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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.
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.
He trained in the studio of a local painter who showed the influence of Lorenzo Costa and Raphael. In the 1520s Girolamo visited Rome and Bologna and was inspired by the Mannerist style of Giulio Romano. Geographically and stylistically he straddles the various influences.
He returned to Ferrara and collaborated with Dosso Dossi and Garofalo among others on commissions for the d’Este family. Girolamo became the architect to Pope Julius III in 1550 and supervised the remodeling of the Vatican's belvedere. Returning to Ferrara, he was charged of the enlargements of the Castello Estense.
Da Carpi's paintings include a Descent of the Holy Spirit in the church of St Francis at Rovigo; a Madonna; an Adoration of the Magi and a St. Catharine at Bologna; and a St George and St Jerome at Ferrara.
Among the pupils of Girolamo da Carpi were Bartolomeo Faccini and Ippolito Costa.
Girolamo Da Carpi (1501 – 1 August 1556) was an Italian painter and decorator who worked at the Court of the House of Este in Ferrara. He began painting in Ferrara, by report apprenticing to Benvenuto Tisi (il Garofalo); but by age 20, he had moved to Bologna, and is considered a figure of Early Renaissance painting of the local Bolognese School.
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.
The Jesuit Church (Polish: Kościół Jezuitów), otherwise the Church of the Gracious Mother of God (Kościół Matki Bożej Łaskawej) is an ornate church in Warsaw, Poland. Immediately adjacent to St. John's Cathedral, it is one of the most notable mannerist churches in Poland's capital.
The Jesuit Church was founded by King Sigismund III Vasa and Podkomorzy Andrzej Bobola (the Old) at Piotr Skarga's initiative, in 1609, for the Jesuits. The main building was constructed between 1609 and 1626 in the Polish Mannerist style by Jan Frankiewicz.
St. John's Archcathedral in Warsaw is a Roman Catholic church in Warsaw's Old Town. St. John's is one of three cathedrals in Warsaw, but the only one which is also an archcathedral. It is the mother church of the archdiocese of Warsaw. Wikipedia
The Baptism of Constantine is a painting by assistants of the Italian Renaissance artist Raphael. It was most likely painted by Gianfrancesco Penni, between 1517 and 1524.
After the master's death in 1520, Penni worked together with other members of Raphael's workshop 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 Baptism of Constantine is located in the Sala di Costantino ("Hall of Constantine"). In the painting the Emperor Constantine the Great is depicted kneeling down to receive the sacrament from Pope Sylvester I in the Baptistery of the St John Lateran. The painter has given Sylvester the traits of Clement VII, the Pope who had ordered the frescoes to be finished, after the work was interrupted during the papacy of Hadrian VI.
While attempting the control and serenity typical of the High Renaissance, the crowded scene demonstrates the Mannerist tendency towards complexity and discordance.
In 'Explore', 2021.10.26
Canon EOS 50D, Canon EF 17-40mm f/4L USM, final development in Lightroom.
There are many works by Giambologna in the Bargello.
"Giambologna (Douai, 1529 – Firenze, 13 agosto 1608) — (known also as Jean de Boulogne and Giovanni da Bologna) — was a Flemish sculptor based in Italy, celebrated for his marble and bronze statuary in a late Renaissance or Mannerist style." (Wikipedia, a mix of Italian and English)
Barye's thorough grounding in classical prototypes is evident in this highly charged representation of an incident from the battle between the Lapiths and the Centaurs described in Book XII of Ovid's Metamorphoses. Bayre surely knew the series of metopes from the Parthenon depicting the Greek legend, but the death blow delivered by the Greek hero is recognizable as a borrowing from the marble Hercules and a Centaur by the Mannerist sculptor Giambologna in Florence.
Girolamo Francesco Maria Mazzola called Parmigianino (Parma, January 11, 1503 - Casalmaggiore, August 24, 1540) - Madonna and Child with Saints Margaret, Jerome and Petronius (1529) - oil on panel 222 x 147 cm - Galleria Nazionale di Bologna
Dipinta all'epoca del soggiorno bolognese del Parmigianino, forse nel 1529, importa nell'ambiente tardo-raffaellesco locale un nuovo universo formale di sensibilità, eleganza, grazia.
Studiata e riprodotta dagli artisti della generazione manierista, è pienamente compresa nella sua novità soprattutto in ambito carraccesco
Painted at the time of Parmigianino's stay in Bologna, perhaps in 1529, it imports into the local late-Raphaelite environment a new formal universe of sensitivity, elegance, grace.
Studied and reproduced by the artists of the Mannerist generation, it is fully understood in its novelty, especially in the Carraccan environment.
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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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.
A sepia tinted, square cropped variation on a theme but when presented with a scene such as this one of the Monastery of São Vicente de Fora cloister it would be rude not too......
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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Alhambra coordinates.......37.17695°N 3.59001°W
The Alhambra is a palace and fortress complex located in Granada, Andalusia, Spain. It was originally constructed as a small fortress in AD 889 on the remains of Roman fortifications, and then largely ignored until its ruins were renovated and rebuilt in the mid-13th century by the Nasrid emir Mohammed ben Al-Ahmar of the Emirate of Granada, who built its current palace and walls. It was converted into a royal palace in 1333 by Yusuf I, Sultan of Granada.[1] After the conclusion of the Christian Reconquista in 1492, the site became the Royal Court of Ferdinand and Isabella (where Christopher Columbus received royal endorsement for his expedition), and the palaces were partially altered in the Renaissance style. In 1526 Charles I & V commissioned a new Renaissance palace better befitting the Holy Roman Emperor in the revolutionary Mannerist style influenced by humanist philosophy in direct juxtaposition with the Nasrid Andalusian architecture, but it was ultimately never completed due to Morisco rebellions in Granada.
Alhambra's last flowering of Islamic palaces was built for the last Muslim emirs in Spain during the decline of the Nasrid dynasty, who were increasingly subject to the Christian Kings of Castile. After being allowed to fall into disrepair for centuries, the buildings occupied by squatters, Alhambra was rediscovered following the defeat of Napoleon, who had conducted retaliatory destruction of the site. The rediscoverers were first British intellectuals and then other north European Romantic travelers. It is now one of Spain's major tourist attractions, exhibiting the country's most significant and well-known Islamic architecture, together with 16th-century and later Christian building and garden interventions. The Alhambra is a UNESCO World Heritage Site and the inspiration for many songs and stories.
Die evangelisch-lutherische Basilika Altenkrempe, einem Dorf nördlich von Neustadt in Holstein, ist eine dreischiffige Basilika im Stil der Backsteinromanik. Die Datierung des Baubeginns ist nicht gesichert, da Baudaten nicht überliefert sind. Aufgrund der Ähnlichkeiten zum Ratzeburger Dom und der Verwendung des Baumittels Backstein ist eine Datierung des ersten Bauabschnitts auf den Anfang des 13. Jahrhunderts anzunehmen. Die Basilika gilt als architektonisches Vorbild für die Nikolaikirche in Mölln. Unterschiede in der Bauausführung zeigen, dass zwischen Errichtung von Chor und Langhaus einige Zeit vergangen sein muss. Viel von der mittelalterlichen Ausstattung ist nicht mehr vorhanden, da die Ausstattung barock überarbeitet wurde. Das älteste Ausstattungsstück der Basilika ist das Taufbecken aus dem 13. Jahrhundert. Die Pokalform ist für mittelalterliche Bronzenfünten in Schleswig-Holstein einmalig. Die Bronzekuppa steht auf einem Sockel aus gotländischem Kalkstein. Das größte der in die Kuppa eingelassenen goldenen Medaillons zeigt eine Kreuzigungsgruppe, die übrigen Apostel. Die übrige Kirchenausstattung stammt aus nachreformatorischer Zeit. Die Kanzel ist auf 1687 datiert. In den Brüstungsfeldern des vierseitigen Kanzelkorbes stehen geschnitzte Evangelistenfiguren im manieristischen Stil. Der sechseckige Schalldeckel wird von einer Figur des Salvators bekrönt. Das barocke Altarretabel von 1741 hat in seiner Mitte ein Gemälde von etwa 1900, das Christus zeigt.
de.wikipedia.org/wiki/Basilika_Altenkrempe
The Protestant-Lutheran basilica at Altenkrempe, a village north of Neustadt in Holstein, is a three-aisled basilica in the brick Romanesque style. The dating of the start of construction is not certain, as construction dates have not survived. Due to the similarities to Ratzeburg Cathedral and the use of brick as a building material, the first construction phase can be dated to the beginning of the 13th century. The basilica is considered to be the architectural model for the St Nicholas' Church in Mölln. Differences in the construction show that some time must have passed between the construction of the choir and nave. Much of the medieval furnishings no longer exist, as the furnishings were reworked in the Baroque style. The oldest piece of equipment in the basilica is the baptismal font from the 13th century. The cup shape is unique for medieval bronze fonts in Schleswig-Holstein. The bronze font stands on a pedestal made of Gothic limestone. The largest of the golden medallions set into the font shows a crucifixion group, the others apostles. The rest of the church furnishings date from the post-Reformation period. The pulpit is dated 1687. The spandrels of the four-sided pulpit basket contain carved figures of evangelists in the Mannerist style. The hexagonal sounding board is crowned by a figure of the Saviour. The Baroque altarpiece from 1741 has a painting of Christ from around 1900 in its centre.
Michelangelo returned to Florence in 1499–1501. Things were changing in the republic after the fall of anti-Renaissance Priest and leader of Florence, Girolamo Savonarola (executed in 1498) and the rise of the gonfaloniere Pier Soderini. He was asked by the consuls of the Guild of Wool to complete an unfinished project begun 40 years earlier by Agostino di Duccio: a colossal statue portraying David as a symbol of Florentine freedom, to be placed in the Piazza della Signoria, in front of the Palazzo Vecchio. Michelangelo responded by completing his most famous work, the Statue of David in 1504. This masterwork, created out of a marble block from the quarries at Carrara that had already been worked on by an earlier hand, definitively established his prominence as a sculptor of extraordinary technical skill and strength of symbolic imagination.
David is a masterpiece of Renaissance sculpture sculpted by Michelangelo from 1501 to 1504. The 5.17 meter (17 ft)[1] marble statue portrays the Biblical King David in the nude. Unlike previous depictions of David which portray the hero after his victory over Goliath, Michelangelo chose to represent David before the fight contemplating the battle yet to come. [2] It came to symbolize the defense of civil liberties embodied in the Florentine Republic, an independent city state threatened on all sides by more powerful rival states and by the hegemony of the Medici themselves. This interpretation was also encouraged by the original setting of the sculpture outside the Palazzo della Signoria, the seat of civic government in Florence. The completed sculpture was unveiled on 8 September 1504.
Michelangelo's David differs from previous representations of the subject in that David is not depicted with the slain Goliath (as he is in Donatello's and Verrocchio's versions, produced earlier), a common interpretation is that David is depicted before his battle with Goliath. Instead of being shown victorious over a foe much larger than he, David looks tense and ready for combat. His veins bulge out of his lowered right hand and the twist of his body effectively conveys to the viewer the feeling that he is in motion. The statue is meant to show David after he has made the decision to fight Goliath but before the battle has actually taken place. It is a representation of the moment between conscious choice and conscious action.[citation needed] However, other experts (including Giuseppe Andreani, the current director of Accademia Gallery) consider the depiction to represent the moment immediately after battle, as David serenely contemplates his victory.
A copy of the statue standing in the original location of David, in front of the Palazzo Vecchio in Florence.On January 25, 1504, when the sculpture was nearing completion, a committee of Florentine artists including Leonardo da Vinci and Sandro Botticelli met to decide on an appropriate site for the David. The majority, led by Giuliano da Sangallo and supported by Leonardo and Piero di Cosimo, among others, believed that due to the imperfections in the marble the sculpture should be placed under the roof of the Loggia dei Lanzi on Piazza della Signoria. Only a rather minor view, supported by Botticelli, believed that the sculpture should be situated on or near the cathedral. Eventually the David was placed in front of the entrance to the Palazzo Vecchio, also on Piazza della Signoria, replacing Donatello's bronze sculpture of Judith and Holofernes, which embodied a comparable theme of heroic resistance. It took four days to move the statue from Michelangelo's workshop onto the Piazza della Signoria.
Michelangelo's David is based on the artistic discipline of disegno, which is built on knowledge of the male human form. Under this discipline, sculpture is considered to be the finest form of art because it mimics divine creation. Because Michelangelo adhered to the concepts of disegno, he worked under the premise that the image of David was already in the block of stone he was working on — in much the same way as the human soul is found within the physical body. It is also an example of the contrapposto style of posing the human form.
In the High Renaissance, contrapposto poses were thought of as a distinctive feature of antique sculpture. As exemplified In Michelangelo’s David, sculptured from 1501-1504, the figure stands with one leg holding its full weight and the other leg relaxed. This classic pose causes the figure’s hips and shoulders to rest at opposite angles, giving a slight s-curve to the entire torso. In addition, the statue faces to the left while the left arm leans on his left shoulder with his sling flung down behind his back. Michelangelo’s David has become one of the most recognized pieces of Renaissance Sculpture ever, becoming a symbol of both strength and youthful human beauty.
The proportions are not quite true to the human form; the head and upper body are somewhat larger than the proportions of the lower body. The hands are also larger than would be in regular proportions. While some have suggested that this is of the mannerist style, another explanation is that the statue was originally intended to be placed on a church façade or high pedestal, and that the proportions would appear correct when the statue was viewed from some distance below.
Commentators have noted David's apparently uncircumcised form, which is at odds with Judaic practice, but is considered consistent with the conventions of Renaissance art.[4]
To protect it from damage, the sculpture was moved in 1873 to the Accademia Gallery in Florence, where it attracts many visitors. A replica was placed in the Piazza della Signoria in 1910.
The cast of David at the South Kensington Museum (now the Victoria and Albert Museum), had a detachable plaster fig leaf, added for visits by Queen Victoria and other important ladies, when it was hung on the figure using two strategically placed hooks; it is now displayed nearby. [5]
In 1991, a deranged man attacked the statue with a hammer he had concealed beneath his jacket[6], in the process damaging the toes of the left foot before being restrained. The samples obtained from that incident allowed scientists to determine that the marble used was obtained from the Fantiscritti quarries in Miseglia, the central of three small valleys in Carrara. The marble in question contains many microscopic holes that cause it to deteriorate faster than other marbles. Because of the marble's degradation, a controversy occurred in 2003, when the statue underwent its first major cleaning since 1843. Some experts opposed the use of water to clean the statue, fearing further deterioration. Under the direction of Dr. Franca Falleti, senior restorers Monica Eichmann and Cinzia Pamigoni began the job of restoring the statue. The restoration work was completed in 2004.[7]
In 2008, plans were proposed to insulate the statue from the vibration of tourists' footsteps at Florence's Galleria dell'Accademia, to prevent damage to the marble.
from Wikipedia
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.
Excerpt from Wikipedia:
The Alhambra (The Red One) 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 with many beautiful, intricate details. 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.
The Giusti Palace and Garden (Italian: Palazzo e giardino Giusti) are located in the east of Verona, Italy, a short distance from Piazza Isolo and near the city centre. The palace was built in the sixteenth century. The garden is considered one of the finest examples of an Italian garden.
The palace is a 16th-century Mannerist structure with a tower added in 1701.
The Italian Renaissance gardens were planted in 1580 and are regarded as some of the most beautiful Renaissance gardens in Europe, a splendid park of terraces climbing upon the hill. They include a parterre and hedge maze, and expansive vistas of the surrounding landscape from the terrace gardens. First, only two square parterres right and left hand of the cypress way were designed, and a maze behind the right one, as figured in Nürnbergische Hesperides in 1714. Some years later, four additional flower parterres were laid out left hand, as to be seen at a map in the Verona State Archives. The booklet, Il paradiso de' Fiori by Francesco Pona (1622) informs about the plants used in this time in Giardino Giusti as does also some planting sketches by Pona included in the new edition of this book, Milano 2006. The actual unifying layout of the garden parterres dates from early 20th century. The maze was reconstructed after 1945. [Wikipedia]
O Claustro Velho do convento de São Gonçalo, em Amarante, é um exemplo notável da arquitetura maneirista. Ele possui dois registos: o primeiro com arcadas de volta perfeita entre contrafortes e o segundo com uma colunata jónica. No primeiro registo, na imagem, há alas com arcaria plena, reforçada por pilares quadrangulares jónicos no exterior. As paredes interiores são de cantaria aparelhada, com o pavimento em laje de cantaria, sendo a cobertura uma abóbada de nervuras com medalhões relevados nos ângulos, representando as figuras de São Gonçalo, São Tomás, São Domingos e São Pedro Mártir. O entablamento é toscano, com vasos. No centro do claustro há uma fonte com taças sobrepostas, obra de Mateus Lopes, que se inspirou no claustro de São João de Poio, em Pontevedra.
The Old Cloister of the São Gonçalo convent in Amarante is a remarkable example of Mannerist architecture. It has two registers: the first with round arches between buttresses and the second with an Ionic colonnade. In the first register, in the image, there are wings with full arcade, reinforced by Ionic quadrangular pillars on the outside. The interior walls are made of dressed stone, with the floor in stone slab, the roof being a ribbed vault with medallions raised at the angles, representing the figures of São Gonçalo, São Tomás, São Domingos and São Pedro Mártir. The entablature is Tuscan, with vases. In the center of the cloister there is a fountain with overlapping bowls, the work of Mateus Lopes, who was inspired by the cloister of São João de Poio, in Pontevedra.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Castello della Manta is a castle at Manta near Saluzzo, Province of Cuneo, region of Piedmont, in northern Italy.
The original building, dating from the 12th century, was later enlarged and transformed into a noble residence by the Saluzzo della Manta family, margraves of Saluzzo.
Among the numerous rooms, the Baronial Hall (Salone Baronale) is notable for the fresco cycle decorating its walls, a rare masterpiece of Late Gothic painting in northern Italy. The work is attributed to the anonymous Master of Castello della Manta. The cycle, completed soon after 1420, portrays the Nove Prodi, the Nine Worthies with their Nine Female Heroines. The artist may have used as models members of the House of the Margraves of Saluzzo. The figures are shown wearing precious contemporary clothing. Also depicted is the so-called Fountain of Youth, a theme taken from the tradition of French medieval stories. The scene is inspired by the poem by Marquess Thomas III of Saluzzo, Le Chevalier Errant).
The Sala delle Grottesche was decorated in the Mannerist style of the 16th century, and was commissioned by Count Michele Antonio della Manta around 1560. It has a finely painted ceiling, decorated with stuccoes, grotesques, ancient ruins and buildings.
Annexed to the castle is the church, whose apse has a series of frescoes about the life of Christ dating from the same time as the Baronial Hall decorations.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Los Baños de Doña María de Padilla
Los Baños de Doña María de Padilla
The "Baths of Lady María de Padilla" are rainwater tanks beneath the Patio del Crucero. The tanks are named after María de Padilla, the mistress of Peter the Cruel.
As the whole patio was greatly affected by the Lisbon earthquake, the architect also chose to solidify the garden area up to the upper floors and convert the old Almohad cistern into a basement under the Gothic palace, an area still preserved, which is known as "Baños de Doña María" in honor of Doña María de Padilla, noble lover of Peter of Castile who, according to legend, bathed in it. The king obtained authorisation from the Castilian Cortes to proclaim proclaim her queen after death; the archbishop of Toledo considered this marriage valid and annulled the other two that the monarch had contracted, thus legitimizing her children as his successors. Hence her remains rest in the Royal Chapel of the Cathedral of Seville. But the fratricidal struggles during the reign of Peter of Castile ultimately resulted in a change of dynasty in the House of Trastámara in the person of his stepbrother Henry II of Castile, son of King Alfonso XI of Castile and Eleanor de Guzmán.
The baths have a central swimming pool covered with a nave of ten sections of ribbed vault flanked by two side aisles. In the reign of Philip III a Mannerist fountain was added at the end of the central pool of which some remains are conserved and also a cannon vault opened from the Garden of the Dance, but they are closed to the public because they preserve Renaissance wall paintings between 1565 and 1579 by Juan Díaz, Juan de Saucedo, Juan Chacón and Gonzalo Pérez. Although they are restored after their rediscovery in 1997, they are very delicate to preserve and are now being restored again.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
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.
The Alhambra is a palace and fortress complex located in Granada, Andalusia, Spain. It was originally constructed as a small fortress in AD 889 on the remains of Roman fortifications, and then largely ignored until its ruins were renovated and rebuilt in the mid-13th century by the 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, 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.
Originally built in the 1890s as a private residence, "Penleigh" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds. Today it serves as a campus for the girls of Penleigh and Essendon Grammar School.
Built of beautiful red bricks with stone detailing "Penleigh" has a wonderful return verandah and balcony adorned with elegant cast iron lacework. The mansion has bay windows both upstairs and down and restrained detailing around the undulating Mannerist style roofline. "Penleigh" also features a rather smart tower that nudges just above the remainder of the house.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain.
Penleigh Ladies' College was originally established in 1871 as Dorset House, Mrs. Tulloch's School for Young Ladies. The school occupied several sites in the Moonee Ponds area. The school developed and expanded particularly under the guidance of the Limerock sisters. The school was re-named Penleigh Ladies' College during the First World War after it took up residence in "Penleigh". After the Second World War Penleigh was purchased from the Limerock sisters by the Presbyterian Church. In 1977, Penleigh Ladies' College and Essendon Grammar merged to form one large school over several sites across Essendon and Moonee Ponds.
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 baroque and mannerist Cathedral of SS Peter and Paul, Šiauliai. Built 1617-26, but only a cathedral since Lithuania’s fourth city was raised to see status in 1997. The building was badly damaged during World War Two, but restoration was already well underway during the period of Soviet Occupation of Lithuania.
Excerpt from Wikipedia:
The Alhambra (The Red One) 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 with many beautiful, intricate details. 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.
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.
San Giovanni Evangelista es una iglesia de Parma, que forma parte de un complejo que incluye también un convento benedictino y una tienda de comestibles.
Las obras de la abadía y la iglesia se iniciaron en el siglo X sobre un oratorio preexistente asociado a San Colombanus. En 1477 todo el complejo fue dañado por un incendio.
La basílica de la abadía fue reconstruida alrededor de 1490, con el diseño actual de Bernardino Zaccagni que data de 1510. La construcción terminó alrededor de 1519. El diseño incluía desde el principio una decoración minuciosa de pintura del interior, y se había firmado un contrato con el joven Correggio, que ya había trabajado en otro monasterio benedictino, en la Camera della Badessa de San Paolo.
Correggio ejecutó cinco grupos de frescos. El primero incluye el luneto con San Juan y el Águila (c. 1520), seguido de la cúpula, con la Ascensión de Cristo y la decoración del tambor y las cuatro pechinas. El tercer trabajo fue la decoración de la bóveda y el techo del ábside de la Cappella Maggiore, parcialmente destruida en 1586 cuando se prolongó el coro: hoy se conserva el fragmento central con la Coronación de la Virgen (ahora en la Galleria nazionale di Parma ). La cuarta intervención fue en los muros del coro, que fueron totalmente destruidos durante su reconstrucción. Finalmente, Correggio añadió un friso pintado que recorre todo el perímetro interior. Los dibujos preparatorios muestran que también las piezas ejecutadas por sus alumnos fueron diseñadas por Correggio, como el candelabro en la bóveda del presbiterio y los puttos en las bóvedas de crucería.
es.wikipedia.org/wiki/San_Giovanni_Evangelista_(Parma)
San Giovanni Evangelista is a Mannerist-style, Roman Catholic church located on Piazzale San Giovanni, located just behind the apse of the Parma Cathedral, in the historic center of Parma, northern Italy. The buildings surrounding the piazza were also part of a former Benedictine convent. The church is notable for its Correggio frescoes.
Construction of the abbey and church were begun in the 10th century under the patronage of then Bishop Sigefredus over a pre-existing oratory dedicated to Saint Colombanus. In 1477 the whole complex was damaged by a fire. The abbey basilica was rebuilt from around 1498 to 1510, according to a design by Bernardino Zaccagni.[1] The abbey was suppressed in 1810, although the monks were able to return in 1817.
The marble façade of the church opens onto the Piazzale San Giovanni. The facade was designed by Simone Moschino of Orvieto in proto-Baroque, or Mannerist, style in 1604, and completed in 1607, as cited in the plaque below the tympanum. They tympanum has an eagle, symbol of St John the evangelist. It is decked with statues in niches or rooflines, and brackets and frames that have little architectural explanation. Above the lateral doors are two circular windows, while the upper story has a circular window with a square glass pane in front.
The bell tower on the right side, perhaps designed by Giovanni Battista Magnani, was completed in 1613. With a height of 75 meters, it is the tallest in Parma.
Excerpt from Wikipedia:
The Villa Lante is formed by two casini (houses), nearly identical but built by different owners in a period separated by 30 years. Each square building has a ground floor of rusticated arcades or loggias which support a piano nobile above. Each facade on this floor has just three windows, alternating round or pointed pediments. Each window is divided by pilasters in pairs. An upper floor is merely hinted at by small rectangular, mezzanine type, windows above those of the piano nobile. Each casino is then crowned by a tower or lantern in the summit of the pantiled roof. These elaborate square lanterns too have pilasters, and windows both real and blind.
Each of these casini, in their severe Mannerist style, was built by a different unrelated owner. Villa Lante was first commissioned by Cardinal Gianfrancesco Gambara who gives his surname to the first casino.
It appears that work commenced in 1566 on the right hand (as one enters) casino. It is thought Gambara commissioned Vignola to design the project (the villa is only attributed to Vignola), and begin the work and the design of the gardens for which the villa was to become justly famous. The first casino and upper garden were quickly completed, but work was then suspended for the remainder of Gambara's lifetime.
Following the death of Gambara in 1587, he was succeeded as Apostolic Administrator of Viterbo, by the 17-year-old nephew of Pope Sixtus V, Cardinal Alessandro Peretti di Montalto. It was this mere youth who completed the project at Bagnaia and built the second casino. The two casini differ most in their frescoes: frescoes of landscapes in the Gambara and in the Montalto frescoes by a later artist in a more classical style. In the Gambara Casino the vaulted frescoed loggias are a riot of colour highlighting the architectural detail, while in the Montalto Casino the principal reception room is a combination of fresco and plaster sculpture, almost trompe l'oeil.
The Palazzo Bentivoglio is a late-Renaissance palace located on Via Garibaldi in central Ferrara, Region of Emilia-Romagna, Italy
The palace was first commissioned by Borso d'Este in 1449. The design of the facade has been attributed to a combination of Pirro Ligorio and Giovanni Battista Aleotti.
Bentivoglio decorated the facade with military trophy symbols in marble; the exuberance of the decoration asserts the Mannerist style of the architecture. The pilasters are banded, small framed windows above the ground-floor, volutes prop above the entrance, and curved scrolls above the windows.
The palace remained property of the Bentivoglio family until the 19th century. For a time, it housed a tribunal in Ferrara. There are currently some private offices.
en.wikipedia.org/wiki/Palazzo_Bentivoglio,_Ferrara
El Palacio Bentivoglio es un palacio de finales del Renacimiento situado en la Via Garibaldi, en el centro de Ferrara, en la región de Emilia-Romaña, Italia.
El palacio fue encargado por primera vez por Borso d'Este en 1449. El diseño de la fachada se ha atribuido a una combinación de Pirro Ligorio y Giovanni Battista Aleotti.
Bentivoglio decoró la fachada con símbolos de trofeos militares en mármol; la exuberancia de la decoración afirma el estilo manierista de la arquitectura. Las pilastras tienen bandas, pequeñas ventanas enmarcadas sobre la planta baja, volutas apuntaladas sobre la entrada y volutas curvas sobre las ventanas.
El palacio siguió siendo propiedad de la familia Bentivoglio hasta el siglo XIX. Durante un tiempo albergó un tribunal en Ferrara. Actualmente hay unas oficinas privadas.
Ferrara es un municipio italiano de la región de Emilia-Romaña, capital de la provincia homónima. Con una población de 129 555 habitantes (ISTAT 2024), está situada sobre el río Po de Volano. La ciudad tiene una estructura urbanística que se remonta al siglo XIV, cuando era gobernada por la familia de los Este. El diseño realizado por Biagio Rossetti la convirtió en la primera ciudad moderna de Europa. De este hecho histórico, además de la conservación del estilo y materiales arquitectónicos en la zona del centro histórico, deriva en gran parte su reconocimiento como Patrimonio Mundial de la Humanidad en 1995 (al centro histórico de Ferrara), ampliado en 1999 al delta del Po.
Ferrara (/fəˈrɑːrə/; Italian: [ferˈraːra]; Emilian: Fràra [ˈfraːra]) is a city and comune (municipality) in Emilia-Romagna, Northern Italy, capital of the province of Ferrara. As of 2016, it had 132,009 inhabitants. It is situated 44 kilometres (27 miles) northeast of Bologna, on the Po di Volano, a branch channel of the main stream of the Po River, located 5 km (3 miles) north. The town has broad streets and numerous palaces dating from the Renaissance, when it hosted the court of the House of Este. For its beauty and cultural importance, it has been designated by UNESCO as a World Heritage Site.
Palazzo Te is a palace in Mantua (Mantova), Italy. It is an example of Mannerist architecture, and the acknowledged masterpiece of Giulio Romano.
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San Giovanni Evangelista es una iglesia de Parma, que forma parte de un complejo que incluye también un convento benedictino y una tienda de comestibles.
Las obras de la abadía y la iglesia se iniciaron en el siglo X sobre un oratorio preexistente asociado a San Colombanus. En 1477 todo el complejo fue dañado por un incendio.
La basílica de la abadía fue reconstruida alrededor de 1490, con el diseño actual de Bernardino Zaccagni que data de 1510. La construcción terminó alrededor de 1519. El diseño incluía desde el principio una decoración minuciosa de pintura del interior, y se había firmado un contrato con el joven Correggio, que ya había trabajado en otro monasterio benedictino, en la Camera della Badessa de San Paolo.
Correggio ejecutó cinco grupos de frescos. El primero incluye el luneto con San Juan y el Águila (c. 1520), seguido de la cúpula, con la Ascensión de Cristo y la decoración del tambor y las cuatro pechinas. El tercer trabajo fue la decoración de la bóveda y el techo del ábside de la Cappella Maggiore, parcialmente destruida en 1586 cuando se prolongó el coro: hoy se conserva el fragmento central con la Coronación de la Virgen (ahora en la Galleria nazionale di Parma ). La cuarta intervención fue en los muros del coro, que fueron totalmente destruidos durante su reconstrucción. Finalmente, Correggio añadió un friso pintado que recorre todo el perímetro interior. Los dibujos preparatorios muestran que también las piezas ejecutadas por sus alumnos fueron diseñadas por Correggio, como el candelabro en la bóveda del presbiterio y los puttos en las bóvedas de crucería.
es.wikipedia.org/wiki/San_Giovanni_Evangelista_(Parma)
San Giovanni Evangelista is a Mannerist-style, Roman Catholic church located on Piazzale San Giovanni, located just behind the apse of the Parma Cathedral, in the historic center of Parma, northern Italy. The buildings surrounding the piazza were also part of a former Benedictine convent. The church is notable for its Correggio frescoes.
Construction of the abbey and church were begun in the 10th century under the patronage of then Bishop Sigefredus over a pre-existing oratory dedicated to Saint Colombanus. In 1477 the whole complex was damaged by a fire. The abbey basilica was rebuilt from around 1498 to 1510, according to a design by Bernardino Zaccagni.[1] The abbey was suppressed in 1810, although the monks were able to return in 1817.
The marble façade of the church opens onto the Piazzale San Giovanni. The facade was designed by Simone Moschino of Orvieto in proto-Baroque, or Mannerist, style in 1604, and completed in 1607, as cited in the plaque below the tympanum. They tympanum has an eagle, symbol of St John the evangelist. It is decked with statues in niches or rooflines, and brackets and frames that have little architectural explanation. Above the lateral doors are two circular windows, while the upper story has a circular window with a square glass pane in front.
The bell tower on the right side, perhaps designed by Giovanni Battista Magnani, was completed in 1613. With a height of 75 meters, it is the tallest in Parma.
... at the Monster Park! - Bomarzo (Viterbo) - Italy
By the middle of the 16th century, Vicino Orsini created, in his estate at Bomarzo, a labyrinth of symbols, where "Ladies and Knights" might look for what they most wanted and wonder till they got lost.
He populated the "sacred wood" with monsters and tortoises, obelisks, nymphaums and giant statues. After Vicino Orsini's death nobody cared any longer for this jewel of mannerist art, that after centuries of oblivion has been saved and restored. (www.parcodeimostri.com)
La maison Castagnola
Elle est inscrite aux monuments historiques. Sur le linteau du portail est inscrite la devise familiale : "COL TEMPO" (le temps vient à bout de tout).
Le vestibule comporte des voûtes ornées d'un décor peint de style maniériste datant du XVII siècle.
The Castagnola house
It is registered in historical monuments. On the lintel of the portal is inscribed the family motto: "COL TEMPO" (time overcomes everything).
The vestibule has vaulted ceilings with 17th century Mannerist style painted décor.
The Holy Trinity Church (Kościół Świętej Trójcy) in Nowy Korczyn, a village in southern Poland, was built between the years 1610 and 1634 in place of the former 15th century church of St. Elisabeth and St. Lawrence, which had gone up in flames in 1608.
The new church built in a mixed Gothic-Renaissance style was consecrated in 1659 by the Bishop of Cracow Andrzej Trzebnicki.
The church is remarkable for its western front with the main portal (1632) in the Mannerist style, Baroque high altar from 1692, vault decorated with stucco ornaments, and a fragment of late-Gothic triptych representing the Mourning of Christ.
A detached neo-Gothic bell tower was added in 1889.
More about Nowy Korczyn.
San Giovanni Evangelista es una iglesia de Parma, que forma parte de un complejo que incluye también un convento benedictino y una tienda de comestibles.
Las obras de la abadía y la iglesia se iniciaron en el siglo X sobre un oratorio preexistente asociado a San Colombanus. En 1477 todo el complejo fue dañado por un incendio.
La basílica de la abadía fue reconstruida alrededor de 1490, con el diseño actual de Bernardino Zaccagni que data de 1510. La construcción terminó alrededor de 1519. El diseño incluía desde el principio una decoración minuciosa de pintura del interior, y se había firmado un contrato con el joven Correggio, que ya había trabajado en otro monasterio benedictino, en la Camera della Badessa de San Paolo.
Correggio ejecutó cinco grupos de frescos. El primero incluye el luneto con San Juan y el Águila (c. 1520), seguido de la cúpula, con la Ascensión de Cristo y la decoración del tambor y las cuatro pechinas. El tercer trabajo fue la decoración de la bóveda y el techo del ábside de la Cappella Maggiore, parcialmente destruida en 1586 cuando se prolongó el coro: hoy se conserva el fragmento central con la Coronación de la Virgen (ahora en la Galleria nazionale di Parma ). La cuarta intervención fue en los muros del coro, que fueron totalmente destruidos durante su reconstrucción. Finalmente, Correggio añadió un friso pintado que recorre todo el perímetro interior. Los dibujos preparatorios muestran que también las piezas ejecutadas por sus alumnos fueron diseñadas por Correggio, como el candelabro en la bóveda del presbiterio y los puttos en las bóvedas de crucería.
es.wikipedia.org/wiki/San_Giovanni_Evangelista_(Parma)
San Giovanni Evangelista is a Mannerist-style, Roman Catholic church located on Piazzale San Giovanni, located just behind the apse of the Parma Cathedral, in the historic center of Parma, northern Italy. The buildings surrounding the piazza were also part of a former Benedictine convent. The church is notable for its Correggio frescoes.
Construction of the abbey and church were begun in the 10th century under the patronage of then Bishop Sigefredus over a pre-existing oratory dedicated to Saint Colombanus. In 1477 the whole complex was damaged by a fire. The abbey basilica was rebuilt from around 1498 to 1510, according to a design by Bernardino Zaccagni.[1] The abbey was suppressed in 1810, although the monks were able to return in 1817.
The marble façade of the church opens onto the Piazzale San Giovanni. The facade was designed by Simone Moschino of Orvieto in proto-Baroque, or Mannerist, style in 1604, and completed in 1607, as cited in the plaque below the tympanum. They tympanum has an eagle, symbol of St John the evangelist. It is decked with statues in niches or rooflines, and brackets and frames that have little architectural explanation. Above the lateral doors are two circular windows, while the upper story has a circular window with a square glass pane in front.
The bell tower on the right side, perhaps designed by Giovanni Battista Magnani, was completed in 1613. With a height of 75 meters, it is the tallest in Parma.