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Frescoes on the right wall by Bernardino Lanino (Mortara, 1512 - Vercelli, 1578): the Purification, the Massacre of the Innocents, the rest flight into Egypt, the Dispute in the Temple. The smaller panel at the top depicts the flight into Egypt (1562-64). Major Chapel of the Basilica of San Magno, Legnano
Fu allievo di Gerolamo Giovenone e fortemente improntato all'arte di Gaudenzio Ferrari. Successivamente, in occasione di soggiorni milanesi, Lanino risentirà dell'influsso di Leonardo. Tutte queste esperienze confluiranno poi in uno stile originale ed autonomo in cui la tradizione dell'alto rinascimento e del nascente Barocco si fondono in un decorativismo manieristico
He was a pupil of Gerolamo Giovenone and strongly influenced by the art of Gaudenzio Ferrari. Later, during stays in Milan, Lanino will feel the influence of Leonardo. All these experiences will come together in an original and autonomous style in which the tradition of the high Renaissance and the nascent Baroque blend in a mannerist decorativism.
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The Convent of ”Nossa Senhora da Conceição dos Congregados do Oratório of São Filipe Nery of Estremoz” was sent to construct in 1697 by D. Pedro II (r. 1675-1706). Between 1698 and 1700, the works began, and in 1703 began the second campaign, already with the church started. In the mid-eighteenth century are added the tile panels that are all over the convent.
The church was never finished until 1961, when the construction of the rest of the façaade began, and was completed in 1967. In 1974 the vault of the chapel is closed. After a few years without function, the church, which was owned by the City Council, was transferred to the parish of ”Saint André”, and the whole church was opened in 1995, almost three centuries after its inception.The façade of the church, strange and different element, brought a novelty to the ”monotony” of Alentejan architecture: the main elevation ”swimming”. According to the Italian architectural aesthetics of the eighteenth century linked to Francesco Borromini (b. 1599-1667), this dynamic effect appears as opposition to the classic view Renaissance and Mannerist, more aesthetic and stable.Dedicated to the Life and Miracles of ”São Filipe Nery”, the set of tiles belongs to the Home Mayor, and is one of the most interesting in conjunction with the stairway which shows the costumes of various social classes in the temple of D. João V (r. 1707-1750), with patterns of hunting and war. The whole room of the Antechoir shows episodes of the Gospels and the lives of several saints. These panels dating back to 1748 and are attributed to the office of Oliveira Bernardes.
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.
Il "Sacro Bosco" o Parco dei Mostri è un complesso monumentale realizzato nel XVI secolo a Bomarzo (VT), caratterizzato da sculture di figure mitologiche grottesche.
Per saperne di più: it.wikipedia.org/wiki/Parco_dei_Mostri
The "Sacred Grove" or Park of the Monsters is a Mannerist monumental complex located in Bomarzo, created during the 16th century.
to learn more: en.wikipedia.org/wiki/Gardens_of_Bomarzo
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 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, where the Plaza de Zocodover is a lively meeting place.
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Contact: alanchanflor@gmail.com
Let's draw a line between us
Paint a map back to the start
Leaving footprints to remind us
www.youtube.com/watch?v=PQkzIorJreM
Where you go I'll go...
© All rights reserved Anna Kwa. Please do not use this image on websites, blogs or any other media without my explicit written permission.
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Viseu Cathedral is the bishopric seat of the city of Viseu, in Portugal. The church started being built in the 12th century and is the most important historical monument of the town. It is currently a mix of architectural styles, specially from the Manueline, Renaissance and Mannerist periods.
The cathedral is located on a large and harmonious square, beside the old Bishop's Palace (now the Grão Vasco Museum) and in front of the Misericórdia Church of Viseu.
“Viva the mitten with wriggle room over the glove where form follows function!”
― Robert Venturi, Architecture as Signs and Systems: For a Mannerist Time
Visit Cherishville - Winter.
Image taken of Courtyard of Convent of Christ in Tomar, a city and a municipality in the Santarém district of Portugal. Tomar was created inside the walls of the Convent of Christ contructed by Grand Master of the Knights Templar of Portugal in the late 12th Century. Tomar was the last Templar town to be commissioned for construction and one of Portugal's historical jewels. The town was especially important in the 15th century when it was a center of Portuguese overseas expansion under the world famous Portuguese explorer Henry the Navigator, mar, Portugal. Built over five centuries, the Convent is testimony to an architecture combining Romanesque, Gothic, Manueline, Renaissance, Mannerist and Baroque elements. Designated as UNESCO
World Heritage Site.
Moses and Aaron before Pharaoh: An Allegory of the Dinteville Family, 1537
Master of the Dinteville Allegory (Netherlandish or French, active mid-16th century)
Oil on wood; 69 1/2 x 75 7/8 in. (176.5 x 192.7 cm)
Wentworth Fund, 1950 (50.70)
The protagonists in this elaborate allegory are the brothers Jean, François, Guillaume, and Gaucher de Dinteville, important members of the court of Francis I, king of France. Portrayed at a moment of crisis in their relations with the king, they participate in a narrative derived from Exodus 7:9. Moses and Aaron plead with Pharaoh to free the Israelites; to prove they are armed with the power of the Lord, Aaron changes his rod into a serpent. Depicted in the guise of Aaron is François II de Dinteville, bishop of Auxerre; his brother Jean is shown as Moses, and the younger brothers, Gaucher and Guillaume, stand behind them. The names and ages of the three latter brothers are inscribed on the hems of their robes. Pharaoh is a disguised portrait of Francis I. This painting hung in the Dinteville château of Polisy along with Holbein's Ambassadors (National Gallery, London). This fascinating allegory has stylistic affinities to the works of sixteenth-century Antwerp artists—in the emphatic gestures of the robed classical figures, in particular. The simplification and solidity of form, meanwhile, are more typical of French painting. Though the identity of the artist is unknown, the work represents a high level of technical accomplishment and suggests the hand of a Mannerist painter working in the circle of a Northern European court.
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The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.
In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.
The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.
National Historic Register #86003556 (1986)
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.
Once the heart of aristocratic and mercantile Genoa, this is now the museum district, with late Renaissance palaces sprouting grandiose courtyards, hanging gardens, the odd waterfall and Baroque grotto, as well as major art collections. These Unesco listed homes of the richest families were designated ambassadorial residences, "Palazzi dei Rolli", fit for visiting kings or courtiers.....
In a photo: Inside the 16th-century Palazzo Doria Tursi museum in the Centro Storico
hiddenarchitecture.net/palazzo-doria-tursi/
Palazzo Doria-Tursi, Genova, Italy. 1565
Architect: Domenico and Giovanni Ponzello
The palace, the largest by extension in Strada Nuova, as it was called at the time Via Giuseppe Garibaldi, was erected starting from 1565 by the brothers Domenico and Giovanni Ponzello, Mannerist architects disciples of Galeazzo Alessi, for Niccolò Grimaldi, called “the Monarch” for the number of noble titles he could boast of. It is the most majestic building on the street, the only one built on three plots of land, with two large gardens framing the central body. The large loggias overlooking the street were added in 1597, when the palace became the property of Giovanni Andrea Doria, who acquired it for his younger son Carlo, duke of Tursi, to whom the present name is due. Following the annexation of the Republic of Genoa in the Kingdom of Sardinia, it was purchased by Vittorio Emanuele I of Savoy in 1820, and on this occasion renovated by the court architect Carlo Randoni, who was responsible for the construction of the clock tower. Since 1848 it has been the seat of the Genoese municipality.
The façade is the longest of the street, so much so that among the engravings of the Palazzi of Genoa, made by Rubens in 1622, the engraving dedicated to the “palace of Don Carlo Doria Duca di Tursi” could only show the half of it. The two lateral loggias were a later addition ordered by Giovanni Andrea Doria and built by Taddeo Carlone, author of the white marble portal with figures of armed men, who originally surrounded the eagle of the Doria, replaced nowadays by the crusader shield, coat of arms of Genoa. The façade is characterized by the alternation of materials of different colors: the pink of the Finale stone, the gray-black of the slate, the white of the precious Carrara marble. The main elevation consists of two superimposed orders. The raised floor above the large plinth alternates windows with projecting rustic pilasters replaced, on the upper floor, by Doric pilasters. Masks with animal-like grimaces surmount the windows of both floors, boosting the plastic appearance of the facade.
Particularly innovative is the original and ingenious architectural typology that, with the succession of interior spaces such as atrium, staircase, rectangular courtyard raised above the porch and double flight staircase – creates a wonderful play of light and perspectives. The palace is the culmination of the residential splendor of the Genoese aristocracy, as evidenced by the interior decorations, paintings or pieces from part of the Palazzo Bianco museum collection.
View on the parish church from the hill, slightly below the castle. At background you can see the Vistula river :)
Parish church of St. Bartholomew and John the Baptist - the oldest sanctuary in Kazimierz Dolny (the parish existed there already in 1325), the church was first gothic, then developed in the style of “Lublin renaissance” (between 1586-91 and then 1610-13 under supervision of Italian architect Jakub Balin). The ceiling of the church is covered in stucco decorations, geometric, mannerist, shaped in circles, squares, hearts, stars and rosettes. In the interior of the church, there are a few items particularly worth noticing: late gothic main portal, 1620 organ inspired by Flemish art), stalls in the presbyterium (from the 1st half of the 18th century), a baptismal font made of stone (by Santi Gucci, a Florence artist), 17th and 18th century cordovan antependia (the covers of the front part of the altar made of pressworked and dyed leather), an inlaid pulpit from 1615. The church was thoroughly renovated between 2010 and 2012.
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Kościół farny widziany ze wzgórza, nieco poniżej zamku. W tle widok na Wisłę i okolice :)
Kościół św. Jana Chrzciciela i św. Bartłomieja – kościół farny położony przy rynku w Kazimierzu Dolnym. Ufundowany został przez Kazimierza Wielkiego ok. 1325 roku i rozbudowany w stylu renesansowym w latach 1610-1613. Badania architektoniczne wskazują, że kościół wybudowany około 1325, jednak pierwsza pewna informacja o nim pochodzi z 1440 roku. Kościół ten był znacznie mniejszy od obecnego i mieścił się w obrębie jego nawy. W 1561 roku kościół ten spłonął podczas pożaru miasta. W latach 1610-1613 pod kierunkiem muratora Jakuba Balina zbudowano nowe prezbiterium. O renesansowym stylu przebudowy świadczą: półokrągła absyda, kolebka z lunetami oraz dekoracje architektoniczne. Pozostają jednak pewne cechy gotyckie: rzut poziomy, strzelistość, wąskie wysokie okna i skarpy. Kościół położony jest na wzgórzu, poniżej ruin zamku. Strop kościoła pokrywają dekoracje stiukowe, geometryczne, manierystyczne, uformowane w koła, kwadraty, serca, gwiazdy i rozety. We wnętrzu kościoła na szczególną uwagę zasługuje późnogotycki portal główny, organy z 1620 roku inspirowane sztuką flamandzką), stalle w prezbiterium (z I poł. (autorstwa Santi Gucci, florenckiego artysty oraz intarsjowana ambona z 1615 r. W latach 2010–2012 kościół został gruntownie odnowiony.
A Concatedral de Miranda do Douro surge iluminada ao anoitecer no Terreiro da Sé, marcando o antigo centro episcopal criado em 1545. Construída sobretudo entre 1552 e 1609 em granito local, combina programa renascentista com linguagem maneirista: fachada simétrica com duas torres quadrangulares, portal clássico com frontão e balaustrada superior. O templo pertence hoje à Diocese de Bragança‑Miranda, após a transferência da sede para Bragança em 1764, mantendo estatuto de concatedral. No interior, a planta de cruz latina organiza três naves abobadadas e um monumental retábulo‑mor barroco, associado à imagem do Menino Jesus da Cartolinha, devoção identitária mirandesa. Classificada como Monumento Nacional, a igreja domina o alto sobre o vale do Douro, a poucos quilómetros da fronteira espanhola. A iluminação noturna evidencia a regularidade do aparelho de cantaria e a volumetria austera do conjunto, fixando na paisagem urbana um dos principais marcos do património transmontano.
The Co-Cathedral of Miranda do Douro is illuminated at dusk in Terreiro da Sé, marking the former episcopal center created in 1545. Built mainly between 1552 and 1609 in local granite, it combines Renaissance style with Mannerist elements: a symmetrical façade with two square towers, a classical portal with a pediment and an upper balustrade. The temple now belongs to the Diocese of Bragança-Miranda, after the seat was transferred to Bragança in 1764, maintaining its status as a co-cathedral. Inside, the Latin cross plan organizes three vaulted naves and a monumental Baroque altarpiece, associated with the image of the Menino Jesus da Cartolinha, a devotional figure central to Mirandese identity. Classified as a National Monument, the church dominates the heights above the Douro Valley, a few kilometers from the Spanish border. The night lighting highlights the regularity of the stonework and the austere volume of the complex, establishing one of the main landmarks of Trás-os-Montes heritage in the urban landscape.
Vittoria was an Italian Mannerist sculptor of the Venetian school, "one of the main representatives of the Venetian classical style" and rivalling Giambologna as the foremost sculptors of the late 16th century in Italy.
"El entierro del conde de Orgaz" (El Greco, 1586-88), Iglesia de Santo Tomé, Toledo, Castilla-La Mancha, España.
La iglesia de Santo Tomé o de Santo Tomás Apóstol se encuentra ubicada en el centro histórico de la ciudad española de Toledo, y fue fundada después de la reconquista de esta ciudad por el rey Alfonso VI de León. Aparece citada en el siglo XII, como construida sobre el solar de una antigua mezquita del siglo XI. Esta mezquita junto con otras de la ciudad fueron utilizadas como iglesias cristianas sin grandes cambios, ya que en la toma de la ciudad no hubo destrucción de edificios.
Sin embargo, a principios del siglo XIV, por encontrarse en estado ruinoso fue totalmente reedificada a cargo de Gonzalo Ruiz de Toledo, señor de Orgaz y se transformó el antiguo alminar de la mezquita en campanario en estilo mudéjar. Su fama se debe sobre todo por albergar en su interior, el cuadro El entierro del Conde de Orgaz de El Greco, que puede contemplarse accediendo por la parte posterior de la iglesia.
El entierro del señor de Orgaz, popularmente llamado El entierro del conde de Orgaz, es un óleo sobre lienzo de 4,80 x 3,60 metros, pintado en estilo manierista por El Greco entre los años 1586 y 1588. Fue realizado para la parroquia de Santo Tomé de Toledo, España, y se encuentra conservado en este mismo templo. Está considerada una de las mejores y más admiradas obras del autor.
El cuadro representa el milagro en el que, según la tradición, San Esteban y San Agustín bajaron del Cielo para enterrar personalmente a Gonzalo Ruiz de Toledo, señor de la villa de Orgaz, en la iglesia de Santo Tomé, como premio por una vida ejemplar de devoción a los santos, su humildad y las obras de caridad que llevó a cabo.
El Greco aceptó el encargo de realizar la obra en 1586, algo más de dos siglos y medio después de los hechos que en ella representó. Recibió detalladas directrices sobre cómo debía aparecer el milagro de la zona inferior del lienzo, pero una vaga descripción de la zona de la Gloria. El pintor cretense incorporó en la zona superior la representación del Juicio y la aceptación en el Cielo del alma del señor de Orgaz. También cargó a la escena del entierro de un aire de actualidad, retratando a varones de su tiempo con ropajes del siglo XVI y situando los hechos en un oficio de difuntos con las características de la época.
The Church of Santo Tomé or Santo Tomás Apóstol is located in the historic centre of the Spanish city of Toledo, and was founded after the reconquest of this city by King Alfonso VI of León. It is mentioned in the 12th century, as having been built on the site of an old mosque from the 11th century. This mosque, along with others in the city, were used as Christian churches without major changes, since no buildings were destroyed when the city was taken.
However, at the beginning of the 14th century, as it was in a state of ruin, it was completely rebuilt by Gonzalo Ruiz de Toledo, Lord of Orgaz, and the old minaret of the mosque was transformed into a bell tower in the Mudejar style. Its fame is due above all to the fact that it houses the painting The Burial of the Count of Orgaz by El Greco, which can be seen by entering through the back of the church.
The Burial of the Lord of Orgaz, popularly called The Burial of the Count of Orgaz, is an oil on canvas measuring 4.80 x 3.60 metres, painted in the Mannerist style by El Greco between 1586 and 1588. It was made for the parish of Santo Tomé in Toledo, Spain, and is preserved in this same temple. It is considered one of the best and most admired works of the author.
The painting represents the miracle in which, according to tradition, Saint Stephen and Saint Augustine came down from Heaven to personally bury Gonzalo Ruiz de Toledo, lord of the town of Orgaz, in the church of Santo Tomé, as a reward for an exemplary life of devotion to the saints, his humility and the works of charity he carried out.
El Greco accepted the commission to create the work in 1586, a little more than two and a half centuries after the events he depicted in it. He received detailed instructions on how the miracle in the lower part of the canvas should appear, but only a vague description of the Glory area. The Cretan painter incorporated the representation of the Judgement and the acceptance of the soul of the Lord of Orgaz into Heaven in the upper area. He also gave the burial scene a contemporary air, depicting men of his time in 16th-century clothing and situating the events in a funeral service with the characteristics of the time.
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.
Mosteiro de S. Martinho de Tibães
Braga, Portugal.
Escadas que de acesso da Portaria à Galeria dos Gerais e Salão da Ouvidoria
( Flickers. O Norte em Movimento e P.F.F.G - Meeting Tibães, 05/08. )
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“The Monastery of St Martin of Tibães (Portuguese: Mosteiro de São Martinho de Tibães) is a monastery situated in the parish of Mire de Tibães, near Braga, in northern Portugal. It was the mother house of the Benedictine order in Portugal and Brazil, and it is famous for the exuberant baroque decoration of its church.”
“The first information about a monastic community in the region (i.e. the Monastery of Dumio, close to Tibaes, founded by Saint Martin of Braga) dates from the 6th century. Around 1060 the Monastery of Tibaes was founded and its feudal rights were granted by Henry of Burgundy, Count of Portugal, in 1110. During the Middle Ages, after the Kingdom of Portugal became independent, rich and vast proterties in the North of the country came into the possession of the Monastery. Due to the reconstruction works carried out in the 17th and 18th centuries, there are no architectural remnants from this early stage of the ensemble.”
“In 1567, the Monastery of Tibães became the mother house of the Order of Saint Benedict for Portugal and the colony of Brazil, with the first general gathering of the Order happening in Tibães in 1570. In the first half of the 17th century, in view of the ruined condition of the former buildings and the vast resources at their disposal, the monks started the great works which originated the ensemble that exists today. They began with the cloisters (Refectory and Cemetery cloisters) and the church, built between 1628 and 1661 in Mannerist style by architects Manuel Álvares and João Turriano. Until the beginning of the 18th century the new wings of the Monastery were finished, including the Gate House, the Dormitory, the Guest House, the Chapter House and the Library.”
“During the 17th and 18th centuries the Monastery was a site of considerable artistic activity and had an enormous influence in the Baroque and Rococo art of Northern Portugal. The decoration of the church, in particular, is a landmark in Portuguese Baroque, thanks to the work of artists like Cipriano da Cruz, André Soares and José de Santo António Vilaça.”
“Sold at an auction sale in 1864, the Tibães Monastery and all its surrounding areas fell into decay and ruin. A great part of the ensemble, including the Refectory Cloister, was destroyed in a fire in 1894. In 1986 the Monastery became a State property and an extensive recovery project was started that continues to this day.”
Wikipedia
Lisboa, Portugal
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 medieval group of buildings "The Three Brothers", which has been rebuilt many times, acquired its present appearance after a restoration between 1953 and 1957. The building at 17 Mazā Pils Street is the oldest stone residential building in Riga (late 15th century). In 1697 it was a bakery. The 'Middle Brother' (1646) is a typical 17th century residential building. Its facades and the gable are in the Northern Renaissance Mannerist style and have been restored from a 1785 drawing by J. K. Brotze. The entrance portal of 1746 with the Latin inscription 'Soli Deo Gloria' ('Glory to God Alone') was moved from the entrance of an adjacent older building. The younger and smaller building (17th century) was rebuilt in 1898-1899. The portal, which came from a lost building on Melngalvju Street, preserves a German inscription which translates as 'You will be blessed when you enter here, and you will leave with God'.
Built in the 17th century, this church marks the transition of an European Mannerist architectonic style to a Portuguese Baroque style, with the great religious ostentation.
This stylistic combination marked since this period of Jesuit expansion, that spread out the Christ word all over the “new worlds”, colonizing and Christianizing many new territories.
The Church presents a latin cross plant, with one only nave, the main chapel quite evidenced from the rest of the architectonic set, profusely decorated with golden carved wood and rich paintings from the 17th and 18th centuries, as well as rich blue and white glazed tiles panels of the 17th century.
Mit den drei manieristischen Choraltären "vom Weilheimer Holzschnitzer Hans Degler. Die 1604 bis 1607 entstandenen Altäre haben das Pfingstwunder, Christi Geburt und Christi Auferstehung als Motiv..."
With the three Mannerist choir altars by Weilheim woodcarver Hans Degler. The altars, created between 1604 and 1607, have the miracle of Pentecost, the birth of Christ and the resurrection of Christ as their motif.
de.wikipedia.org/wiki/St._Ulrich_und_Afra_(Augsburg)
de.wikipedia.org/wiki/Hochaltar_(St._Ulrich_und_Afra)
en.wikipedia.org/wiki/Basilica_of_SS._Ulrich_and_Afra,_Au...
Depiction of the villa and gardens on the portico wall, Villa Lante, Bagnaia June 2023
Villa Lante was first commissioned by Cardinal Gianfrancesco Gambara who gives his surname to the first of two Mannerist casini (villas) on the property, and work on the Casino Gambara and the gardens was completed in the 1560s. In the Gambara Casino the vaulted frescoed loggias are a riot of color highlighting the architectural detail. The appearance of the shrimp (or crayfish) in this illustration is due to the Cardinal's family name Gambara (= shrimp, crayfish)
In Rua do Carmo, in Porto, there are two churches almost half-walled with each other. On the left is the Carmelite church, which was built in Baroque / Mannerist style between 1616 and 1628. To the right is the Carmo church, built in the baroque / rococo style, between 1756 and 1768, the architect's project José Figueiredo Seixas.
In the middle, between the two churches, is the so-called "Casa Escondida" ("Hidden House"), which is certainly the narrowest house in Porto and probably Portugal and competes with several narrow houses around the world. The house served as a residence for some chaplains and in some situations also housed artists who did works in the decoration of the Church of Carmo and doctors who worked in the hospital of the Order of Carmo, which is nearby.
In recent times there lived the Sacriston and the caretaker of the Church. Secret meetings were also held there during the French Invasions between 1807 and 1811, during the period of Liberalism between 1828 and 1834, during the Siege of Porto between 1832 and 1833, after the Proclamation of the Republic in 1910 and also during the period at the Orders religious
Na rua do Carmo, no Porto, existem duas igrejas quase paredes meias uma com a outra. À esquerda, está a igreja das Carmelitas, que foi construída, em estilo barroco / maneirista, entre 1616 e 1628. À direita, está a igreja do Carmo, construída em estilo barroco / rococó, entre 1756 e 1768, sendo o projecto do arquitecto José Figueiredo Seixas.
No meio, entre as duas igrejas, está a chamada "Casa Escondida", que é certamente a casa mais estreita do Porto e provavelmente de Portugal e concorre com várias casas estreitas pelo mundo. A casa serviu de residência para alguns capelães e em algumas situações também abrigou artistas que faziam trabalhos na decoração da Igreja do Carmo e médicos que trabalhavam no hospital da Ordem do Carmo, que fica nas proximidades.
Nos últimos tempos viveram lá o Sacristão e o zelador da Igreja. Reuniões secretas também foram ali realizadas nos tempos das Invasões Francesas, entre 1807 e 1811, no período do Liberalismo entre 1828 e 1834, durante o Cerco do Porto entre 1832 e 1833, depois da Proclamação da República em 1910 e também durante o período às Ordens religiosas.
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.
The building was bombed to a ruin by the Germans on June 28, 1941 and the remains were demolished by the Soviets in 1948. It was rebuilt between 1996 and 1999.
Source: Wikipedia
Frescoes of the vault - Created in the years 1562-64 by Bernardino Lanino (Mortara, 1512 - Vercelli, 1578) with the collaboration of Giovan Martino Casa. Major Chapel of the Basilica of San Magno, Legnano
Fu allievo di Gerolamo Giovenone e fortemente improntato all'arte di Gaudenzio Ferrari. Successivamente, in occasione di soggiorni milanesi, Lanino risentirà dell'influsso di Leonardo. Tutte queste esperienze confluiranno poi in uno stile originale ed autonomo in cui la tradizione dell'alto rinascimento e del nascente Barocco si fondono in un decorativismo manieristico
He was a pupil of Gerolamo Giovenone and strongly influenced by the art of Gaudenzio Ferrari. Later, during stays in Milan, Lanino will feel the influence of Leonardo. All these experiences will come together in an original and autonomous style in which the tradition of the high Renaissance and the nascent Baroque blend in a mannerist decorativism.
Residenzplatz
Pictured here:
Left: Salzburg Catherdral
Center: Residenzplatz Fountain
Right : Art Museum Residenzgalerie
Five squares were built under Prince-Archbishop Wolf Dietrich von Raitenau: Residence Square with its richly decorated baroque fountain is probably the largest and most beautiful square. Fifty-five medieval buildings were torn down to make room for the square. Residence Square was designed according to the Mannerist plans of the Italian architect, Vincenzo Scamozzi
Residence Fountain is considered to be the most beautiful fountain in the city of Salzburg and certainly deserves a closer look: four snorting horses seem to spring forth from the spouting rock. Giants rooted in the rock carry the lower basin, in which three dolphins balance the scalloped upper basin.
For fans of the Hollywood movie “The Sound of Music”, Residenzplatz is yet another highlight: During their carriage ride through the city, Maria and the children sing as they pass the Residenz Fountain.
Garden façade of Hellbrunn Palace on the outskirts of the city of Salzburg, Salzburg, Austria
Some background information:
Hellbrunn Palace and Gardens are located just a few kilometres south of Salzburg in the Austrian state that is named after the city. They still belong to the city’s area. Hellbrunn Palace and Gardens are mainly renowned for their best-preserved trick fountains from the late Renaissance era, which is also the main reason why the castle and its grounds attract almost 300,000 visitors per year in the period between end of March and the beginning of November.
Hellbrunn Palace was built within just three years between 1613 and 1615 in the rare Mannerist style on behalf of Markus Sittikus of Hohenems, who was elected Prince-Archbishop of Salzburg in 1612. The Mannerist style emerged in the late Renaissance era for just a short period of time before being replaced by the Baroque style. The building was also known under the name "Villa Suburbana" and was intented to be a place for festivities, hunts, and elegant receptions. Primarily a place for pleasure and leisure, Hellbrunn Palace was not intended to be a main residence, as the Prince-Archbishop typically usually returned to Salzburg in the evenings. Hence, there is no bedroom in the château.
The building’s architect was Santino Solari from Italy, who was also commissioned to construct the new Salzburg Cathedral. Particularly noteworthy are the banquet hall with ist walls and the vaulted ceiling, octagonal room with its depictions of social gatherings and musical performances, as well as the fish room, the bird room, and the corner room. Around the enclosed cour d'honneur (in English: "honor courtyard"), the outbuildings are symmetrically arranged. Together with the approach road from the east the palace forms a grand axis that extends deep into the landscape.
Markus Sittikus of Hohenems was a member of the noble House of Ems with a great lust for life and the vision to create a place that had never existed before, which was his pleasure palace Hellbrunn. His keen sense of humour prompted him to cause the design of trick fountains in the gardens as a series of practical jokes to be performed on guests.
Notable features include stone seats around a stone dining table through which a water conduit sprays water into the seat of the guests when the mechanism is activated, and hidden fountains that surprise and spray guests while they walk through the gardens. Other features are a mechanical, water-operated and music-playing theatre built in 1750 including some 200 automata showing various professions at work, a grotto and a crown being pushed up and down by a jet of water, symbolising the rise and fall of power. At all of these there is always a spot which is never wet: that was where the Archbishop stood or sat, to which there is no water conduit and which is today occupied by one of the trick fountain operators.
The gardens also feature a stone theater and a small building known as the Monatschlössl, or the "little month-palace", as it was built during the period of one month after a visitor commented to Sittikus that a building on the hill would improve the view from one of the schloss' windows. The prince-archbishop took heed of his advice, and when the visitor returned a month later the Monatschlössl was built. It now houses the ethnographical section of the Carolina Augusteum Museum of Salzburg.
In Austria, the château is so popular and famous that it was the subject of a collectors coin: the Austrian 10 euro Hellbrunn Palace Coin, minted on 21st April, 2004. The obverse depicts the main access to the castle from its forecourt. The background shows the mountains of Salzburg on the northern rim of the Alpine chain.
With a population of almost 160,000, Salzburg is the fourth-largest city in Austria. In 2020 its The city lies on the Salzach River, near the border with Germany and at the foot of the Salzburg Slate Alps, a range of the Central Eastern Alps. The town occupies the site of the Roman settlement of Luvavum. Founded as an episcopal see in 696, it became a seat of the archbishop in 798.
Its main sources of income were salt extraction, trade, as well as gold mining. The fortress of Hohensalzburg, one of the largest medieval fortresses in Europe, dates from the 11th century. In the 17th century, Salzburg became a centre of the Counter-Reformation, with monasteries and numerous Baroque churches built. Salzburg has an extensive cultural and educational history, being the birthplace of Wolfgang Amadeus Mozart and being home to three universities and a large student population.
Today, along with Vienna and the Tyrol, Salzburg is one of Austria's most popular tourist destinations. Salzburg's historic center is renowned for its Baroque architecture and is one of the best-preserved city centres in the Alps. In 1996, the city‘s historic center was enlisted as a UNESCO World Heritage Site.
The Church and Monastery of São Vicente de Fora, one of the most important monasteries and mannerist buildings in Portugal
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.
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.
Manieristischer Hochaltar in der Basilika St. Ulrich und Afra in Augsburg
1603-04
Hans Degler
Mannerist High Altar in the Basilica SS. Ulrich and Afra in Augsburg (also called Chistmas Altar)
1603-04
Hans Degler
"The monumental 23 metre tall high altar in the Basilica of St Ulrich and Afra in Augsburg is one of the three outstanding major works by the Weilheim sculptor Hans Degler; the other two are the 21 metre high side altars in this church. They are among the most important mannerist altars in Germany."
de.wikipedia.org/wiki/Hochaltar_(St._Ulrich_und_Afra)
Polish name: Sanktuarium Matki Bożej Łaskawej
Built in the late-Renaissance style, between 1609-1629, this church is one of the most notable Mannerist buildings in the city. The early-Baroque altar has a miraculous painting of Our Lady of Grace, the Patron Saint of the city of Warsaw. It was donated by King John Casimir to Pope Innocence X and came to Poland in 1651
In the church (the interior is completely modern) you can find also a good preserved wooden crucifix (1383) and a baroque sculpture of Our Lady of Grace (18th century). Interesting are the several statues like-coming out of the front door and a stone sculpture of a lying bear in front of the church (18th century). It has a romantic legend connected to it: in this enchanted rock, a shy prince was imprisoned, waiting for the woman whose love can bring him back to manhood.
(Wikipedia)
Santa Maria dei Miracoli presso San Celso is a church and a sanctuary. The construction was begun by Gian Giacomo Dolcebuono and Giovanni Battagio in 1493, to house a miraculous icon of the Madonna, initially on the central plan. The first part to be built was the octagonal dome, covered externally by a tambour with a loggia and arcades decorated by twelve brickwork statues by Agostino De Fondulis, designed in Lombard style by Giovanni Antonio Amadeo (1494-1498). In 1506 to the original edifice a complex with nave and two aisles was added, the former covered by a monumental barrel vault also by Amadeo; the presbytery received a polygonal ambulatory inspired to that in the Duomo. In the 16th century also the square portico in classical style was added, perhaps designed by Cesare Cesariano or Cristoforo Lombardo (il Lombardino). The massive eclectic and Mannerist style façade was designed by Galeazzo Alessi in the late 16th century and was realized by Martino Bassi; it is decorated by numerous statues and reliefs by Stoldo Lorenzi and Annibale Fontana.
Комплекс Санта-Мария дей Мираколи состоит из церкви Св. Цельсия (chiesa di San Celso) и храма Санта-Мария прессо Сан-Челсо (Santa Maria presso San Celso). Первая церковь, восходящая к древним временам, была перестроена в 996 году рядом с бенедиктинским монастырем, при реконструкции в XI веке она была перестроена в романском стиле: трехнефная базилика с единой абсидой. Нынешний фасад, продвинутый назад, по сравнению с оригинальным, является результатом стилистической реконструкции, осуществленной Луиджи Каноника (1851-54). Справа возвышается мощная колокольня в романо-ломбардском стиле, являющаяся одной из старейших в городе. Сантуарий был выполнен после 1490 года и заменил небольшую капеллу поздней готики (1429-39), которая уже не вмещала большого количества паломников, приходивших поклониться чудодейственному образу Девы Марии, хранившемуся там. Строительство купола (украшенного статуями из терракоты Агостина де Фонтутиса) и тибуриума было поручено Джованни Антонио Амадео и Джан Джакомо Дольчебуоно в 1497 году. В 1505 году Кристофоро Солари начинает строительство тройного портика перед фасадом, который стал первым миланским образцом зрелого классицизма; внутри открытая кладка кирпича с отдельными коринфскими бронзовыми капителями, снаружи отделан белым мрамором. Позднее церковь быда расширена под руководством Чезаре Чезариано (с 1513 года) и Кристофоро Ломбардо (с 1528 г.) путем строительства крытой галереи и боковых нефов. В 1563 году начались работы на фасаде, по проекту Галеаццо Алесси, позднее дополненные Мартино Басси.
Fontana delle 13 Cannelle (Ancona) - Fauni e Satiri
Fontana rebuilt in Renaissance-Mannerist style in 1560 by the architect Pellegrino Tibaldi
In the Greek era already it stood an oldest source in the same place. The Greek word "Calamus" means cane, indicating that the environment was marshy.
Fontana ricostruita in stile rinascimentale-manierista nel 1560 su disegno dell'architetto Pellegrino Tibaldi
In epoca greca già sorgeva una antica fonte nello stesso luogo. La parola greca "Calamus" significa "canna", ad indicare che l'ambiente era di tipo palustre.
The Vision of the Cross is a painting made between 1520 and 1524 by assistants of the Italian renaissance artist Raphael. After the master's death in 1520, Gianfrancesco Penni, Giulio Romano and Raffaellino del Colle from Raphael's workshop worked together to finish the commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.
The Vision of the Cross is located in the Sala di Costantino ("Hall of Constantine"). In the painting, emperor Constantine I is seen just before the Battle of the Milvian Bridge on October 27, 312. According to legend, a cross appeared to Constantine in the sky, after which as seen in the fresco and following Eusebius of Caesarea Vita Constantini, he adopted the Greek motto "Εν τούτῳ νίκα", i.e. "By this, conquer", a motto that has been rendered in Latin as "In hoc signo vinces", i.e. "In this sign you shall conquer".
This Mannerist painting is a crowded and confused melee and melange of images, including a dragon, a dwarf, two popes, and various symbols. Proportions among the soldiers appear confused, with some dwarfed by more distant figures.
The Alhambra (/ælˈhæmbrə/; Spanish: [aˈlambɾa]; Arabic: الْحَمْرَاء [ʔælħæmˈɾˠɑːʔ], Al-Ḥamrā, lit. "The Red One",the complete Arabic form of which was Qalat Al-Hamra) 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 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. 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.
Construit en 1516 pour Béringuier Maynier amateur d'art italien, avocat, professeur de droit et Capitoul, l'hôtel du Vieux Raisin est l’un des plus beaux hôtels particuliers de Toulouse, aux abords du quartier parlementaire. Il doit son nom à une taverne voisine qui avait pour enseigne une grappe de raisin. La richesse de son décor de pierre témoigne de l'art de la Renaissance et d'un goût prononcé pour l'Antiquité : escalier en vis logé dans une tour ornée de médaillons avec bustes. Remanié en 1547 pour le greffier Jean Brunet, l’architecte Nicolas Bachelier réalisa les fenêtres et baies à cariatides sur les façades de la cour, véritable chef d’œuvre maniériste.
Built in 1516 for Béringuier Maynier, an Italian art lover, lawyer, law professor and Capitoul, the Hôtel du Vieux Raisin is one of the most beautiful private mansions in Toulouse, on the outskirts of the parliamentary district. It owes its name to a nearby tavern which had a bunch of grapes as its sign. The richness of its stone decoration testifies to the art of the Renaissance and a pronounced taste for Antiquity: spiral staircase housed in a tower decorated with medallions with busts. Redesigned in 1547 for the clerk Jean Brunet, the architect Nicolas Bachelier created the caryatid windows and bays on the facades of the courtyard, a true Mannerist masterpiece.
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.
La imaginería es una especialidad del arte de la escultura para la representación plástica de temas religiosos, por lo común realista y con finalidad devocional, litúrgica, procesional o catequética. Se vincula a la religión católica debido a su carácter icónico, por lo que la encontramos especialmente en países de cultura católica: España, Italia, Portugal e Iberoamérica y, en menor medida, Francia, Canadá, Países Bajos y Austria, así como también Filipinas.
La técnica más habitual es la talla en madera policromada buscando el realismo más convincente, a veces mediante vestidos y ropajes auténticos, o incluso añadiendo cabellos postizos.
La representación plástica de los misterios religiosos acompaña al Cristianismo desde sus primeros siglos, será con el arte románico y gótico, desde el siglo XII al XV, donde comience la evolución de la escultura en madera o imaginería, con fin catequético. Hasta el Renacimiento tienen mucha importancia los maestros flamencos y franceses. Sin embargo a partir del Concilio de Trento (1545-1563) la Iglesia católica, en respuesta a la Reforma luterana, decide potenciar las artes plásticas como medio de alcanzar la atención de los fieles, desarrollándose extraordinariamente la imaginería durante el periodo barroco en el área mediterránea, la península ibérica e Iberoamérica.
Recordando esta pasada Semana Santa sevillana sin procesiones en sus calles por la pandemia, visité algunas hermandades que exponian sus imágenes titulares al público y de diferentes maneras. En la fotografía el Santísimo Cristo del Mayor Dolor (Hermandad del Dulce Nombre), una escultura realizada en madera de cedro policromada, de 1,40 m de altura. Esta talla por sus caracteristicas se ha enmarcado dentro del estilo manierista sevillano. Obra anónima atribuida indistintamente a los escultores Juan Oviedo, El Mozo (1565-1625) y Andrés de Ocampo (1555-1653) Esta maravillosa talla se podia ver expuesta como muestra mi foto en la Parroquia de San Lorenzo (Sevilla). Captura realizada a pulso con iso alto y muy baja luz cuando me tocó mi turno para ponerme delante de este altar
(ENGLISH)
Imagery is a specialty of the art of sculpture for the plastic representation of religious themes, usually realistic and for devotional, liturgical, processional or catechetical purposes. It is linked to the Catholic religion due to its iconic character, which is why we find it especially in countries of Catholic culture: Spain, Italy, Portugal and Latin America and, to a lesser extent, France, Canada, the Netherlands and Austria, as well as the Philippines. . The most common technique is polychrome wood carving seeking the most convincing realism, sometimes through authentic dresses and clothing, or even adding false hair. The plastic representation of religious mysteries has accompanied Christianity since its first centuries, it will be with art Romanesque and Gothic, from the 12th to the 15th century, where the evolution of sculpture in wood or imagery began, with a catechetical purpose. Until the Renaissance, the Flemish and French masters were very important. However, from the Council of Trent (1545-1563) the Catholic Church, in response to the Lutheran Reformation, decided to promote the visual arts as a means of reaching the attention of the faithful, developing extraordinary imagery during the Baroque period in the area. Mediterranean, the Iberian Peninsula and Latin America.
Remembering this past Sevillian Holy Week without processions in its streets due to the pandemic, I visited some brotherhoods that exposed their titular images to the public and in different ways. In the photograph the Santísimo Cristo del Mayor Dolor (Hermandad del Dulce Nombre), a sculpture made of polychrome cedar wood, 1.40 m high. This carving, due to its characteristics, has been framed within the Sevillian mannerist style. Anonymous work attributed indistinctly to the sculptors Juan Oviedo, El Mozo (1565-1625) and Andrés de Ocampo (1555-1653). This wonderful carving could be seen on display as my photo shows in the Parish of San Lorenzo (Seville). Capture made by hand with high iso and very low light when it was my turn to stand in front of that altar
Cámara Nikon D850 con lente 24-120 F4/G-VR 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.
It was quite a difficult place to get in, unless you plan way ahead of coming and obtain the necessary tickets, otherwise, good luck. Even with ticket, with some specific reserved time, it was confusing where to go and what to do since once you get to the ticket office, you'd need to exchange your online tickets with the real tickets and there were lines of people lining up and which lines are which...(a long walk uphill to the ticket office where you'd get in). If you missed you reserved time, then you'd not be able to see some of the main places inside. All in all, quite a hassle, but I think if you go to Granada, then I believe that you'd want to visit this place.
Please type L to see large size.
From Wikipedia:
The Alhambra (/ælˈhæmbrə/; Spanish: [aˈlambɾa]; Arabic: الْحَمْرَاء [ʔælħæmˈɾˠɑːʔ], Al-Ḥamrā, lit. "The Red One"),[Note 1][Note 2] the complete Arabic form of which was Qalat Al-Hamra,[Note 3] 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.[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 to Renaissance tastes. 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 which was ultimately never completed due to Morisco rebellions in Granada.
en.wikipedia.org/wiki/Alhambra
Taken with my "cheap" Nikon 24-85mm...
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.
Interior of the parish church in Kazimierz Dolny :)
Parish church of St. Bartholomew and John the Baptist - the oldest sanctuary in Kazimierz Dolny (the parish existed there already in 1325), the church was first gothic, then developed in the style of “Lublin renaissance” (between 1586-91 and then 1610-13 under supervision of Italian architect Jakub Balin). The ceiling of the church is covered in stucco decorations, geometric, mannerist, shaped in circles, squares, hearts, stars and rosettes. In the interior of the church, there are a few items particularly worth noticing: late gothic main portal, 1620 organ inspired by Flemish art), stalls in the presbyterium (from the 1st half of the 18th century), a baptismal font made of stone (by Santi Gucci, a Florence artist), 17th and 18th century cordovan antependia (the covers of the front part of the altar made of pressworked and dyed leather), an inlaid pulpit from 1615. The church was thoroughly renovated between 2010 and 2012.
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Wnętrze kościoła farnego w Kazimierzu Dolnym :)
Kościół św. Jana Chrzciciela i św. Bartłomieja – kościół farny położony przy rynku w Kazimierzu Dolnym. Ufundowany został przez Kazimierza Wielkiego ok. 1325 roku i rozbudowany w stylu renesansowym w latach 1610-1613. Badania architektoniczne wskazują, że kościół wybudowany około 1325, jednak pierwsza pewna informacja o nim pochodzi z 1440 roku. Kościół ten był znacznie mniejszy od obecnego i mieścił się w obrębie jego nawy. W 1561 roku kościół ten spłonął podczas pożaru miasta. W latach 1610-1613 pod kierunkiem muratora Jakuba Balina zbudowano nowe prezbiterium. O renesansowym stylu przebudowy świadczą: półokrągła absyda, kolebka z lunetami oraz dekoracje architektoniczne. Pozostają jednak pewne cechy gotyckie: rzut poziomy, strzelistość, wąskie wysokie okna i skarpy. Kościół położony jest na wzgórzu, poniżej ruin zamku. Strop kościoła pokrywają dekoracje stiukowe, geometryczne, manierystyczne, uformowane w koła, kwadraty, serca, gwiazdy i rozety. We wnętrzu kościoła na szczególną uwagę zasługuje późnogotycki portal główny, organy z 1620 roku inspirowane sztuką flamandzką), stalle w prezbiterium (z I poł. (autorstwa Santi Gucci, florenckiego artysty oraz intarsjowana ambona z 1615 r. W latach 2010–2012 kościół został gruntownie odnowiony.
Mosteiro de S. Martinho de Tibães
Braga, Portugal.
( Flickers. O Norte em Movimento e P.F.F.G - Meeting Tibães, 05/08. )
Aposentos do Abade Geral
__D.Abade Geral – Eleito no Capítulo Geral. Com os seus subordinados, governava o mosteiro por um período de 3 anos.
“The Monastery of St Martin of Tibães (Portuguese: Mosteiro de São Martinho de Tibães) is a monastery situated in the parish of Mire de Tibães, near Braga, in northern Portugal. It was the mother house of the Benedictine order in Portugal and Brazil, and it is famous for the exuberant baroque decoration of its church.”
“The first information about a monastic community in the region (i.e. the Monastery of Dumio, close to Tibaes, founded by Saint Martin of Braga) dates from the 6th century. Around 1060 the Monastery of Tibaes was founded and its feudal rights were granted by Henry of Burgundy, Count of Portugal, in 1110. During the Middle Ages, after the Kingdom of Portugal became independent, rich and vast proterties in the North of the country came into the possession of the Monastery. Due to the reconstruction works carried out in the 17th and 18th centuries, there are no architectural remnants from this early stage of the ensemble.”
“In 1567, the Monastery of Tibães became the mother house of the Order of Saint Benedict for Portugal and the colony of Brazil, with the first general gathering of the Order happening in Tibães in 1570. In the first half of the 17th century, in view of the ruined condition of the former buildings and the vast resources at their disposal, the monks started the great works which originated the ensemble that exists today. They began with the cloisters (Refectory and Cemetery cloisters) and the church, built between 1628 and 1661 in Mannerist style by architects Manuel Álvares and João Turriano. Until the beginning of the 18th century the new wings of the Monastery were finished, including the Gate House, the Dormitory, the Guest House, the Chapter House and the Library.”
“During the 17th and 18th centuries the Monastery was a site of considerable artistic activity and had an enormous influence in the Baroque and Rococo art of Northern Portugal. The decoration of the church, in particular, is a landmark in Portuguese Baroque, thanks to the work of artists like Cipriano da Cruz, André Soares and José de Santo António Vilaça.”
“Sold at an auction sale in 1864, the Tibães Monastery and all its surrounding areas fell into decay and ruin. A great part of the ensemble, including the Refectory Cloister, was destroyed in a fire in 1894. In 1986 the Monastery became a State property and an extensive recovery project was started that continues to this day.”
Wikipedia
"The Monastery of São Martinho de Tibães, former head office of the Portuguese Beneditine Congregation was acquired by the Portuguese State in 1986 and came under the responsibility of the Portuguese Institute for Architectural Heritage (IPPAR). It is undergoing an integrated process of restoration and rehabilitation co-funded by the ERDF - Operational Programme for Culture. The project for restoration and rehabilitation of the Novitiate, South Wing and Refectory Cloister, integrating the Monastery's application to the III Community Support Programme - 1st Stage includes the former refectory cloister that had been destroyed by a great fire at the end of the 19th century, the novitiate, the hospice and the South wing comprising the library, the kitchen and annexes. The aim of this intervention is to rehabilitate and restore most of the spaces that will be included in the circuit visits to the monastery (cemetery cloister, kitchens and annexes); to create a monastic order information centre and historic gardens on the upper floor of the south wing; and to reinstall a religious community in the former novitiate that will manage a small lodging house and a restaurant in the former hospice."
IPPAR
A Sé Catedral de Miranda do Douro, monumento nacional desde 1910 e oficialmente designada Concatedral de Santa Maria Maior, é um importante exemplo da arquitetura religiosa de Trás-os-Montes, situada na fronteira com Espanha. A sua construção, iniciada a 24 de maio de 1552 e concluída em 1609, apresenta um estilo de transição entre o gótico e o Renascimento, combinando também elementos maneiristas. O edifício, em pedra granítica, mantém o seu traçado original, apesar de intervenções posteriores a um incêndio ocorrido no século XVIII. A nave central, com abóbadas de cruzaria e elegantes arcadas em pedra, é dominada pelo imponente retábulo-mor em talha dourada, com cenas da vida de Cristo e de santos franciscanos, representativo da arte sacra pós-tridentina. Antiga catedral da diocese criada em 1545 por D. João III e suprimida em 1780, a Sé tornou-se co-catedral da Diocese de Bragança-Miranda após a transferência da sede episcopal para Bragança em 1770, por decisão do Papa Clemente XIV. O retábulo-mor, enquadrado por uma estrutura de talha dourada com pilastras de fuste decorado com elementos vegetalistas, que sustentam cornija e arquivolta com decoração semelhante, destaca-se pela sua riqueza e detalhe.
The Cathedral of Miranda do Douro, a national monument since 1910 and officially called the Concatedral de Santa Maria Maior, is an important example of the religious architecture of Trás-os-Montes, located on the border with Spain. Its construction, which began on May 24, 1552 and was completed in 1609, has a transitional style between Gothic and Renaissance, also combining Mannerist elements. The building, made of granite, retains its original layout, despite interventions following a fire in the 18th century. The central nave, with cross vaults and elegant stone arcades, is dominated by an imposing gilded altarpiece with scenes from the life of Christ and Franciscan saints, representative of post-Tridentine sacred art. Formerly the cathedral of the diocese created in 1545 by King João III and suppressed in 1780, the Cathedral became co-cathedral of the Diocese of Bragança-Miranda after the episcopal seat was transferred to Bragança in 1770 by decision of Pope Clement XIV. The main altarpiece, framed by a gilded carved structure with fluted pilasters decorated with plant elements, which support a cornice and archivolt with similar decoration, stands out for its richness and detail.
St. Anna's Church is the oldest church building in Liepāja, first mentioned in written records in 1508, the brick-stone building opened in 1684. Spellbinding Gothic style façade attracts the sight of every passerby. Among the many neo-Gothic churches in Latvia, St Anna's Church in Liepāja stands out for its richness of detail. First, in 1872-1873, a new tower made of red bricks was added to the older church on its site, designed by the architect Paul Maks Berči of Libau, and later, in 1890-1893, a new three-bay room was built. It is covered with a cross vault supported by slender and optically light bundled pillars. The church contains an earlier altar retable by N. Seffrens the Junion, which is in Latvia the largest of its kind in the Mannerist style.
The Tykocin Synagogue is an historic synagogue building in Tykocin, Poland.[1] The synagogue, in mannerist-early Baroque style, was built in 1642.[2]
The synagogue was thoroughly restored in the late 1970s. The historic wall paintings, most of which are decorative texts of Hebrew prayers, were restored. The elaborate, decorative ceiling was not reconstructed although some idea of the style can be gleaned from the design of the Torah Ark.[1]
A former Beit Medrash (study and prayer hall) located across the street has been restored and is in use as a city museum.[1]
Although no Jews now live in Tykocin and the town has no other tourist attractions, 40,000 tourists a year come to see the old synagogue, which towers over the remote village "in lonely and unexpected splendor." [3] The tourism has generated economic activity, including a cafe serving "Jewish-style" food and a bed-and-breakfast.[3]
Poznan, Poland
large view is nice
Poznań Town Hall or Ratusz is a historic building in the city of Poznań in western Poland, located at the Poznań Old Town in the centre of Old Market Square (Stary Rynek). It used to serve as the Seat of local government until 1939, and now houses a museum. The town hall was originally built in the late 13th century following the founding of the medieval city in 1253; it was rebuilt in roughly its present-day form, in mannerist style, with an ornate loggia, by Giovanni Battista di Quadro in 1550–1560. The display of mechanical fighting goats, played out daily at noon above the clock on the front wall of the building, is one of the city's main tourist attractions.
A capela-mor da Catedral de Pisa, um exemplar significativo da arquitetura românica italiana, foi construída entre os séculos XI e XII e faz parte do conjunto monumental da Piazza dei Miracoli. O elemento central é o mosaico absidal, que retrata Cristo Pantocrator ladeado pela Virgem Maria e São João Evangelista, atribuído a Cimabue (c. 1302) e influenciado pela tradição bizantina. Após um incêndio em 1595, o teto original foi substituído por uma abóbada em caixotões de madeira dourada, incorporando elementos renascentistas e maneiristas, com o brasão da família Medici. As paredes laterais são adornadas com pinturas de mestres toscanos, enquanto as bandas de mármore alternadas definem o estilo pisano. Este espaço, que simboliza a evolução artística de Pisa, destaca-se pela combinação de influências bizantinas e elementos góticos, consolidando a catedral como um importante centro artístico e religioso.
The choir of Pisa Cathedral, a significant example of Italian Romanesque architecture, was built between the 11th and 12th centuries and is part of the monumental complex of Piazza dei Miracoli. The central element is the apse mosaic, which depicts Christ Pantocrator flanked by the Virgin Mary and St. John the Evangelist, attributed to Cimabue (c. 1302) and influenced by the Byzantine tradition. After a fire in 1595, the original ceiling was replaced by a coffered vault in gilded wood, incorporating Renaissance and Mannerist elements, with the Medici family coat of arms. The side walls are adorned with paintings by Tuscan masters, while alternating marble bands define the Pisan style. This space, which symbolizes the artistic evolution of Pisa, stands out for its combination of Byzantine influences and Gothic elements, consolidating the cathedral as an important artistic and religious center.
Monumento Nacional desde 1910, a fachada retabular da Igreja de São Gonçalo em Amarante, iniciada em 1543 por ordem de D. João III, exibe uma confluência de estilos renascentista, maneirista e barroco, erguendo-se imponente sobre o rio Tâmega. A estrutura, organizada em três registos, apresenta no piso térreo um portal de arco de volta perfeita com colunas coríntias e nichos com São Francisco e São Domingos. O segundo piso, de estilo maneirista, destaca-se por seis colunas que emolduram a imagem de pedra de São Gonçalo, padroeiro da cidade, venerado e associado à reconstrução da ponte local. Anexa à igreja encontra-se a Varanda dos Reis, com estátuas dos monarcas D. João III, D. Sebastião, Cardeal-Rei D. Henrique e D. Filipe I. Marcas das Invasões Francesas em 1809, preservadas durante os restauros, testemunham a história do local. O conjunto arquitetónico, incluindo o convento dominicano fundado em 1540 sobre um eremitério, constitui um notável exemplo da arquitetura religiosa portuguesa.
A National Monument since 1910, the altarpiece façade of the Church of São Gonçalo in Amarante, begun in 1543 by order of King João III, displays a confluence of Renaissance, Mannerist and Baroque styles, rising imposingly over the River Tâmega. The structure, organized in three levels, features a round-arched portal on the first floor with Corinthian columns and niches depicting Saint Francis and Saint Dominic. The second floor, in Mannerist style, stands out for its six columns that frame the stone image of São Gonçalo, the town's patron saint, venerated and associated with the reconstruction of the local bridge. Attached to the church is the Balcony of the Kings, with statues of the monarchs João III, Sebastião, Henrique and Filipe I. Marks of the French Invasions in 1809, preserved during the restorations, bear witness to the site's history. The architectural complex, including the Dominican convent founded in 1540 on a hermitage, is a remarkable example of Portuguese religious architecture.