The Church and Monastery of São Vicente de Fora, meaning "Monastery of St. Vincent Outside the Walls", is a 17th-century church and monastery in the city of Lisbon, Portugal. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.

The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. Built in Romanesque style outside the city walls, it was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.

The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.

The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of The Gesù, in Rome.

The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. It has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.

The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white, 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.

At the end of the Hall of the Five Hundred a small windowless side room was held. This masterpiece, the Studio (Studiolo) of Francis I de Medici, was also designed by Vasari and executed in Mannerist style (1570-1575). The walls and vaults are completely covered with paintings, stucco and sculptures. Many of the paintings are from Vasari's school and represent the four elements: water, earth, air and fire. The portrait of Cosme I and his wife, Leonor de Toledo, was made by Agnolo Bronzino. The delicate bronze sculptures were built by Giambologna and Bartolomeo Ammannati. Dismantled over the centuries, they were rebuilt only in the twentieth century.

Christus an der Geißelsäule

Adriaen de Vries (1556–1626)

ca. 1613/15

Bronze

86,5 cm × 19,2 cm × 21,4 cm

Kunsthistorisches Museum Wien, Kunstkammer

Adriaen de Vries was a Dutch Mannerist sculptor working in Central Europe. He specialised in bronze sculptures.

www.khm.at/en/objectdb/detail/94925/?offset=0&lv=list de.wikipedia.org/wiki/Adriaen_de_Vries

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.

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.

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.

The Church of Santo Stefano is a 16th-century church located in the Piazza dei Cavalieri in Pisa, Italy. It was built by Cosimo I de' Medici for the Order of the Knights of Santo Stefano, a military order founded to combat piracy in the Mediterranean Sea. The church is designed in the Mannerist style, and its façade is adorned with a large Medici coat of arms. The interior of the church is richly decorated with frescoes, paintings, and sculptures. Among the most notable works of art in the church are a series of frescoes by Giorgio Vasari and a painting of the Madonna and Child by Agnolo Bronzino. The Church of Santo Stefano is a popular tourist destination, and it is well worth a visit for its beautiful architecture and its impressive collection of art.

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".​

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 sus tres naves, San Francisco devela artesonados moriscos con lazos mudéjares, retablos profusamente decorados y columnas de diversos estilos. En el coro, la decoración mudéjar, original de finales del siglo XVI, se conserva íntegra porque la nave central se vino abajo con un terremoto y fue reemplazado por un artesonado barroco en 1770. Cielos mudéjares en los extremos, barrocos en la nave central, retablos llenos de imágenes, mascarones y querubines mirando al centro del Altar Mayor.

The Church of San Francisco is a Catholic basilica that stands in the middle of the historic center of Quito, in front of 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."

On its three and a half hectares of surface area, thirteen cloisters have been built (six of them large), three churches, a large atrium, totaling approximately forty thousand square meters of building. Multiple activities are currently carried out 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 plaza of the same name 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 its three naves, San Francisco reveals Moorish coffered ceilings with Mudejar ties, profusely decorated altarpieces and columns of various styles. In the choir, the Mudejar decoration, original from the end of the 16th century, is preserved intact because the central nave collapsed in an earthquake and was replaced by a Baroque coffered ceiling in 1770. Mudejar ceilings at the ends, Baroque in the central nave, altarpieces full of images, masks and cherubs looking towards the centre of the High Altar.

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.

-

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

#1328

89

The Church of São Julião was originally built in the second half of the 13th century. According to tradition, it was sponsored by the fishermen of Setúbal. It is known that, at the end of the 15th century, the church was connected to the Palace of Jorge de Lencastre, Master of the Order of Santiago and Duke of Aveiro. The Duke used the Church of São Julião as his private chapel until around 1510.

Between 1513 and 1520 the mediaeval church was rebuilt by order of King Manuel I. The rebuilding was sponsored by the King but also by the local population and the Master of Santiago. The style was the Manueline, the Portuguese variation of late Gothic, as attested by the main and lateral portals of the present church, the sole survivors of the Manueline building. In 1531 a strong earthquake stroke Setúbal and the Church of São Julião was damaged; the building was considerably modified in Mannerist style and reinaugurated in 1570.

The original church was almost completely destroyed by the Great Earthquake of 1755 and was greatly rebuilt and redecorated in the last third of the 18th century following the late Baroque style. From this stage date the general appearance of the façade, the inner wooden roof, the painted tiles, the main and lateral altarpieces and the main chapel.

( From. Wikipedia)

200/365,

For my video; youtu.be/XWdRSiPEu9s?si=ubdrplCPv5I68uYk,

Latvia

The House of the Blackheads is a building situated in the old town of Riga, Latvia. The original building was erected during the first third of the 14th century for the Brotherhood of Blackheads, a guild for unmarried merchants, shipowners, and foreigners in Riga. Major works were done in the early 17th century, adding most of the Mannerist ornamentation. The sculptures were made by the workshop of August Volz. Additionally, it is the site of the first decorated Christmas tree, which was erected in 1510.

The building was bombed to a ruin by the Germans on June 28, 1941 — a week after the launching of Operation Barbarossa — and the remains were demolished by the Soviets in 1948. It was rebuilt between 1996 and 1999 with funds provided by Valērijs Kargins, the president of Parex Bank. Part of the funds donated were from all the people who wanted to participate in the rebuilding process, by joining in the event ''I build the House of the Black Heads'', where by donating 5 lats (approximately 7-11 EUR) they could symbolically put a brick on the wall. There were more than 5,000 participants. The House of the Black Heads was officially opened on December 9, 1999.

Timeless

“The Palazzo Nuovo was constructed between 1603-1654 using the blueprint that Michelangelo employed a century earlier during the redesign of the Palazzo dei Conservatori (which this building faces). This is so that the facades of both buildings would be identical and thus close off the Piazza symmetrically.” (1)

The Palazzo Nuovo is one of three buildings in the Piazza del Campidoglio, realized by “Girolamo Rainaldi (4 May 1570 – 15 July 1655), an Italian architect who worked mainly in a conservative Mannerist style, often with collaborating architects. He was a successful competitor of Bernini. His son, Carlo Rainaldi, became an even more notable, more fully Baroque architect.” (2)

Sources: (1) en.cityzeum.com/p/palazzo-nuovo

(2) en.m.wikipedia.org/wiki/Girolamo_Rainaldi

Kamienice Ormiańskie, Wielki Rynek, Zamość, 22 września 2015 r.

Stojące w północnej pierzei zamojskiego Rynku Wielkiego podcieniowe kamienice pochodzą z połowy XVII w. Zostały wybudowane w stylu manierystyczno-barokowym w części miasta, która została przyznana Ormianom - zgodę na ich osiedlanie Jan Zamoyski wydał w 1585 r. Pięć kamienic najbliżej ratusza charakteryzuje się bogatymi zdobieniami: płaskorzeźbami, fryzami, ornamentami oraz attykami.

**

Armenian Houses, Wielki Rynek (Great Market Square), Zamość, September 22, 2015

Standing in the north frontage of the Zamość Great Market Square arcade houses date back from the middle 17th century. They were built in Mannerist-Baroque style in a part of the city which was granted by Jan Zamoyski to the Armenians. Five houses nearest the town hall present rich decorations: reliefs, friezes, ornaments and attics.

A Baroque-Mannerist church of Palermo. The church belongs to the Camillians (also known as "Crociferi").

The original design was probably prepared in Rome. In Palermo many architects were involved in the construction: Giovanni Macolino, Giacomo Amato, Giuseppe Clemente Mariani, Ferdinando Lombardo and Giuseppe Venanzio Marvuglia. The church was open in 1660, but because of financial difficulties, the construction was completed only in 1750 with the conclusion of the façade designed by Ferdinando Lombardo. The church houses many artworks of important artists.

Some relics of Saint Camillus are held in the church.

c/o Wikipedia

La iglesia Parroquial de la Asunción es un edificio gótico-renacentista del siglo XVI, estilo Manierista

Maestro constructor Sebastián Deixado "Xado", en la fachada se puede ver la siguiente inscripción: "A costa de Cretas me hizo Xado. 1566".

The Parish Church of the Assumption is a Gothic-Renaissance building from the 16th century, Mannerist style

Master builder Sebastián Deixado "Xado", on the façade you can see the following inscription: "At the expense of Cretas Xado made me. 1566".

Comarca del Matarranya

Cretas / Queretes (Teruel/ Spain).

One way to the old City from Toledo. The Bridge de San Martin cross the River Tajo.

Toledo is an ancient city perched on a hill above the Castilla-La Mancha plains in central Spain. The regional capital is known for its medieval Arabic, Jewish and Christian monuments in the walled old town. The Mannerist painter El Greco also lived here. The Moorish Puerta de Bisagra gate and the Mudejar-style Puerta del Sol gate lead to this quarter. The Plaza de Zocodover is a popular meeting place. (Source:Google)

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Sous-titre personnel "Fumer tue"

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.

gemeint ...

nein, ich brauchte nach dem gestrigen Manierismus einfach einen kurzen Minimalismus ;-) ...

und ihr wisst, ich brauch ab und zu das Wort "manieriert" ...

also bin ich langsam eine Erklärung schuldig und lasse, wie oft, Wiki ran, denn sie redet gern und viel, im Gegensatz zu mir ;-) ...

eigentlich noch zum gestrigen Deckengemälde mit dem ungewöhnlichen POV ...

Manierismus (von italienisch maniera‚ „Art und Weise“, „Stil“, „Manier“) ist eine kunsthistorische Bezeichnung für einen Stil bzw. eine Epoche der europäischen Kunst, die sich ungefähr in der Zeit zwischen 1520 (Tod Raffaels) und 1600 erstreckt,

außerhalb Italiens auch noch nach 1600.

Der Manierismus basiert ursprünglich auf der Idee, dass ein Künstler seinen ganz eigenen Stil, die maniera, entwickeln und hervorheben solle. Dabei werden alle technischen Möglichkeiten zu einer extremen Gestaltung ausgeschöpft.

Es ist je nach Definition eine Form der Spätrenaissance oder ein Übergangsstil zwischen Renaissance und Barock, die ihren Ursprung in Italien hatte, mit Zentren in Rom und Florenz. Manieristische Werke entstanden besonders in Malerei, Plastik und Baukunst, aber auch in Literatur und Musik. Literarische Werke lassen sich allgemein als manieristisch klassifizieren, wenn sie zwischen der Mitte des 16. Jahrhunderts und 1630 entstanden.

Zu den bekanntesten Manieristen gehören die Schule von Fontainebleau in Frankreich, Giovanni da Bologna, die meisten niederländischen Romanisten und die Künstler am Hof Kaiser Rudolphs II. in Prag, darunter Jan Vermeyen, Adrian de Vries, Ottavio Miseroni (1567–1624), Bartholomäus Spranger, Hans von Aachen und Joseph Heintz der Ältere (sogenannte rudolfinische Kunst).

Neben der kunstgeschichtlichen Bedeutung als Bezeichnung für eine Epoche und einen Stil wird der Begriff „manieriert“ im Allgemeinen pejorativ bzw. abwertend benutzt und bezeichnet dann eine Handlung, Haltung oder Sprechweise, die als gekünstelt, geziert, pathetisch oder schwülstig empfunden wird.

English

that's not meant to be pejorative...

no, I just needed a short minimalism after yesterday's mannerism ;-) ...

and you know, I need the word "mannered" every now and then...

so I'm slowly starting to owe an explanation and, as often, I'll let Wiki do it, because she likes to talk a lot, unlike me ;-) ...

actually, about yesterday's ceiling painting with the unusual POV...

Mannerism (from Italian maniera, "manner", "style", "manner") is an art-historical term for a style or an era of European art that extends roughly between 1520 (death of Raphael) and 1600,

outside Italy also after 1600.

Mannerism is originally based on the idea that an artist should develop and highlight his very own style, the maniera. In doing so, all technical possibilities for an extreme design are exploited.

Depending on the definition, it is a form of the late Renaissance or a transitional style between the Renaissance and the Baroque, which originated in Italy, with centers in Rome and Florence. Mannerist works were created especially in painting, sculpture and architecture, but also in literature and music. Literary works can generally be classified as Mannerist if they were created between the mid-16th century and 1630.

The most famous Mannerists include the School of Fontainebleau in France, Giovanni da Bologna, most Dutch Romanists and the artists at the court of Emperor Rudolph II in Prague, including Jan Vermeyen, Adrian de Vries, Ottavio Miseroni (1567–1624), Bartholomäus Spranger, Hans von Aachen and Joseph Heintz the Elder (so-called Rudolfinian art).

In addition to its art-historical meaning as a term for an era and a style, the term “mannered” is generally used pejoratively or derogatorily and describes an action, attitude or way of speaking that is perceived as artificial, affected, pathetic or pompous.

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#1387

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A jewel mud jar

Historic monument, the Church of the Divine Savior Parish is one of the jewels of Ayamonte and the oldest temple of the city, built in the fifteenth century in Mudejar style and subsequently renovated Baroque and Renaissance interventions. Housed in the upper quarter of the city, known as La Villa, close to where sat the now destroyed castle. The temple has a rectangular plan with three naves (separated by five pointed arches) and flat head. It has two covers, one seventeenth century at the foot of the temple, and other sixteenth-century Epistle Wall. Next to the main entrance stands a high tower, square and three bodies. The nave (where is the chapel) is taller and wider than the aisles, and houses a Baroque altarpiece, designed by the brothers Fernando and Francisco José José de Medinilla. The aisles welcome the chapel of San José or the Brotherhood of Holy Thursday (eighteenth century), and the baptismal chapel XVII century), and the altar of the Virgin of Pilar. Inside is remarkable series of pictorial Pasional Mystery of Christ, 8 tables mannerist made by Jan Sanders van Hemessen in the sixteenth century.

Paço Ducal de Vila Viçosa. Évora, Alentejo, Portugal. Europa.

38° 46′ 57″ N, 7° 25′ 19″ O

www.fcbraganca.pt/en/museum/ducal-palace/

Fundação Casa de Bragança.

A view of the Óbidos Aqueduct from the wall of the town of Obidos located in the Parish of Santa Maria in the Municipality of Óbidos in the District of Leiria in Portugal

Mannerist aqueduct with arches divided into three sections, with a length of six kilometers. Water transports from the mother water of Usseira in the valley of the arches and then to the fountain of the Plaza.

The Igreja de São João Evangelista is a magnificent example of a Mannerist temple from the 1600s in transition to the Portuguese baroque. Featuring a collection of carved golden altarpieces, the church also contains an impressive grand organ and eight gilded chapels decorated with azulejos, the highlight being the Chapel of the Eleven Thousand Virgins.

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Palazzo Te is a palace in Mantua (Mantova), Italy. It is an example of Mannerist architecture, and the acknowledged masterpiece of Giulio Romano.

Thank you for your visits / comments / faves!

#1496

106

Igreja dos Grilos is a church and convent in Porto, Portugal.

Built by the Jesuits in 1577 Mannerist Baroque-style, funded by donations from the faithful, as well as Frei Luís Álvaro de Távora, who is buried there, the Church and Convent of São Lourenço were built enduring strong opposition from both the Municipal Chamber and the population. However, the followers of St. Ignatius of Loyola finally got the much coveted school which provided free classes - this quickly resulted in a remarkable success.

With the expulsion of the Jesuits in 1759, by order of the Marquis of Pombal, the church was donated to the University of Coimbra until its purchase by the Discalced Friars of the Order of Saint Augustine that were there from 1780 to 1832. These friars came from Spain in 1663, settling initially in Lisbon, at the "site of Cricket" (lugar do Grilo), where they quickly gained the sympathy of the village, earning the name "brothers-crickets" (irmãos-grilos) and thus the name of the church where they fixed residence in Porto.

During the Siege of Porto, the brothers were forced to leave the convent, which later was occupied by the liberal troops of Dom Pedro. The Academic Battalion, integrating Almeida Garrett, settled there.

Today the premises belong to the Seminário Maior do Porto, to which they have belonged since 1834.

(Wikipedea)

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.

The first courtyard, accessed through the main gate of Piazza della Signoria, was designed in 1453 by Michelozzo. In 1565, on the occasion of the wedding between Francisco I de Médici, son of Cosme I, and Joan of Austria, sister of Emperor Maximilian II, the courtyard was transformed and decorated in a mannerist style, according to a project by Giorgio Vasari.

On the spectacles, around the whole courtyard, the insignia of the church and of the congregations of the art and crafts of the city were reproduced, while in the lower frames are painted, in honor of Joan of Austria herself, the Views of cities of the Habsburg empire . The vault was enriched with decorations in a grotesque style.

In the courtyard we find painted symbols of the Florence corporations and a fountain with a statue of a small angel with a dolphin (Putto with Delfino) by Andrea del Verrocchio.

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Around the corner from St Mark's Square lies Palazzo Ducale. A gorgeous corner section that houses the beautiful and graceful iconic street lights and the ornate architecture of the Doge's Palace.

According to www.palazzoducale.visitmuve.it, The Doge's Palace is a masterpiece of Gothic architecture and an impressive structure composed of layers of building elements and ornamentation, from its 14th and 15th century original foundations to the significant Renaissance and opulent Mannerist adjunctions. The structure is made up of three large blocks, incorporating previous constructions. The wing towards the St. Mark’s Basin is the oldest, rebuilt from 1340 onwards. The wing towards St. Mark’s Square was built in its present form from 1424 onwards. The canal-side wing, housing the Doge’s apartments and many government offices, dates from the Renaissance and was built between 1483 and 1565.

All that interested me though was composing an image before sunrise and capturing the scene in a state of peacefulness and serenity. I do love venturing out into busy cities throughout the night and seeing it in a way that few visitors do.

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Canon 24-70mm f4 @ 35mm

f11

13"

ISO100

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By Javier Velaza:

We don't know how to love, we just plagiarize.

We love as we believe it should be done,

with other people's words, with caresses

copied and borrowed gestures,

we emulate the kisses, the postures,

the gasps, the protests, the goodbyes.

youtu.be/Qh8QwVYOSVU?si=G3fCZ47F7fxR12dq

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, donde la Plaza de Zocodover es un animado lugar de reunión.

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 old 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, where the Plaza de Zocodover is a lively meeting place.

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View from near the Alhambra Palace. (SOOC, Nokia phone)

www.wikipedia.org/wiki/Alhambra

Sous-titre personnel "Fumer tue"

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.

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

Kalwaria Zebrzydowska is a town in southern Poland with 4,429 inhabitants (2007 estimate). As of 1999, it is situated in Lesser Poland or Małopolska. Previously, the town was administered within the Voivodeship of Bielsko-Biała. Monastery in Kalwaria Zebrzydowska is a UNESCO World Heritage Site. The Polish Pope John Paul II was further born in this area.

Palazzo Te is a palace in Mantua (Mantova), Italy. It is an example of Mannerist architecture, and the acknowledged masterpiece of Giulio Romano.

Thank you for your visits / comments / faves!

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.

These houses were built on Almohad constructions which in turn were built on a thermal complex from Roman times, found at a deeper level. Of the palace ordered to be built for Don Raimundo, who was the first bishop of Seville after the reconquest, there are practically no remains. Over the centuries it was expanded until the mid-sixteenth century one of the reforms leaves it with the structure that can be seen today, around two courtyards of mannerist style that is the first thing that the visitor perceives the monument. It has an area of 6,700 m² occupying almost an entire block.

The cover, Baroque style, the work of Lorenzo Fernandez de Iglesias and Diego Antonio Diaz, was built in the eighteenth century, is considered one of the best of the Sevillian Baroque, noteworthy colors albero and bull’s blood with which it is decorated, colors that accompany other landmark buildings in the city. In the last decades of the 18th century, the then archbishop, Alonso Marcos de Llanes Argüelles, endowed and opened the palace library. In addition, he made several commissions to the painter José Suárez for the decoration of the palace, and also for the archbishop’s palace of Umbrete, used by the archbishops as a summer residence.

During the Spanish War of Independence, it was used as the headquarters of the general command of the army and residence of Marshal Soult and his officers. Years later it was the Dukes of Montpensier, who were newly arrived in the city, who occupied its rooms as an occasional dwelling while work was being carried out at the palace of San Telmo.

visitasevilla.es/en/archbishops-palace/

L'église Notre-Dame du Val-de-Grâce, connue populairement comme l'église du Val-de-Grâce, est une église de style classique baroque français. Elle est rattachée au diocèse aux Armées françaises.

Si les plans d'origine sont de Mansart, ils sont par la suite repris par Jacques Lemercier, Pierre Le Muet et Gabriel Le Duc.

Le 1er avril 1645, Anne d'Autriche et Louis XIV (âgé de 7 ans) posent la première pierre de l'église de l'abbaye du Val-de-Grâce, fondée 20 ans plus tôt. La reine-mère remplit ainsi une promesse faite plus tôt, pour remercier Dieu d'avoir donné naissance à un fils. Les travaux sont interrompus un temps du fait de la disgrâce de la reine. Ils reprennent en 1655 et l'église est terminée la même année.

L'église a un plan en croix latine et un dôme visible du parvis.

La façade à deux étages, avec son double niveau de colonnes jumelées supportant un fronton triangulaire et ses deux ailerons caractéristiques, rappelle certaines élévations d'églises de la première moitié du XVIIe siècle. Plus clair et plus sobre que les maniéristes, François Mansart quadrille sa façade de lignes verticales.

The church of Notre-Dame du Val-de-Grâce, popularly known as the church of Val-de-Grâce, is a church in the classical French baroque style. It is attached to the diocese of the French Armies.

Although the original plans were drawn up by Mansart, they were later taken over by Jacques Lemercier, Pierre Le Muet and Gabriel Le Duc.

On 1 April 1645, Anne of Austria and Louis XIV (aged 7) laid the foundation stone for the church of the Val-de-Grâce abbey, which had been founded 20 years earlier. The Queen Mother thus fulfilled a promise she had made earlier, to thank God for having given birth to a son. The work was interrupted for a time due to the queen's disgrace. It was resumed in 1655 and the church was completed in the same year.

The church has a Latin cross plan and a dome visible from the square.

The two-storey façade, with its double tier of twin columns supporting a triangular pediment and its two characteristic fins, is reminiscent of some church elevations from the first half of the 17th century. Clearer and more sober than the Mannerists, François Mansart's facade has a grid of vertical lines.

Toledo is an ancient city perched on a hill above the Castilla-La Mancha plains in central Spain. The region's capital is known for its medieval Arabic, Jewish and Christian monuments in the walled old town. The Mannerist painter El Greco also lived here. The Moorish Puerta de Bisagra gate and the Mudejar-style Puerta del Sol gate lead to this quarter. The Plaza de Zocodover is a popular meeting place. (Quelle:Google)

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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.

One last variation on a theme, this time a mono conversion of the full frame. This cloister at the Monastery of São Vicente de Fora cloister proved to be one of the photographic highlights of my trip to Lisbon.

Click here to see photos from my trip to Lisbon as well as a previous trip to Portugal : www.flickr.com/photos/darrellg/albums/72157605502948784

From Wikipedia : "The Church or Monastery of São Vicente de Fora; meaning "Monastery of St. Vincent Outside the Walls" is a 17th-century church and monastery in the city of Lisbon, Portugal. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.

The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century."

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Photo from our Family vacation. There were 10 of us traveling in Spain together.

Toledo is an ancient city set on a hill above the plains of Castilla-La Mancha in central Spain. The capital of the region, it’s known for the medieval Arab, Jewish and Christian monuments in its walled old city. It was also the former home of Mannerist painter El Greco. The Moorish Bisagra Gate and the Sol Gate, in Mudéjar style, open into the old quarter, where the Plaza de Zocodover is a lively meeting place. Toledo is known as the "Imperial City" for having been the main venue of the court of Charles V, Holy Roman Emperor, and as the "City of the Three Cultures" for the cultural influences of Christians, Muslims and Jews reflected in its history. It was also the capital from 542 to 725 AD of the ancient Visigothic kingdom, which followed the fall of the Roman Empire, and the location of historic events such as the Visigothic Councils of Toledo. Toledo has a long history in the production of bladed weapons, which are now common souvenirs from the city. - Wikipedia

The Palazzo Spada is a palace located on Piazza di Capo Ferro in the rione Regola of Rome, Italy. Standing very close to the Palazzo Farnese, it has a garden facing towards the Tiber river.

The palace accommodates a large art collection, the Galleria Spada. The collection was originally assembled by Cardinal Bernardino Spada in the 17th century, and by his brother Virgilio Spada, and added to by his grandnephew Cardinal Fabrizio Spada,

In 1540, the palace was commissioned by Cardinal Girolamo Capodiferro, and utilized as an architect Bartolomeo Baronino of Casale Monferrato, while Giulio Mazzoni and a team provided lavish external and internal stucco-work.

The palace was briefly owned by the Mignanelli family, until in 1632, the palace was purchased by Cardinal Spada, who commissioned modifications from Francesco Borromini. The Baroque architect Borromini who created a masterpiece of forced perspective optical illusion in the arcaded courtyard, in which diminishing rows of columns and a rising floor create the visual illusion of a gallery 37 meters long (it is 8 meters) with a life-size sculpture at the end of the vista, in daylight beyond: the sculpture is 60 cm high. Borromini was aided in his perspective trick by a mathematician.

The Mannerist stucco sculptural decor of the palazzo's front and its courtyard façades feature sculptures crowded into niches and fruit and flower swags, grotesques and vignettes of symbolic devices (impresi) in bas-relief among the small framed windows of a mezzanine, the richest Cinquecento façades in Rome.

The colossal sculpture of Pompey the Great, erroneously believed to be the very one at whose feet Julius Caesar fell, was discovered under the party wall of two Roman houses in 1552: it was to be decapitated to satisfy the claims of both parties, which appalled Cardinal Capodiferro so, that he interceded on the sculpture's behalf with Pope Julius III, who purchased it and then gave it to the Cardinal.

A Baroque-Mannerist church of Palermo. The church belongs to the Camillians (also known as "Crociferi").

The original design was probably prepared in Rome. In Palermo many architects were involved in the construction: Giovanni Macolino, Giacomo Amato, Giuseppe Clemente Mariani, Ferdinando Lombardo and Giuseppe Venanzio Marvuglia. The church was open in 1660, but because of financial difficulties, the construction was completed only in 1750 with the conclusion of the façade designed by Ferdinando Lombardo. The church houses many artworks of important artists.

Some relics of Saint Camillus are held in the church.

c/o Wikipedia

The original sky has been replaced using that feature of Photoshop.

The Alhambra 'The Red One') is a palace and fortress complex located in Granada, Andalusia, Spain. It is one of the most famous monuments of Islamic architecture and one of the best-preserved palaces of the historic Islamic world, in addition to containing notable examples of Spanish Renaissance architecture.

The complex was begun in 1238 by Muhammad I Ibn al-Ahmar, the first Nasrid emir and founder of the Emirate of Granada, the last Muslim state of Al-Andalus. It was built on the Sabika hill, an outcrop of the Sierra Nevada which had been the site of earlier fortresses and of the 11th-century palace of Samuel ibn Naghrillah. Later Nasrid rulers continuously modified the site. The most significant construction campaigns, which gave the royal palaces much of their definitive character, took place in the 14th century during the reigns of Yusuf I and Muhammad V. 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 of Spain 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. After being allowed to fall into disrepair for centuries, with its buildings occupied by squatters, the Alhambra was rediscovered following the defeat of Napoleon I, who had conducted retaliatory destruction of the site. The rediscoverers were first British intellectuals and then other American and northern European Romantic travelers. The most influential of them was Washington Irving, whose Tales of the Alhambra (1832) brought international attention to the site. The Alhambra was one of the first Islamic monuments to become the object of modern scientific study and has been the subject of numerous restorations since the 19th century. It is now one of Spain's major tourist attractions and a UNESCO World Heritage Site. [Wikipedia]

Original architect: Giovanni Battista Trevano, 1619, last reconstruction completed 1984. Plac Zamkowy 4, 00-277 Warszawa, Poland.

Villa Lante a Bagnaia, frazione di Viterbo è, assieme a Bomarzo, uno dei più famosi giardini italiani a sorpresa manieristici del XVI secolo. Pur in mancanza di documentazione contemporanea, la sua ideazione è attribuita a Jacopo Barozzi da Vignola. Per chi vi arriva dopo aver appena visitato Villa Farnese a Caprarola la prima notevole impressione è la differenza tra le due ville del Vignola, pur erette nella stessa area, nello stesso periodo e nello stesso stile architettonico: le somiglianze fra i due monumenti sono poche.

Nel 2011 è stata votata "Parco più bello d'Italia".

La costruzione cominciò nel 1511, ma fu portata a termine intorno al 1566 su commissione del cardinale Gianfrancesco Gambara. La villa è conosciuta come "Villa Lante". Tuttavia non ha acquisito questo nome se non quando, nel XVII secolo, passò nelle mani di Ippolito Lante Montefeltro della Rovere, Duca di Bomarzo, quando la costruzione aveva già 100 anni di vita.

Villa Lante in Bagnaia, a hamlet of Viterbo is, together with Bomarzo, one of the most famous Italian Mannerist surprise gardens of the sixteenth century. Despite the lack of contemporary documentation, its conception is attributed to Jacopo Barozzi da Vignola. For those who arrive after having just visited Villa Farnese in Caprarola, the first notable impression is the difference between the two Vignola villas, even though they were built in the same area, in the same period and in the same architectural style: the similarities between the two monuments are few.

In 2011 it was voted "most beautiful park in Italy".

Construction began in 1511, but was completed around 1566 on commission from Cardinal Gianfrancesco Gambara. The villa is known as "Villa Lante". However, it did not acquire this name until, in the 17th century, it passed into the hands of Ippolito Lante Montefeltro della Rovere, Duke of Bomarzo, when the building was already 100 years old.

Palazzo del Te, or simply Palazzo Te, is a palace in the suburbs of Mantua, Italy. It is an example of the mannerist style of architecture, and the acknowledged masterpiece of Giulio Romano.

Palazzo del Te was constructed 1524–34 for Federico II Gonzaga, Marquess of Mantua, as a palace of leisure. The site chosen was that of the family stables which he had built at Isola del Te, on the edge of the marshes just outside Mantua's city walls, as early as in 1502.

Giulio Romano, a pupil of Raphael, was commissioned to design the building. The shell of the palazzo, erected within eighteen months, is basically a square house containing a cloistered courtyard. A formal garden complemented the house, enclosed by colonnaded outbuildings ending in a semicircular colonnade known as the Exedra or Esedra.

Once the shell of the building was completed, for ten years a team of plasterers, carvers, and fresco painters laboured until barely a surface in any of the loggias or salons remained undecorated. Under Romano's direction, local decorative painters such as Benedetto Pagni and Rinaldo Mantovano worked extensively on the frescos.

In July 1630, during the War of the Mantuan Succession (1628–31), Mantua and the palace were sacked over three days by an Imperial army of 36,000 Landsknecht mercenaries. The remaining populace fell victim to one of the worst plagues in history that the invaders had brought with them. The Palazzo was looted from top to bottom and remained an empty shell with nymphs, gods, goddesses, and giants adorning the walls of the empty, echoing rooms.

Plaza Nueva es un espacio urbano de la ciudad española de Granada, comunidad autónoma de Andalucía.

Está situada en la confluencia de los ejes urbanos constituidos por las calles de Reyes Católicos y la Carrera del Darro, de suroeste a nordeste, y por la calle de Elvira y la cuesta de Gomérez, de noroeste a sudeste,

Limita en el lado oriental con la plaza de Santa Ana, sin solución de continuidad, y en el occidental con el final de la calle Elvira y el inicio de la de Reyes Católicos, y entrada a Plaza de Cuchilleros.

Tiene forma aproximadamente rectangular de unos 122 m por 40 m en su parte más ancha y 30 m en la más estrecha con una superficie próxima a 4.900 metros cuadrados.

Gran parte de su planta se asienta sobre el embovedado del río Darro que la cruza en sentido longitudinal, de norte a sur, y sobre el que se ha ido formando.

En su tercio oriental destaca la fachada principal del palacio de la Real Chancillería, edificio singular de estilo manierista, mandado construir en 1531 y terminado en 1587, que da carácter a la plaza y que es el único edificio que ha llegado hasta hoy sin transformaciones destacables.

es.wikipedia.org/wiki/Plaza_Nueva_(Granada)

Plaza Nueva is an urban space in the Spanish city of Granada, in the autonomous community of Andalusia.

It is located at the confluence of the urban axes formed by the streets of Reyes Católicos and Carrera del Darro, from southwest to northeast, and by Calle de Elvira and the cuesta de Gomérez, from northwest to southeast,

It is bounded on the eastern side by the Plaza de Santa Ana, without any continuity, and on the western side by the end of Calle Elvira and the beginning of Calle Reyes Católicos, and the entrance to Plaza de Cuchilleros.

It is approximately rectangular in shape, measuring 122 m by 40 m at its widest point and 30 m at its narrowest point, with a surface area of around 4,900 square metres.

A large part of its ground plan is based on the Darro River, which crosses it longitudinally, from north to south, and on which it has been built.

In the eastern third of the square is the main façade of the palace of the Royal Chancery, a unique building in the Mannerist style, commissioned in 1531 and completed in 1587, which gives character to the square and is the only building that has survived to the present day without any notable transformations.