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The water spraying stone dining table in the gardens 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 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.
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.
The Fountain of Neptune (Italian: Fontana di Nettuno) is a monumental civic fountain located in the eponymous square, Piazza del Nettuno, next to Piazza Maggiore, in Bologna, Italy The fountain is a model example of Mannerist taste of the Italian courtly elite in the mid-sixteenth century
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.
El Palacio Arzobispal es una de las joyas arquitectónicas y artísticas que se reúnen alrededor de la Plaza Virgen de los Reyes, en el verdadero corazón monumental de Sevilla. Vecino de la Giralda y de la Catedral, situado frente al Real Alcázar y junto al Barrio de Santa Cruz, destaca por su portada barroca, sus patios manieristas y por custodiar un sinnúmero de obras de arte y valiosos enseres.
El origen del edificio data de 1251, cuando se cedieron a Raimundo de Losana –Don Remondo para los sevillanos– unas casas que habían sido levantadas sobre construcciones almohades (y estas, sobre unas antiguas termas romanas). Aquí residió, por tanto, el primer arzobispo de Sevilla y sigue siendo en nuestros días la residencia del titular de la Archidiócesis.
Il Palazzo Arcivescovile è uno dei gioielli architettonici e artistici che si riuniscono intorno alla Plaza Virgen de los Reyes, nel vero cuore di Siviglia monumentale. Il vicino della Giralda e la Cattedrale, di fronte al Palazzo Reale e vicino alla Barrio de Santa Cruz, noto per la sua facciata barocca, i suoi cortili e la guardia manieriste innumerevoli opere d'arte e oggetti di valore.
L'origine dell'edificio risale al 1251, quando sono stati ceduti a Raimundo de Losana Don Remondo per le case sevillanos- che erano state costruite nel corso almohades edifici (e quelli sulle antiche terme romane). Qui ha vissuto, di conseguenza, il primo Arcivescovo di Siviglia e rimane oggi la residenza del capo dell'arcidiocesi.
The Archbishop's Palace is one of the architectural and artistic jewels that gather around the Virgen de los Reyes Square, in the true monumental heart of Seville. Neighbor of the Giralda and the Cathedral, opposite the Royal Palace and next to Barrio de Santa Cruz, known for its Baroque façade, its courtyards and guard Mannerist countless works of art and valuable goods.
The origin of the building dates back to 1251, when Raimundo de Losana (Don Remondo for Seville) was given some houses that had been built on Almohad buildings (and these, on some old Roman baths). Here he lived, therefore, the first archbishop of Seville and remains today the residence of the head of the archdiocese.
The Cathedral from Olinda is a Catholic temple located in Olinda, Pernambuco State, cathedral of the Archdiocese of Olinda and Recife.
The first building for the worship erected at the site of the current See was a simple chapel, built using the technique of hand mud. It was raised between 1537 and 1540 and was dedicated to Jesus Christ as Savior of the World. Since the mud is a low-resistance material, the chapel soon began to decay, and was replaced by another 1584, larger, masonry temple with several secondary chapels erected at the initiative of Friar Antonio Barreiro, the third Bishop of Brazil.
In 1591 a vault was added to the chancel, the work of Braz da Mata, a Portuguese from Lisbon, and in 1599 the nave was enlarged. In 1616 the sacristy and annexed annexes were built by Christopher Alvares, and a little later it was elevated to the headquarters of St. Savior of the World.
With the Dutch invasion the church was desecrated and even used as a stable, and its decay was completed in the fire that consumed part of the city in 1631, the Matrix left almost nothing. After the expulsion of the Dutch the city raised the church with great efforts, and the works continued until the eighteenth century. In the meantime, in 1676, with the creation of the Bishopric of Olinda, the former Matrix was elevated to the status of Cathedral.
Later the building had its façade replaced and underwent several other interior interventions, which were carried out by Archbishop Dom Miguel de Lima Valverde in 1919, and largely misrepresented the original style. However, between 1974 and 1976 the building was restored, regaining as far as possible its original transitional features between the Renaissance and the Baroque (Mannerist period) within the Federal Government's Historic Cities Restoration Program in conjunction with the National Foundation of Art of Pernambuco (FUNDARPE).
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 Peterhof Palace (Russian: Петерго́ф, IPA: [pʲɪtʲɪrˈɡof], German for Peter's Court) is a series of palaces and gardens located in Petergof, Saint Petersburg, Russia, commissioned by Peter the Great as a direct response to the Palace of Versailles by Louis XIV of France. Originally intended in 1709 for country habitation, Peter the Great sought to expand the property as a result of his visit to the French royal court in 1717, inspiring the nickname used by tourists "The Russian Versailles". In the period between 1714 and 1728, the architecture was designed by Domenico Trezzini, and the style he employed became the foundation for the Petrine Baroque style favored throughout Saint Petersburg. Also in 1714, Jean-Baptiste Alexandre Le Blond designed the gardens, likely chosen due to his previous collaborations with Versailles landscaper André Le Nôtre. Francesco Bartolomeo Rastrelli completed an expansion from 1747 to 1756 for Elizabeth of Russia. The palace-ensemble along with the city center is recognized as a UNESCO World Heritage Site.
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The Grand Cascade is modelled on one constructed for Louis XIV at his Château de Marly, which is likewise memorialised in one of the park's outbuildings.
At the centre of the cascade is an artificial grotto with two stories, faced inside and out with hewn brown stone. It currently contains a modest museum of the fountains' history. One of the exhibits is a table carrying a bowl of (artificial) fruit, a replica of a similar table built under Peter's direction. The table is rigged with jets of water that soak visitors when they reach for the fruit, a feature from Mannerist gardens that remained popular in Germany. The grotto is connected to the palace above and behind by a hidden corridor.
The fountains of the Grand Cascade are located below the grotto and on either side of it. There are 64 fountains. Their waters flow into a semicircular pool, the terminus of the fountain-lined Sea Channel. In the 1730s, the large Samson Fountain was placed in this pool. It depicts the moment when Samson tears open the jaws of a lion, representing Russia's victory over Sweden in the Great Northern War, and is doubly symbolic. The lion is an element of the Swedish coat of arms, and one of the great victories of the war was won on St Sampson's Day. From the lion's mouth shoots a 20-metre-high vertical jet of water, the highest in all of Peterhof. This masterpiece by Mikhail Kozlovsky was looted by the invading Germans during the Second World War; see History below. A replica of the statue was installed in 1947.
Perhaps the greatest technological achievement of Peterhof is that all of the fountains operate without the use of pumps. Water is supplied from natural springs and collects in reservoirs in the Upper Gardens. The elevation difference creates the pressure that drives most of the fountains of the Lower Gardens, including the Grand Cascade.
en.wikipedia.org/wiki/Peterhof_Palace
D'autres vues de ce palais accompagnées d'explications en Français figurent dans l'album consacré à Saint-Pétersbourg :
www.flickr.com/photos/145414276@N08/albums/72157695483923760
notamment sous la photo
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.
A Capela de Nossa Senhora da Penha de França, classificada como Monumento Nacional desde 1910, ergue-se no complexo da Vista Alegre, em Ílhavo. A sua construção original, datada do final do século XVII, foi ordenada pelo Bispo D. Manuel de Moura Manuel, embora as duas torres sineiras que ladeiam a fachada, onde se encontra um nicho com a imagem da padroeira, tenham sido acrescentadas posteriormente. Adquirida em 1816 por José Ferreira Pinto Basto, fundador da fábrica de porcelana, a capela alberga no interior valiosas obras de arte, como painéis de azulejos do século XVII atribuídos a Gabriel del Barco e a pintura da Árvore de Jessé no teto. Na capela-mor, destaca-se o mausoléu do bispo fundador, obra do escultor francês Claude Laprade. O templo, com elementos arquitetónicos maneiristas e barrocos, constitui um importante elemento do património religioso e cultural, sendo o centro das festividades anuais em honra da padroeira da Vista Alegre, evento reconhecido no Inventário Nacional do Património Cultural Imaterial.
The Chapel of Nossa Senhora da Penha de França, classified as a National Monument since 1910, stands in the complex of Vista Alegre, in Ílhavo. Its original construction, dating from the late seventeenth century, was ordered by Bishop Manuel de Moura Manuel, although the two bell towers that flank the facade, where there is a niche with the image of the patron saint, were added later. Acquired in 1816 by José Ferreira Pinto Basto, founder of the porcelain factory, the chapel houses valuable works of art, such as 17th century tile panels attributed to Gabriel del Barco and the painting of the Tree of Jesse on the ceiling. In the main chapel, the mausoleum of the founding bishop, a work by the French sculptor Claude Laprade, stands out. The temple, with Mannerist and Baroque architectural elements, is an important element of the religious and cultural heritage, being the center of the annual festivities in honor of the patron saint of Vista Alegre, an event recognized in the National Inventory of Intangible Cultural Heritage.
Front 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 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.
Great Armory in Gdansk ( Ger. Das Große Zeughaus ) - also known as the arsenal represents the most impressive secular building Mannerist building Gdansk . The meat halls in Haarlem became the inspiration for the creation . The armory was built in the years 1602 - 1605. It is the work of one of the most outstanding Gdańsk architects of that era, Antoni van Obberghen . It was built of small, red, Dutch brick decorated with sandstone decorations and rich gilding . The structure gives the impression that the building consists of four seemingly separate tenement houses. The building was burnt down during the war in 1945. It was rebuilt in 1947-1965, with the reconstruction of the towers' helmets and the stonework of the gables. In the years 2000-2005, both facades were renovated, restoring polychromes , gilding and decorative gargoyles from the side of ul. Beer.
VALLETA contains buildings from the 16th century onwards, built during the rule of the Order of St. John of Jerusalem, also known as Knights Hospitaller. The city is essentially Baroque in character, with elements of Mannerist, Neo-Classical and Modern architecture in selected areas, though World War II left major scars on the city. The City of Valletta was officially recognised as a World Heritage Site by UNESCO in 1980. - Wikipedia
I guess this over the Alfama district is the type of shot I expected to get when planning my trip to Lisbon, I'm just really pleased that even at the end of September the weather turned out so well.
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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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.
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.
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.
Excerpt from Wikipedia:
St. Hyacinth's Church was founded by the Dominican Order and adjoins Warsaw's largest monastery. The church is a mixture of Renaissance and early-Baroque styles. Its construction began in 1603 and it was completed in 1639.
The facade is baroque, although the interior is completely modern, because very few of the original furnishings of the church were preserved. Among them, the most interesting are the tomb monuments - the mannerist tomb of Katarzyna Ossolińska, constructed in 1607 (it was only partially reconstructed); the tomb of Anna Tarnowska, carved from brown Chęciny marble in about 1616, which depicts Anna in the typical Polish sepulchral art sleeping pose; the black marble epitaph of Regina Sroczyńska, a wealthy merchant from Kraków, originally adorned with a coffin portrait of Regina painted on tin plate. Next to the sanctuary there is a chapel for St. Dominic with the most valuable element of the church's furnishing - an 18th-century wooden statue of Ecce Homo by Antoni Osiński, with profuse stucco decorations, a black marble altar and a portal.
See in the wonderful, mysterious Monster Park at Bomarzo (Viterbo)
Many works of art are contained in this magic park and they seem to be part of fantastic tales.
The Sacred Grove, a Manieristic monumental complex, was created in the 1560s by Duke Pierfrancesco (“Vicino”) Orsini -the Duke of Bomarzo- to be the only one of it's kind in the world, and like many Mannerist works of art, was intended not to please, but to astonish. The many monstrous statues appear to have been strewn almost randomly about the area "just to set the heart free" (sol per sfogare il Core as we can read in one inscription carved in an obelisk.
Many thanks to all who have taken the time to comment on/or select this image as a personal favourite. Cheers!
The Alhambra, which literally means “The Red One” in Arabic, 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 which was ultimately never completed due to Morisco rebellions in Granada.
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.
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.
De Waag is a weigh house on the Brink in the center of Deventer. It is the oldest venture building in the Netherlands that was built as such.
It is a late Gothic building with three storeys, a staircase tower, a clock and three spiers. It was built from 1528 to 1531. In 1643 a late mannerist platform with three columns was built at the front. There are stairs on both sides. The building was used as a weigh house until 1862, after which a school was established. shared with pixbuf.com
Provincial Monument Preservation Office in Krakow
Wojewódzki Urząd Ochrony Zabytków w Krakowie Gorków Palace - a Mannerist palace from the fifteenth-century, housing the residence for Queen Bona's secretary Andrzej Krzycki. Presently, the palace houses the Lesser Poland Voivodship Office for the Protection of Monuments.
Kanonicza Street - a historic street in Kraków, Poland. The street was once part of the hamlet of Okół, connected with Kraków in 1401. Formerly, the buildings along the street housed cathedral canons, and to this day many of their Baroque and Renaissance have remained present. Wikipedia
Laowa 12mm f/2.8 Zero-D from Venus Optics, full frame manual lens (does not show in EXIF)
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
We wandered with great pleasure through the streets of Beja. We knew little of the city, and this more detailed exploration was revealing.
The historic centre of Beja is vast enough to include several monuments, churches, streets and charming corners, yet small enough for us to explore on foot.
The Clock Tower and the Church of Santa Maria form a particularly beautiful setting, with peculiar traces. The church was built in the 13th century, but the design we see today is the result of several alterations. The narthex/porch dates from the 15th century, in Mudéjar Gothic style. And several Mannerist and Renaissance elements were added.
Curiously, the old church tower and the municipal clock tower (the latter from the 19th century) are two distinct structures, though they are easily confused at first glance.
We could see this outline from several streets in the city centre, as a visual landmark. And it was clearly one of the points in Beja that most fascinated us.
*
Vagueámos com muito gosto pelas ruas de Beja. Conhecíamos pouco da cidade, e esta exploração mais detalhada foi reveladora.
O centro histórico de Beja é suficientemente amplo para incluir diversos monumentos, igrejas, ruas e recantos encantadores, e, ao mesmo tempo, pequeno ao ponto de o podermos explorar descontraidamente a pé.
A Torre do Relógio e a Igreja de Santa Maria formam um conjunto especialmente bonito, de traços peculiares. A igreja foi construída no Século XIII, mas o traço actual é o resultado de diversas alterações. A galilé/alpendre é do Século XV, em gótico mudéjar, e foram introduzidos vários elementos maneiristas e renascentistas.
Curiosamente, a torre da antiga igreja e a torre do relógio municipal (esta última do século XIX) são duas estruturas distintas, embora se confundam à primeira vista.
Conseguimos ver este contorno a partir de várias ruas do centro, como um marco visual. E foi um dos pontos de Beja que mais nos encantou.
"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.
Excerpt from tz-motovun.hr:
The parish church of St. Stephen was erected in place of an older church which was, in its turn, erected most probably on the foundations of an antique basilica. The legend says that margrave Engelbert of Istria and his wife countess Matilda were buried in the older church. The present-day church of St. Stephen was built between 1580 and 1614, obtaining its current shape at the end of the 18th century. Owing to the mannerist elements of its façade, it has been considered that it was built following the designs of the famous Venetian architect Andrea Palladio.
The Royal Castle in Warsaw is a castle residency that formerly served throughout the centuries as the official residence of the Polish monarchs. It is located in the Castle Square, at the entrance to the Warsaw Old Town. Wikipedia
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
Bloemaert worked in Utrecht and taught many of the leading artists of that city during the course of his long career.The painting is characteristic of the mannerist style which he adopted in the last decade of the sixteenth century.In the middle ground at the left Moses strikes a rock to provide water for the Israelites in the desert.The subject is an Old Testament prototype for salvation through baptism,and the woman with a jug may embody the saving properties of water.
Tkacka street from the Royal Route towards
Great Armory in Gdansk ( Ger. Das Große Zeughaus ) - also known as the arsenal represents the most impressive secular building Mannerist building Gdansk . The meat halls in Haarlem became the inspiration for the creation . The armory was built in the years 1602 - 1605. It is the work of one of the most outstanding Gdańsk architects of that era, Antoni van Obberghen . It was built of small, red, Dutch brick decorated with sandstone decorations and rich gilding . The structure gives the impression that the building consists of four seemingly separate tenement houses. The building was burnt down during the war in 1945. It was rebuilt in 1947-1965, with the reconstruction of the towers' helmets and the stonework of the gables. In the years 2000-2005, both facades were renovated, restoring polychromes , gilding and decorative gargoyles from the side of ul. Beer.
Laowa 12mm f/2.8 Zero-D from Venus Optics, full frame manual lens (does not show in EXIF)
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.
Nave central da Sé de Lamego, templo de origem medieval reconstruído no século XVIII. A estrutura apresenta colunas e arcos de influência maneirista e barroca, destacando-se a abóbada pintada por Nicolau Nasoni, com representações decorativas e simbólicas. O altar-mor exibe talha dourada e uma tela representando a Assunção da Virgem.
Le monastère Saint-Vincent hors-les-murs (Igreja de São Vicente da Fora en portugais) est une église et un monastère portugais augustin situé dans la ville de Lisbonne. C'est l'architecte italien Filippo Terzi qui érigea de 1582 à 1627 le monastère actuel.
Son appellation de Fora signifie « hors les murs », car à sa construction le monastère se trouvait à l'extérieur des remparts de la ville. Aujourd'hui il se trouve englobé dans les constructions urbaines. Il est l'un des bâtiments maniéristes les plus importants du pays et aussi le lieu de sépulture de la plupart des rois portugais de la maison de Bragance.
fr.wikipedia.org/wiki/Monastère_de_Saint-Vincent_de_...
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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.
PASSEGGIATA LUNGO IL FOSSATO
La rocca Sanvitale, nota anche come castello di Fontanellato, è un maniero d'epoca medievale interamente circondato da fossato colmo d'acqua, che sorge in piazza a Fontanellato, in provincia di Parma; al suo interno si trova la Saletta di Diana e Atteone, nota per gli affreschi manieristi del Parmigianino.
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WALK ALONG THE MOAD
The Sanvitale fortress, also known as the castle of Fontanellato, is a medieval manor entirely surrounded by a moat filled with water, which stands in the square in Fontanellato, in the province of Parma; inside there is the Saletta di Diana and Atteone, known for the Mannerist frescoes by Parmigianino.
CANON EOS 600D con ob. SIGMA 10-20 f./4-5,6 EX DC HSM
We are leaving Évora and passing through Praça do Giraldo (Giraldo Square), the main public plaza in the city.
Giraldo Square pays tribute to Fearless Geraldo Geraldes, the man who conquered Evora from the Moors in 1167.
To thank him King Afonso Henriques, the first king of Portugal, nominated him Governor of Evora (alcaide of Evora) and High Protector of the Borders of Alentejo, region which he helped to conquer.
The church at the end of the square is Igreja de Santo Antão (Santo Antão Church).
The church was built in the 16th century in accordance with the designs of the royal architects, Miguel de Arruda, Manuel Pires and Afonso Álvares.
Flanked by two bell towers and three Mannerist portals, it served as a model for other churches in the Alentejo region built at the time.
El palacio de Peterhof es un conjunto del palacio y del parque que se encuentra en la orilla meridional del Golfo de Finlandia, a unos 29 km de San Petersburgo. Está situado en el territorio de la ciudad de Peterhof (llamada antiguamente Petrodvoréts). El conjunto de palacio y parque de la ciudad de Petrodvoréts y su centro histórico forma parte, con el código 540-017, del lugar Patrimonio de la Humanidad llamado «Centro histórico de San Petersburgo y conjuntos monumentales anexos». El centro del conjunto lo constituye el Palacio Grande, que está construido en la terraza marítima y es de estilo barroco. Destacan sus parques y fuentes.
Hasta la Revolución de Octubre de 1917, Peterhof fue residencia de los zares. En el año 1918 se transformó en museo. Durante de Segunda Guerra Mundial estuvo ocupado por las tropas alemanas. Antes de su llegada se pudieron evacuar más de 8.000 objetos de decoración de los palacios y cerca de 50 estatuas. Las tropas alemanas destruyeron casi todo. Después de la Segunda Guerra Mundial se empezó a restaurar el Palacio de Peterhof, y aún hoy continúan las obras (2007). Desde 1945 está abierto el Parque Inferior. Desde 1946 las fuentes se están reconstruyendo de memoria, como la fuente «Sansón», que fue robada por las tropas alemanas. En el año 1952 se empezó a reconstruir el Palacio Grande. En 1964 quedaron abiertas al público las salas del museo.
es.wikipedia.org/wiki/Palacio_Peterhof
The Peterhof Palace (Russian: Петерго́ф) is a series of palaces and gardens located in Petergof, Saint Petersburg, Russia, commissioned by Peter the Great as a direct response to the Palace of Versailles by Louis XIV of France. Originally intended in 1709 for country habitation, Peter the Great sought to expand the property as a result of his visit to the French royal court in 1717, inspiring the nickname used by tourists "The Russian Versailles". In the period between 1714 and 1728, the architecture was designed by Domenico Trezzini, and the style he employed became the foundation for the Petrine Baroque style favored throughout Saint Petersburg. Also in 1714, Jean-Baptiste Alexandre Le Blond designed the gardens, likely chosen due to his previous collaborations with Versailles landscaper André Le Nôtre. Francesco Bartolomeo Rastrelli completed an expansion from 1747 to 1756 for Elizabeth of Russia. The palace-ensemble along with the city center is recognized as a UNESCO World Heritage Site.
The end of the Great Northern War resulted in the Treaty of Nystad in 1721, ceding much of the Swedish Empire's claim to the Baltic Sea to the rising Tsardom of Russia. Peter the Great already began construction of his new capital St Petersburg in 1703 after successfully capturing Swedish provinces on the eastern coast. This strategic location allowed Russian access to the Baltic Sea through the Neva River that flowed to the Gulf of Finland. The island of Kotlin and its fortress Kronstadt northeast of St Petersburg provided a gateway and commercial harbor access owing to the shallowness of water closer to the city.
Throughout the early 18th century, Peter the Great built and expanded the Peterhof Palace complex as a part of his goal to modernize and westernize Russia.
In 1714, Peter began construction of the Monplaisir Palace (French: "my delight") based on his own sketches. He "сhalked out not only the site but also the inside layout, some elements of the decorative finish, etc". Based in a Dutch style, this was Peter's summer retreat (not to be confused with his Summer Palace) that he would use on his way coming and going from Europe through the harbour at Kronstadt. On the walls of this seacoast palace hung hundreds of paintings that Peter brought from Europe and allowed to weather Russian winters and the dampness of the sea without heat. In the seaward corner of his Monplaisir Palace, Peter made his Maritime Study, from which he could see Kronstadt Island to the left and St. Petersburg to the right. Later, he expanded his plans to include a vaster royal château of palaces and gardens further inland, on the model of Versailles which would become Peterhof Palace. The initial design of the palace and its garden was done by the French architect Jean-Baptiste Le Blond.
The dominant natural feature of Peterhof is a 16-m-high bluff lying less than 100 m from the shore. The so-called Lower Gardens (Nizhny Sad), at 1.02 km² comprising the better part of Peterhof's land area, are confined between this bluff and the shore, stretching east and west for roughly 200 m. The majority of Peterhof's fountains are contained here, as are several small palaces and outbuildings. East of the Lower Gardens lies the Alexandria Park with 19th-century Gothic Revival structures such as the Kapella.
Atop the bluff, near the middle of the Lower Gardens, stands the Grand Palace (Bolshoi Dvorets). Behind (south) of it are the comparatively small Upper Gardens (Verhnyy Sad). Upon the bluff's face below the palace is the Grand Cascade (Bolshoi Kaskad). This and the Grand Palace are the centrepiece of the entire complex. At its foot begins the Sea Channel (Morskoi Kanal), one of the most extensive waterworks of the Baroque period, which bisects the Lower Gardens.
The Grand Cascade is modelled on one constructed for Louis XIV at his Château de Marly,[15] which is likewise memorialised in one of the park's outbuildings.
At the centre of the cascade is an artificial grotto with two stories, faced inside and out with hewn brown stone. It currently contains a modest museum of the fountains' history. One of the exhibits is a table carrying a bowl of (artificial) fruit, a replica of a similar table built under Peter's direction. The table is rigged with jets of water that soak visitors when they reach for the fruit, a feature from Mannerist gardens that remained popular in Germany. The grotto is connected to the palace above and behind by a hidden corridor.
The fountains of the Grand Cascade are located below the grotto and on either side of it. There are 64 fountains.[16] Their waters flow into a semicircular pool, the terminus of the fountain-lined Sea Channel. In the 1730s, the large Samson Fountain was placed in this pool. It depicts the moment when Samson tears open the jaws of a lion, representing Russia's victory over Sweden in the Great Northern War, and is doubly symbolic.[17] The lion is an element of the Swedish coat of arms, and one of the great victories of the war was won on St Sampson's Day. From the lion's mouth shoots a 20-metre-high vertical jet of water, the highest in all of Peterhof. This masterpiece by Mikhail Kozlovsky was looted by the invading Germans during the Second World War; see History below. A replica of the statue was installed in 1947.
Perhaps the greatest technological achievement of Peterhof is that all of the fountains operate without the use of pumps. Water is supplied from natural springs and collects in reservoirs in the Upper Gardens. The elevation difference creates the pressure that drives most of the fountains of the Lower Gardens, including the Grand Cascade. The Samson Fountain is supplied by a special aqueduct, over 4 km in length, drawing water and pressure from a high-elevation source.
The expanse of the Lower Gardens is designed in the formal style of French formal gardens of the 17th century. Although many trees are overgrown, in the recent years the formal clipping along the many allees has resumed in order to restore the original appearance of the garden. The many fountains located here exhibit an unusual degree of creativity. One of the most notable designs is entitled 'The Sun'. A disk radiating water jets from its edge creates an image of the sun's rays, and the whole structure rotates about a vertical axis so that the direction in which the "sun" faces is constantly changing.
The same bluff that provides a setting for the Grand Cascade houses two other, very different cascades. West of the Grand Palace is the Golden Mountain (Золотая Гора), decorated with marble statuary that contrasts with the riotous gilded figures of the Grand Cascade. To the east is the Chess Mountain (Шахматная Гора), a broad chute whose surface is tiled black and white like a chessboard. The most prominently positioned fountains of Peterhof are 'Adam' and 'Eve'. They occupy symmetric positions on either side of the Sea Channel, each at the conjunction of eight paths.
Shrine of Our Lady of Grace
Sanktuarium Matki Bożej Łaskawej
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.
During World War II, after the Germans suppressed the Warsaw Uprising, they razed the Jesuit Church to the ground.
All that remained of the four-hundred-year-old edifice was a great pile of rubble. Between the 1950s and 1973, the church was rebuilt in a simplified architectural style. (Wikipedia)
Shrine of Our Lady of Grace
Sanktuarium Matki Bożej Łaskawej
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.
During World War II, after the Germans suppressed the Warsaw Uprising, they razed the Jesuit Church to the ground.
All that remained of the four-hundred-year-old edifice was a great pile of rubble. Between the 1950s and 1973, the church was rebuilt in a simplified architectural style. (Wikipedia)
Renaissance Revival architecture (sometimes referred to as "Neo-Renaissance") is a group of 19th century architectural revival styles which were neither Greek Revival nor Gothic Revival but which instead drew inspiration from a wide range of classicizing Italian modes. Under the broad designation Renaissance architecture nineteenth-century architects and critics went beyond the architectural style which began in Florence and central Italy in the early 15th century as an expression of Renaissance humanism; they also included styles we would identify as Mannerist or Baroque. Self-applied style designations were rife in the mid- and later nineteenth century: "Neo-Renaissance" might be applied by contemporaries to structures that others called "Italianate", or when many French Baroque features are present (Second Empire).
The divergent forms of Renaissance architecture in different parts of Europe, particularly in France and Italy, has added to the difficulty of defining and recognizing Neo-Renaissance architecture. A comparison between the breadth of its source material, such as the English Wollaton Hall, Italian Palazzo Pitti, the French Chateau de Chambord, and the Russian Palace of Facets—all deemed "Renaissance"—illustrates the variety of appearances the same architectural label can take.
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.
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.
St. Michael's group at the Augsburg Zeughaus (Arsenal)
"Das Zeughaus in der Altstadt von Augsburg wurde in den Jahren 1602 bis 1607 von Elias Holl erbaut. Die Entwürfe für die Fassade – die je nach Autor entweder noch der Renaissance oder bereits dem Barock, am zutreffendsten jedoch dem Übergangsstil des Manierismus zugeordnet werden kann – stammen von Joseph Heintz.
Über dem mächtigen Portal an der Ostseite des Gebäudes befindet sich eine beeindruckende Bronzegruppe des Bildhauers Hans Reichle, gegossen von Wolfgang Neidhardt. Sie zeigt den Erzengel St. Michael im Kampf gegen den Satan..." de.wikipedia.org/wiki/Augsburger_Zeughaus
‘The Zeughaus in the historic centre of Augsburg was built between 1602 and 1607 by Elias Holl. The designs for the façade - which, depending on the author, can be categorised as either Renaissance or Baroque, but most accurately as transitional Mannerist - were created by Joseph Heintz.
Above the mighty portal on the east side of the building is an impressive bronze group by the sculptor Hans Reichle, cast by Wolfgang Neidhardt. It shows the archangel St Michael fighting Satan...’
en.wikipedia.org/wiki/Elias_Holl
en.wikipedia.org/wiki/Joseph_Heintz_the_Elder
Palazzo del Te was built between 1524–34 for Federico II Gonzaga, Marquess of Mantua. He decided in 1524 to build a pleasure palace, or Villa Suburbana. The site chosen was that of the family's stables at Isola del Te on the fringe of the marshes just outside Mantua's city walls.
The architect commissioned was Giulio Romano, a pupil of Raphael. The shell of the palazzo was erected within 18 months. It is basically a square house built around a cloistered courtyard. A formal garden complemented the house. This was enclosed by colonnaded outbuildings terminated by a semi-circular colonnade known as the 'Esedra'.
The finished drawing, completed on Thursday evening. I had a great sense of achievement completing the drawing in time to post it on Friday morning. The Artisan Mannerist form of building was a new form that emerged in the early 17th century, mixing classical motives with more traditional carpentry and brickwork. The Old King's Head had been a village public house for many years, the building retains the name though it no longer a pub as far as I know.
Palazzo del Te or Palazzo Te is a palace in the suburbs of Mantua, Italy. It is a fine example of the mannerist style of architecture, and the acknowledged masterpiece of Giulio Romano. Although formed in Italian, the usual name in English of Palazzo del Te is not that now used by Italians. The official modern name, and by far the most common name in Italian, is Palazzo Te. The English name arises because Vasari calls it the "Palazzo Del T", and English-speaking writers, especially art historians, still most often call it "Palazzo del Te".
Palazzo del Te was constructed 1524–34 for Federico II Gonzaga, Marquess of Mantua, as a palace of leisure. The site chosen was that of the family's stables at Isola Del Te, on the edge of the marshes just outside Mantua's city walls. The name comes from tejeto, the grove that once grew on what was then an islet in the marshlands around the core of the city.
Giulio Romano, a pupil of Raphael, was commissioned to design the building. The shell of the palazzo, erected within eighteen months, is basically a square house containing a cloistered courtyard. A formal garden complemented the house, enclosed by colonnaded outbuildings ending in a semicircular colonnade.
Once the shell of the building was completed, for ten years a team of plasterers, carvers and fresco painters laboured, until barely a surface in any of the loggias or salons remained undecorated. Under Romano's direction, local decorative painters such as Benedetto Pagni and Rinaldo Mantovano worked extensively on the frescos.
In July 1630, during the War of the Mantuan Succession (1628–31), Mantua and the palace were sacked over three days by an Imperial army of 36,000 Landsknecht mercenaries. The remaining populace fell victim to one of the worst plagues in history that the invaders had brought with them. The Palazzo was looted from top to bottom and remained an empty shell: nymphs, god, goddesses and giants remain on the walls of the empty echoing rooms.
Great Armory in Gdansk ( Ger. Das Große Zeughaus ) - also known as the arsenal represents the most impressive secular building Mannerist building Gdansk . The meat halls in Haarlem became the inspiration for the creation . The armory was built in the years 1602 - 1605. It is the work of one of the most outstanding Gdańsk architects of that era, Antoni van Obberghen . It was built of small, red, Dutch brick decorated with sandstone decorations and rich gilding . The structure gives the impression that the building consists of four seemingly separate tenement houses. The building was burnt down during the war in 1945. It was rebuilt in 1947-1965, with the reconstruction of the towers' helmets and the stonework of the gables. In the years 2000-2005, both facades were renovated, restoring polychromes , gilding and decorative gargoyles from the side of ul. Beer.
Piwna
Great Armory in Gdansk ( Ger. Das Große Zeughaus ) - also known as the arsenal represents the most impressive secular building Mannerist building Gdansk . The meat halls in Haarlem became the inspiration for the creation . The armory was built in the years 1602 - 1605. It is the work of one of the most outstanding Gdańsk architects of that era, Antoni van Obberghen . It was built of small, red, Dutch brick decorated with sandstone decorations and rich gilding . The structure gives the impression that the building consists of four seemingly separate tenement houses. The building was burnt down during the war in 1945. It was rebuilt in 1947-1965, with the reconstruction of the towers' helmets and the stonework of the gables. In the years 2000-2005, both facades were renovated, restoring polychromes , gilding and decorative gargoyles from the side of ul. Beer.
Laowa 12mm f/2.8 Zero-D from Venus Optics, full frame manual lens (does not show in EXIF)
Excerpt from visitportugal.com:
According to tradition, the origin of this church dates back to the Visigothic period, having been converted into a mosque during the Muslim period and converted to Christianity after D. Afonso Henriques conquered the village in 1148, consecrating it to Marian Devotion.
From 1210, the town of Óbidos became part of the Casa das Rainhas, benefiting from the artistic and religious patronage of the Crown for the next six hundred years. The various modifications in the Church of Saint Mary are testament to this fact.
The temple that today sits in the Santa Maria Square, at the bottom of the Rua Direita main street, dates from the 16th century and was built by the initiative of Queen D. Leonor, wife of D. João II. It was in this church that, on August 15, 1441, the infant D. Afonso (later King D. Afonso V of Portugal) married his cousin D. Isabel, at the ages of ten and eight. From 1571, given its state of ruin, it was thoroughly renovated by order of Queen D. Catherine of Austria, to its present configuration.
At the entrance, on the Mannerist portal, one sees an image of Our Lady of the Assumption, patroness of the parish. Next to the altar the Renaissance tomb of D. João de Noronha ("The Lad"), captain of Óbidos in the 16th century, deserves to be admired. It is a masterpiece of Renaissance tomb sculptures, attributed to Frenchman Nicolau Chanterenne. In addition, one can observe paintings by Baltazar Gomes Figueira and the famous Josefa de Óbidos (1634-1684), which combined the profane and the sacred in atmospheres of soft sensuality and mysticism, as in the altarpiece dated 1611, which represents the Mystic Marriage of Santa Catarina, on show in the sacristy. Much of the work of this remarkable painter (and of the church's collection) is preserved in museums, particularly in Óbidos. The walls, covered top to bottom with 17th century tiles and painted wood, create a beautiful decorative effect, designed by Francisco de Azevedo Caminha, also in the 17th century.
The Royal Castle in Warsaw is a castle residency that formerly served throughout the centuries as the official residence of the Polish monarchs. It is located in the Castle Square, at the entrance to the Warsaw Old Town. Wikipedia
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