giorgio Vasari wrote that Salviati "possessed a more beautiful style than anyone else in Florence in his time”. He was a renowned portraitist and fresco painter admired for his speed of execution and his ability to stage complex secular or sacred allegories.
The first block is characterised by its academic design, including baroque features on the front doors, while the newer part combines more traditional and mannerist styles.
The City Council has been based there since 1934, and the building also houses the municipal archives, a museum, and various offices of the administration.
El primer bloque se caracteriza por su diseño académico, que incluye elementos barrocos en las puertas de entrada, mientras que la parte más nueva combina estilos más tradicionales y manieristas.
El Ayuntamiento tiene su sede allí desde 1934, y el edificio también alberga el archivo municipal, un museo y varias oficinas de la administración.
València (Spain).
Vista des de el Albaicín.
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https://es.wikipedia.org/wiki/Alhambra
La Alhambra es un complejo monumental sobre una ciudad palatina andalusí situado en Granada, España. Consiste en un conjunto de antiguos palacios, jardines y fortaleza (alcazaba, del árabe: القصبة al-qaṣbah ‘ciudadela’) inicialmente concebido para alojar al emir y la corte del Reino nazarí, más tarde como residencia real castellana y de sus representantes. Su singularidad artística radica en los interiores de los palacios nazaríes, cuya decoración está entre las cumbres del arte andalusí, así como en su localización y adaptación, generando un paisaje nuevo pero totalmente integrado con la naturaleza preexistente. Además, alberga un museo de arte andalusí, la pinacoteca principal de la ciudad así como un antiguo convento convertido en Parador nacional.
El complejo es gestionado por la institución Patronato de la Alhambra y el Generalife. En 2016 esta reportó ser el segundo espacio más visitado de España, tras la Sagrada Familia de Barcelona, con 2 615 1883 visitantes.
Etimológicamente, «Alhambra» en árabe es «al-Ḥamrāʼ» (اَلْحَمْرَاء, 'la Roja'), procedente del nombre completo «al-Qal'a al-hamra» ('castillo rojo'). En su evolución, el español intercala entre la m y la r una b, como en «alfombra», que en el árabe clásico tenía el significado de 'rojez', escrito como «al-humra». Existen más teorías para explicar el origen del nombre de la Alhambra, pues hay otros autores que arguyen que en la época andalusí la Alhambra estaba encalada y su color era blanco. El nombre de «roja» le vendría porque cuando se construyó se trabajaba de noche, y vista por la noche, desde lejos, debido a la luz de las antorchas, se veía roja. Otros autores defienden que «Alhambra» es simplemente el nombre en femenino de su fundador, Abu al-Ahmar (Muhammad I, reinado 1238-1273), que en árabe significa 'el Rojo', por ser pelirrojo.
La Alhambra se levantó sobre la colina de la Sabika, uno de los puntos más elevados de la ciudad de Gharnata. Este emplazamiento buscaba una situación estratégica defensiva y a la vez transmitir un claro símbolo, donde la cima del poder es muy perceptible para el resto de la ciudad, una ubicación escogida para ser contemplada.
La colina de la Sabika ya era un espacio ocupado con anterioridad, al menos desde tiempo de los romanos y las primeras referencias escritas de un emplazamiento militar en la zona datan del año 666. Así se tiene constancia de los núcleos de Iliberis (Elvira), en el Albaicín y Alcazaba, Castilia, cerca del actual pueblo de Atarfe, y Garnata en la colina frente a la Alcazaba como un barrio de Iliberis en la comarca y en el 756 los núcleos de El Albaicín y La Alhambra. La extensión de la colina permite albergar el complejo ocupando este unos 740 m de longitud y entre 180 m y 40 m de anchura.6
A partir de la muerte de Alhakén II, tercer califa Omeya, en 976, la historia política del califato Omeya se convirtió en un cúmulo de reveses. La reconquista cristiana pasó a ser el impulso dominante dentro de la península. En este contexto, la transformación de Gharnata de pequeña población en ciudad de cierta importancia ocurrió a principios del siglo XI, cuando la dinastía bereber de los Ziríes formó un principado semiindependiente. Bajo los tres gobernantes Habus, Badis y Abdallah (1025-1090) la ciudad aumentó en población.[cita requerida]
Los edificios estaban concentrados en la colina de la Alcazaba y en su entorno inmediato. Para la formación de la Alhambra el acontecimiento más importante es la construcción por el visir Yusuf ibn Nagrela de una fortaleza-palacio en la colina de la Sabika. Un poema de Ibn Gabirol parece indicar que los leones de la fuente de los Leones se hallaban originariamente en el palacio de este visir judío. Puede que haya habido otras construcciones puramente militares en la colina de la Alhambra durante el período zirí, pero es difícil distinguirlas con precisión.
El año 1238 señaló un segundo momento crucial. Muhammad ibn Nasr tomó la ciudad. La paradoja de la Granada nazarí consiste en el hecho de que un poder político y militar decadente, moribundo en realidad, coincidiera con una cultura original y sorprendentemente rica. La Alhambra se creó en un mundo políticamente inestable y económicamente próspero. Así, Muhammad aceptó una relación de vasallaje con la corona de Castilla, y así entró por la Puerta de Elvira para ocupar el palacio del Gallo del Viento (la antigua Alhambra), Mohamed-Ben-Nazar (o Nasr), llamado Al-Hamar el Rojo por el color de su barba.
Ben-Al-Hamar construyó el primer núcleo del palacio, fortificándolo posteriormente su hijo Mohamed II. Con toda probabilidad las murallas exteriores y el acueducto se completaron al final del siglo XIII. Los jardines y pabellones del Generalife datan al parecer del reinado de Isma'il (1314-1325). Pero los emplazamientos más importantes de la Alhambra (el complejo del patio de los Arrayanes y el de los Leones) pertenecen a la época de Yusuf I (1333-1354) y Muhammed V, este estilo granadino es la culminación del arte andalusí. Tras tres siglos de actividad, quedan bien diferenciados los tres sectores en la Alhambra: la alcazaba, el entramado urbano y los palacios.
En 1492, finalizó la conquista de Granada por los Reyes Católicos. Hernando del Pulgar, cronista de la época, cuenta: "El conde de Tendilla y el Comendador Mayor de León, Gutierre de Cárdenas, recibieron de Fernando el Católico las llaves de Granada, entraron en la Alhambra y encima de la Torre de Comares alzaron la cruz y la bandera". La Alhambra pasa así a ser ciudadela y palacio real de los reyes cristianos y el complejo continúa su desarrollo, se añade el convento de San Francisco en 1494, el palacio de Carlos V en 1527 o la iglesia de Santa María de la Encarnación de la Alhambra en 1581.
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EL LLANTO DE BOABDIL
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"No llores como mujer lo que no supiste defender como hombre."
Dicen de esta frase que fue pronunciada por Aixa, madre de Boabdil cuando éste rindió Granada. Eran las tres de la tarde del 2 de enero de 1492 cuando Abu Abdallah Muhammad b. Ali, Muhammad XII, Boabdil para los cristianos, salió de la Alhambra por la puerta más cercana al Genil. Allí acongojado y roto por el dolor, el emir se bajó de su caballo e inclinándose ante el Rey Fernando de Aragón y todo su séquito de nobles intentó besarle la mano mientras le entregaba las llaves de la ciudad. El Rey, sosteniéndole, lo incorporó para evitarle la deshonra y tomó las llaves de la Alhambra, se las dio a Isabel, la Reina, y ésta a su vez al Príncipe Juan, quien se las pasó al que sería nombrado alcaide la Alhambra, el conde de Tendilla.
Según las crónicas cristianas, o quien sabe, la propia leyenda surgida de momento tan doloroso, Boabdil montó en su caballo para dirigirse a los feudos que los Reyes Católicos le habían cedido para su disfrute en Adra, y desde el cerro más cercano detuvo su montura. Quiso volver su vista atrás para echar una última mirada a su reino perdido, y desolado, lloró como un niño. A sus espaldas, fue la sultana Aixa, su madre, quien pronunció tan lapidaria frase. El cerro se llama Suspiro del moro.
El Albaicín entero lloró la pérdida. Granada gritó y clamó por la capitulación de su ciudad mora. Hubo unas pocas revueltas, desesperados por el fin de todo un reino, pero finalmente, Granada, la nazarí, quedó rendida.
...
El Sol de Al-Andalus desaparecido quedó,
que la voluntad de Allah se cumpla,
que cada desdichado se encierre con su tristeza.
...
(Al-Maqqarí).
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https://en.wikipedia.org/wiki/Alhambra
The Alhambra (/ælˈhæmbrə/ (About this soundlisten), Spanish: [aˈlambɾa]; Arabic: الْحَمْرَاء, romanized: Al-Ḥamrāʾ, pronounced [alħamˈraːʔ], lit. '"The Red One"') is a palace and fortress complex located in Granada, Andalusia, Spain. It was originally constructed as a small fortress in 889 CE on the remains of Roman fortifications, and then largely ignored until its ruins were renovated and rebuilt in the mid-13th century by the Nasrid emir Mohammed ben Al-Ahmar of the Emirate of Granada, who built its current palace and walls with many beautiful, intricate details. It was converted into a royal palace in 1333 by Yusuf I, Sultan of Granada.[1] After the conclusion of the Christian Reconquista in 1492, the site became the Royal Court of Ferdinand and Isabella (where Christopher Columbus received royal endorsement for his expedition), and the palaces were partially altered in the Renaissance style. In 1526 Charles I & V commissioned a new Renaissance palace better befitting the Holy Roman Emperor in the revolutionary Mannerist style influenced by humanist philosophy in direct juxtaposition with the Nasrid Andalusian architecture, but it was ultimately never completed due to Morisco rebellions in Granada.
Alhambra's last flowering of Islamic palaces was built for the final Muslim emirs in Spain during the decline of the Nasrid dynasty, who were increasingly subject to the Christian Kings of Castile. After being allowed to fall into disrepair for centuries, the buildings occupied by squatters, Alhambra was rediscovered following the defeat of Napoleon, who had conducted retaliatory destruction of the site. The rediscoverers were first British intellectuals and then other north European Romantic travelers. It is now one of Spain's major tourist attractions, exhibiting the country's most significant and well-known Islamic architecture, together with 16th-century and later Christian building and garden interventions. The Alhambra is a UNESCO World Heritage Site.
Moorish poets described it as "a pearl set in emeralds", an allusion to the colour of its buildings and the woods around them.[The palace complex was designed with the mountainous site in mind and many forms of technology were considered. The park (Alameda de la Alhambra), which is overgrown with wildflowers and grass in the spring, was planted by the Moors with roses, oranges, and myrtles; its most characteristic feature, however, is the dense wood of English elms brought by the Duke of Wellington in 1812.[citation needed] The park has a multitude of nightingales and is usually filled with the sound of running water from several fountains and cascades. These are supplied through a conduit 8 km (5.0 mi) long, which is connected with the Darro at the monastery of Jesus del Valle above Granada.
Despite long neglect, willful vandalism, and some ill-judged restoration, the Alhambra endures as an atypical example of Muslim art in its final European stages, relatively uninfluenced by the direct Byzantine influences found in the Mezquita of Córdoba. Most of the palace buildings are quadrangular in plan, with all the rooms opening on to a central court, and the whole reached its present size simply by the gradual addition of new quadrangles, designed on the same principle, though varying in dimensions, and connected with each other by smaller rooms and passages. Alhambra was extended by the different Muslim rulers who lived in the complex. However, each new section that was added followed the consistent theme of "paradise on earth". Column arcades, fountains with running water, and reflecting pools were used to add to the aesthetic and functional complexity. In every case, the exterior was left plain and austere. Sun and wind were freely admitted. Blue, red, and a golden yellow, all somewhat faded through lapse of time and exposure, are the colors chiefly employed. The name Alhambra means the red one or the red castle, which refers to the sun-dried bricks that the outer wall is made of.
The decoration consists for the upper part of the walls, as a rule, of Arabic inscriptions—mostly poems by Ibn Zamrak and others praising the palace—that are manipulated into geometrical patterns with vegetal background set onto an arabesque setting ("Ataurique"). Much of this ornament is carved stucco (plaster) rather than stone. Tile mosaics ("alicatado"), with complicated mathematical patterns ("tracería", most precisely "lacería"), are largely used as panelling for the lower part. Metal was also not present very mainly.[clarification needed] Similar designs are displayed on wooden ceilings (Alfarje).[4] Muqarnas are the main elements for vaulting with stucco, and some of the most accomplished dome examples of this kind are in the Court of the Lions halls. The palace complex is designed in the Nasrid style, the last blooming of Islamic Art in the Iberian Peninsula, that had a great influence on the Maghreb to the present day, and on contemporary Mudejar Art, which is characteristic of western elements reinterpreted into Islamic forms and widely popular during the Reconquista in Spain.
The Town Hall is the main Mannerist-Baroque building in the Old Market Square in Zamość, as well as in the entire Old Town. It has a 52-meter clock tower and wide, fan-shaped stairs.
The construction of the first form of the town hall began in 1591. It was rebuilt and modernized many times. In the interwar period (1937-39), the town hall was thoroughly reconstructed.
The Old Market Square is surrounded by stylish historic tenement houses with arcades.
The entire Old Town in Zamość was included on the UNESCO World Heritage List in 1992.
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Ratusz jest głównym budynkiem manierystyczno-barokowym, na zamojskim Starym Rynku, jak również w całym Starym Mieście. Posiada 52-metrową wieżę zegarową oraz szerokie, wachlarzowe schody.
Budowę pierwszej formy ratusza rozpoczęto w roku 1591. Był wielokrotnie przebudowywany i modernizowany. W okresie międzywojennym (1937-39 r.) przeprowadzono gruntowną rekonstrukcję ratusza.
Stary Rynek jest otoczony stylowymi zabytkowymi kamienicami z podcieniami.
Całe Stare Miasto w Zamościu zostało wpisane na światową listę zabytków UNESCO w 1992 roku.
En el centro, la estatua del fisiólogo y naturalista local Johannes Peter Muller, y a su espalda uno de los rincones mas bonitos del casco histórico de la ciudad: la fachada de la Iglesia de los Jesuitas, con su rosetón de estilo manierista (1613-1617) y el Ayuntamiento con sus ventanas rojas (1699).
Square of the Jesuits, in Koblenz.
In the center, the statue of the physiologist and naturalist local Johannes Peter Müller, and to its back one of them corners more beautiful of the helmet historical of it City: the facade of the Church of them Jesuit, with its rosette of style Mannerist (1613-1617) and the Town Hall with their windows red (1699.
Coblenza. Renania-Palatinado. Alemania.
Il Monte dei Cappuccini è una collina di 325 m s.l.m. che sorge nella città di Torino, a circa 200 metri dalla riva destra del Po, in quartiere Borgo Po. È molto vicino al centro storico, in prossimità del Ponte Vittorio Emanuele I, che dà accesso a Piazza Vittorio Veneto. Su di esso, si erge il convento e la chiesa tardo-rinascimentale, manierista, e con interni barocchi di Santa Maria al Monte, affidato ai frati Cappuccini, da cui il nome.
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Monte dei Cappuccini is a hill of 325 m s.l.m. which is located in the city of Turin, about 200 meters from the right bank of the Po, in the Borgo Po district. It is very close to the historic center, near the Vittorio Emanuele I Bridge, which gives access to Piazza Vittorio Veneto. On it, stands the convent and the late Renaissance Mannerist church with Baroque interiors of Santa Maria al Monte, entrusted to the Capuchin friars, hence the name.
Located in the southern Spanish town of Seville, the Alcázar is a royal palace which was built by the Moorish rulers who occupied the peninsula from the 8th century onwards. It is by and large considered to be one of the most outstanding examples of Mudéjar art to exist today.
All the palaces of Andalusia had garden orchards with fruit trees, horticultural produce and a wide variety of fragrant flowers. The gardens adjoining the Alcázar of Seville have undergone many changes. In the 17th century during the reign of Philip III the Italian designer Vermondo Resta introduced the Italian Mannerist style. Resta was responsible for the Galeria de Grutesco (Grotto Gallery) transforming the old Muslim wall into a loggia from which to admire the view of the palace gardens.
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Il est constitué de deux corps de bâtiment unifiés : les anciennes Ecoles de l’Archevêque Mayoral, « Casa de la Enseñanza», et l’édifice bâti au XXe siècle, œuvre des architectes Francisco de Mora y Berenguer et Carlos Carbonell Pañella. Le premier bloc a un style général académique avec des éléments baroques sur les portes principales et le plus récent mêle traditionalisme et éléments maniéristes. L’établissement définitif de la Municipalité dans ce bâtiment se produisit en 1.934. Il abrite les Archives municipales et le musée de la ville, le reste étant occupé par différentes dépendances administratives. La construction est moderne et monumentale. La décoration est abondante et riche en éléments valenciens. Au centre de la façade principale se trouve une tour abritant l’horloge. A l’intérieur, le Salon des Fêtes et le Salon des Réunions sont remarquables de même que le grand escalier en marbre. A l’extérieur, il convient de signaler les deux coupoles ovales recouvertes de carreaux de faïence, et le grand balcon qui surplombe le corps central du premier étage.
It consists of two unified buildings: the former Schools of the Archbishop Mayoral, “Casa de la Enseñanza”, and the building built in the 20th century, the work of architects Francisco de Mora y Berenguer and Carlos Carbonell Pañella. The first block has a general academic style with baroque elements on the main doors and the newer one mixes traditionalism and mannerist elements. The definitive establishment of the Municipality in this building occurred in 1934. It houses the Municipal Archives and the City Museum, the rest being occupied by various administrative dependencies. The construction is modern and monumental. The decoration is abundant and rich in Valencian elements. In the center of the main facade is a tower housing the clock. Inside, the Salon des Fêtes and the Salon des Réunion are remarkable, as is the grand marble staircase. Outside, the two oval cupolas covered with earthenware tiles, and the large balcony overlooking the central body of the first floor should be noted.
El Real Alcázar de Sevilla es un conjunto palaciego amurallado construido en diferentes etapas históricas. El palacio original se edificó en la Alta Edad Media. Se conservan algunos vestigios de arte islámico y, de la etapa posterior a la conquista castellana, un espacio palaciego mudéjar y otro de estilo gótico. En reformas posteriores se añadieron elementos renacentistas, manieristas y barrocos
The Real Alcazar of Seville is a walled palace complex built in different historical stages. The original palace was built in the early Middle Ages. Some traces of Islamic art are preserved and, from the period after the Castilian conquest, a Mudejar palace space and another of Gothic style. Later renovations added Renaissance, Mannerist and Baroque elements.
Texture : Tóta Þórunn Þorsteinsdóttir. ( Þ=Th )
La sculpture monumentale et monochrome Danse Macabre évoque à la fois un sentiment nostalgique et mélancolique. Le carrousel est gris et les chevaux et les voitures semblent pétrifiés. Dans ce manège, le temps semble figé, le moteur s'est arrêté et toute gaieté a disparu. Il a une qualité fantasmagorique qui oscille entre le rêve et le cauchemar. Les chevaux montent et descendent dans votre imagination ? Entendez-vous l'orgue jouer ? Pouvez-vous sentir la barbe à papa? Ou pouvez-vous simplement voir une image fixe qui fait référence au besoin humain de se divertir ?
Artiste pluridisciplinaire, Hans Op de Beeck suit un parcours artistique remarquable. La liste des médias est longue, allant de la sculpture à l'installation, en passant par la photographie et l'aquarelle, la vidéo et l'opéra. Au cours du processus de création, l'artiste s'éloigne souvent de situations familières et ajoute une touche aliénante. Ainsi, Op de Beeck crée un monde fictif qui évoque la complexité de la réalité. Selon le contenu de l'œuvre d'art, généralement d'un point de vue social ou culturel et historique, Op de Beeck considère diverses formes d'esthétique qui aboutissent souvent à des formes sereines et minimalistes, mélangées à des éléments grandiloquents et maniéristes. Avec son travail fortement mis en scène, l'artiste veut créer la tranquillité et encourager les spectateurs à se contempler, à la société ou au sens de la vie et de la mort.
The monumental, monochrome sculpture Danse Macabre evokes both a nostalgic and melancholy feeling. The carousel is gray and the horses and carriages seem petrified. In this merry-go-round, time seems frozen, the engine has stopped and all joy has disappeared. It has a spooky quality that oscillates between dream and nightmare. Do horses go up and down in your imagination? Do you hear the organ playing? Can you smell the cotton candy? Or can you just see a still image that references the human need for entertainment?
A multidisciplinary artist, Hans Op de Beeck follows a remarkable artistic path. The list of media is long, ranging from sculpture to installation, photography and watercolour, video and opera. During the creative process, the artist often departs from familiar situations and adds an alienating touch. Thus, Op de Beeck creates a fictional world that evokes the complexity of reality. Depending on the content of the artwork, usually from a social or cultural and historical point of view, Op de Beeck considers various forms of aesthetics which often result in serene and minimalist forms, mixed with bombastic and mannerist elements. . With his strongly staged work, the artist wants to create tranquility and encourage viewers to contemplate themselves, society or the meaning of life and death.
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Church of Luz de Tavira
This is one of the few churches in the Algarve that survived the 1755 earthquake. It still maintains part of the original structure built in the 16th century. The façade and retable are in the Mannerist style. The baptismal font and side portal are in a ornamented Manueline style.On the walls, four stone rosettes symbolise the heavenly bodies-the sun, moon and stars. - See more at: www.tavira-today.com/Tavira_Churches.html#sthash.lcFJx4w1...
Il est constitué de deux corps de bâtiment unifiés : les anciennes Ecoles de l’Archevêque Mayoral, « Casa de la Enseñanza», et l’édifice bâti au XXe siècle, œuvre des architectes Francisco de Mora y Berenguer et Carlos Carbonell Pañella. Le premier bloc a un style général académique avec des éléments baroques sur les portes principales et le plus récent mêle traditionalisme et éléments maniéristes. L’établissement définitif de la Municipalité dans ce bâtiment se produisit en 1.934. Il abrite les Archives municipales et le musée de la ville, le reste étant occupé par différentes dépendances administratives. La construction est moderne et monumentale. La décoration est abondante et riche en éléments valenciens. Au centre de la façade principale se trouve une tour abritant l’horloge. A l’intérieur, le Salon des Fêtes et le Salon des Réunions sont remarquables de même que le grand escalier en marbre. A l’extérieur, il convient de signaler les deux coupoles ovales recouvertes de carreaux de faïence, et le grand balcon qui surplombe le corps central du premier étage.
It consists of two unified buildings: the former Schools of the Archbishop Mayoral, “Casa de la Enseñanza”, and the building built in the 20th century, the work of architects Francisco de Mora y Berenguer and Carlos Carbonell Pañella. The first block has a general academic style with baroque elements on the main doors and the newer one mixes traditionalism and mannerist elements. The definitive establishment of the Municipality in this building occurred in 1934. It houses the Municipal Archives and the City Museum, the rest being occupied by various administrative dependencies. The construction is modern and monumental. The decoration is abundant and rich in Valencian elements. In the center of the main facade is a tower housing the clock. Inside, the Salon des Fêtes and the Salon des Réunion are remarkable, as is the grand marble staircase. Outside, the two oval cupolas covered with earthenware tiles, and the large balcony overlooking the central body of the first floor should be noted.
The town hall with its outbuildings is a particularly valuable example of public utility architecture created in stages between the 16th and 18th centuries. The building is the work of Jan Jaroszewicz and Jan Wolff, who, on the basis of an earlier building by the creator of Zamość - B. Morando, created a mannerist building dominating the city space.
The Valderrobres Town Hall dates from the 16th century. Located in the entrance square which was the medieval fortification with which the entire nucleus of the city was protected. In order to access, you have to cross the "Sant Roc" bridge over the Matarranya river.
It was built under the orders of the master Antonio de Champanach in the mannerist style and was completed in 1599, a date that is carved on the shield of the facade.
La Casa consistorial de Valderrobres data del siglo XVI. Ubicada en la plaza de entrada a la que constituyó la fortificación medieval con la que se protegía todo el núcleo de la ciudad a la que para poder acceder hay que atravesar el puente de "Sant Roc" sobre el río Matarranya.
Se construyó bajo las órdenes del maestro Antonio de Champanach dentro del estilo manierista y se terminó en 1599, fecha que aparece esculpida en el escudo de la fachada.
Comarca del Matarranya
Valderrobres / Vall-de-Roures (Teruel/ Spain).
Duomo di Santa Maria Assunta.
Duomo / Cathedral facade.
A pisano-romanic triumph of blind arcades, open arcades and polychrome marble ornaments. Mannerist artist Giambologna fused the bronze doors to replace those that had been destroyed in the 1595 fire.
The castle in Krasiczyn was built in Renaissance-Mannerist style in 16th and 17th centuries. The construction of castle was started by Stanisław Krasicki. Characteristic for it are 4 different corner towers: Divine, Papal, Royal and Noble. The castle is surrounded by a park.
At the beginning of World War II, the castle was robbed by Soviet soldiers. In 1940, in the castle, Soviet filmmakers made an anti-Polish film entitled "Wind from the East", justifying the invasion of the USSR together with Germany on Poland in September 1939.
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Zamek w Krasiczynie był wybudowany w stylu renesansowo-manierystycznym w XVI i XVII wieku. Budowę zamku rozpoczął Stanisław Krasicki. Charakterystyczne dla niego są 4 odmienne wieże narożne: Boska, Papieska, Królewska i Szlachecka. Zamek jest otoczony parkiem.
Na początku II wojny światowej zamek został ograbiony przez żołnierzy sowieckich. W 1940 na terenie tego zamku filmowcy radzieccy zrobili antypolski film pt. „Wiatr ze Wschodu”, uzasadniający inwazję ZSRR razem z Niemcami na Polskę we wrześniu 1939.
c. 1580
Paolo Veronese (1528 - 1588)
Kunsthistorisches Museum Wien
"In the hands of Veronese even this gloomy scene gains in solemnity by – initially – focusing on stark colours to emphasise the heroine’s worldly beauty. Only on closer inspection do we catch sight of Holofernes’ dark head and the sack that is ready to contain it, held by the servant. It is exactly this contrast between light and dark, between beauty and terror, which gives the picture its Mannerist charm." www.khm.at/en/objectdb/detail/390/?lv=detail
In this context, I highly recommend the oratorio 'Juditha triumphans' (RV 644) by Antonio Vivaldi. This is more than two hours of the most gripping, fantastic music (in fact, discovering Vivaldi's sacred vocal music is like discovering a continent). Here is the link to a particularly well done concert: www.youtube.com/watch?v=dd_2D9Rg_Tk
As an appetiser, I recommend the aria 'Armatæ face et anguibus'. You can get there by clicking on 'SHOW MORE' under the video and then on '02:00:01'. Don't miss this art delight!
La Iglesia de San Francisco es una basílica católica que se levanta en medio del centro histórico de Quito, frente a la plaza del mismo nombre.
La estructura es el conjunto arquitectónico de mayor dimensión dentro de los centros históricos de toda América, y por ello es conocido como "el Escorial del Nuevo Mundo".
San Francisco es considerada una joya de la arquitectura continental por su mezcla de diferentes estilos combinados a lo largo de más de 150 años de construcción.
Sobre sus tres hectáreas y media de superficie se han construido trece claustros (seis de ellos de gran magnitud), tres iglesias, un gran Atrio, sumando aproximadamente cuarenta mil metros cuadrados de edificación. Allí se desarrollan múltiples actividades en la actualidad: las conventuales y religiosas, de atención pública en las áreas de salud, de comunicación, educativas y otras de corte popular que mantienen activo al edificio.
Dentro de la iglesia se encuentran más de 3.500 obras de arte colonial, de múltiples manifestaciones artísticas y variadas técnicas, especialmente aquellas correspondientes a la Escuela Quiteña de arte, que nació precisamente en este lugar. Posee también una biblioteca franciscana, descrita en el siglo XVII como la mejor del Virreinato del Perú.
Al conjunto le precede una plaza homónima que durante años abasteció a la ciudad de agua de su fuente central, y que ha funcionado como mercado popular, como espacio de concentraciones militares y políticas, y como lugar de encuentro y recreación social.
La escalera cóncavo-convexa que comunica la plaza con el Atrio, que resalta la fachada manierista-barroca del templo mayor, es considerada de gran importancia arquitectónica en América.
The Church of San Francisco is a Catholic basilica that stands in the middle of the historic center of Quito, facing the square of the same name.
The structure is the largest architectural complex within the historic centers of all America, and for this reason it is known as "the Escorial of the New World."
San Francisco is considered a jewel of continental architecture for its mixture of different styles combined over more than 150 years of construction.
On its three and a half hectares of surface area, thirteen cloisters have been built (six of them of great magnitude), three churches, a large Atrium, totaling approximately forty thousand square meters of building. There are currently many activities taking place there: conventual and religious, public attention in the areas of health, communication, education and others of a popular nature that keep the building active.
Inside the church there are more than 3,500 works of colonial art, of multiple artistic manifestations and varied techniques, especially those corresponding to the Quito School of art, which was born precisely in this place. It also has a Franciscan library, described in the 17th century as the best in the Viceroyalty of Peru.
The complex is preceded by a homonymous plaza that for years supplied the city with water from its central fountain, and which has functioned as a popular market, as a space for military and political gatherings, and as a place for social gathering and recreation.
The concave-convex staircase that connects the plaza with the Atrium, which highlights the mannerist-baroque façade of the main temple, is considered of great architectural importance in America.