Old King's Head, Kirton, near Boston, Lincolnshire. A rapid turn around commission. I was asked on Tuesday if I could possibly help out a friend and former colleague with a drawing for someone that was leaving his organisation soon. As I was to be away on holiday the following week I had to work fast, it needed to be in the post on Friday (Saturday morning at a pinch).

Just I started the drawing I heard from my friend and former colleague that it would best to leave off the bicycle stands in the foreground, so they had to be removed. He also found some additional references for the gable in shadow. This is the completed pencil drawing, almost finished at 10pm on the Wednesday. I completed the pencil work early on Thursday. The building dates from the 17th century, in the Artisan Mannerist style. It was recently restored after being empty for some time and falling into disrepair.

Neptune's Fountain is a historic fountain in Gdańsk, a mannerist-rococo masterpiece, and one of the most distinctive landmarks of the city. The fountain is located at the Długi Targ, in front of the entrance to the Artus Court. It was constructed in the early 17th century. Wikipedia

Royal Route: The city has some buildings surviving from the time of the Hanseatic League. Most tourist attractions are located along or near Ulica Długa (Long Street) and Długi Targ (Long Market), a pedestrian thoroughfare surrounded by buildings reconstructed in historical (primarily during the 17th century) style and flanked at both ends by elaborate city gates. This part of the city is sometimes referred to as the Royal Route, since it was once the former path of processions for visiting Kings of Poland.

The Artus Court, formerly also Junkerhof, (Polish: Dwór Artusa) is a building in the centre of Gdańsk, Poland, at Długi Targ 44, which used to be the meeting place of merchants and a centre of social life. Today it is a point of interest of numerous visitors and a branch of the Gdańsk History Museum.

La fuente de Neptuno (fontana del Nettuno en italiano) es una fuente monumental que se encuentra en Bolonia en la Piazza del Nettuno, adyacente a la Plaza Mayor. Debido a su tamaño colosal, los boloñeses la llaman afectuosamente "il Gigante" (al Żigànt en dialecto boloñés).

La estatua fue promovida por el Cardenal Legado de Bolonia Carlos Borromeo, con el objetivo de simbolizar el auspicioso gobierno del papa recientemente electo, y tío materno de Borromeo, Pío IV.

La obra fue proyectada por el arquitecto y pintor palermitano Tommaso Laureti en 1563 y fue coronada por la imponente estatua en bronce del dios Neptuno del escultor flamenco Jean de Boulogne da Douai (Juan de Bolonia), quien deseaba redimirse luego de la derrota en el concurso por la Fuente de Neptuno en la Plaza de la Señoría de Florencia.

Se dice que Juan de Bolonia quería poner al Neptuno genitales más grandes pero la iglesia se lo prohibió. El escultor no se rindió y diseñó la estatua de manera que desde un ángulo particular el pulgar tensado de la mano izquierda parezca emerger del bajo vientre, en un modo parecido a un pene erecto. En su época, las señoras de Bolonia se turbaban al ver al Neptuno, por lo que la iglesia tuvo que ponerle unos pantalones de bronce a la estatua. Toda la fuente tiene un fuerte carácter erótico, por ejemplo, las ninfas de las esquinas rocían agua por los pezones.

es.wikipedia.org/wiki/Fuente_de_Neptuno_(Bolonia)

The Fountain of Neptune (Italian: Fontana del Nettuno) is a monumental civic fountain located in the eponymous square, Piazza del Nettuno, next to Piazza Maggiore, in Bologna, Italy[1] The fountain is a model example of Mannerist taste of the Italian courtly elite in the mid-sixteenth century. The construction of the fountain was commissioned by the Cardinal Legate Charles Borromeo, to symbolize the fortunate recent election of Borromeo's uncle as Pope Pius IV.

The design and assembly of the fountain was completed by the Palermitan architect Tommaso Laureti in 1563. The over-life-size bronze figure of the god Neptune was completed and fixed in place around 1566. The statue was an early design by Giambologna, who had submitted a model for the Fountain of Neptune in Florence, but had lost the commission to Baccio Bandinelli.

Neptune Fountain has its base on three steps, on which it is situated a tank made of the local boulder and covered by marble of Verona. In the centre of the tank, there is a base where there are four Nereids holding their breasts, from which jets of water emerge. The base is decorated with pontifical emblems, ornaments that – connected to four cherubs – hold dolphins (which are allegorical representation of major rivers from the then-known corners of the world: the Ganges, the Nile, the Amazon River, and the Danube. In the centre of this base raises the majestic figure of the Neptune sculpted by Giambologna's; the statue is a typical expressions of the manneristic theatricality.

The Neptune stretches his left hand in a lordly gesture, appearing to be aiming to placate the waves; this posture is interpreted as symbolic exaltation of the new power of the Pope Pius IV: just as Neptune was the master of the seas, the Pope was the master of Bologna and of the world.

en.wikipedia.org/wiki/Fountain_of_Neptune,_Bologna

Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.

El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.

Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.

Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.

La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.

Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.

Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.

Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.

The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.

Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.

To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.

The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.

The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.

These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.

The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.

Giovanni Battista Trotti called Malosso (Cremona, 1555 - Parma, June 11, 1619) - Deposition (1619) - Ala Ponzone Museum, Cremona

pittore del tardo Rinascimento, Si formò alla scuola manierista di Bernardino Campi

painter of the late Renaissance, was formed at the school of Mannerist Bernardino Campi

Palacio de Peterhof - Peterhof Palace - Петерго́ф

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.

en.wikipedia.org/wiki/Peterhof_Palace

Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.

El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.

Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.

Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.

La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.

Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.

Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.

Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.

The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.

Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.

To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.

The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.

The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.

These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.

The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.

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 El Greco Museum is located in Toledo, Spain. It celebrates the mannerist painter El Greco 1541–1614), who spent much of his life in Toledo, having been born in Fodele, Crete.

The museum opened in 1911 and is located in the Jewish Quarter of Toledo. It consists of two buildings, a 16th-century house with a courtyard and an early 20th century building forming the museum, together with a garden. The house recreates the home of El Greco, which no longer exists. The museum houses many artworks by El Greco, especially from his late period. There are also paintings by other 17th-century Spanish artists, as well as furniture from the period and pottery from Talavera de la Reina in the Province of Toledo.

Toruń is a city on the Vistula River in north-central Poland and a UNESCO World Heritage Site. Its population was 196,935 as of December 2021. Toruń is one of the oldest cities in Poland; it was first settled in the 8th century and in 1233 was expanded by the Teutonic Knights. For centuries it was home to people of diverse backgrounds and religions. From 1264 until 1411, Toruń was part of the Hanseatic League and by the 17th century a leading trading point, which greatly affected the city's architecture, ranging from Brick Gothic to Mannerist and Baroque.

In the Early Modern period, Toruń was a royal city of Poland and one of Poland's four largest cities. With the partitions of Poland in the late 18th century, it became part of Prussia, then of the short-lived Duchy of Warsaw, serving as the temporary Polish capital in 1809, then again of Prussia, of the German Empire and, after World War I, of the reborn Polish Republic. During the Second World War, Toruń was spared bombing and destruction; its Old Town and iconic central marketplace have been entirely preserved.

Toruń is renowned for its gingerbread – the gingerbread-baking tradition dates back nearly a millennium – as well as for its large Cathedral. It hosts the Camerimage International Film Festival of the Art of Cinematography. Toruń is noted for its very high standard of living and quality of life. In 1997 the medieval part of the city was designated a UNESCO World Heritage Site. In 2007 the Old Town of Toruń was added to the list of Seven Wonders of Poland.

(Source: Wikipedia)

La fuente de Neptuno (fontana del Nettuno en italiano) es una fuente monumental que se encuentra en Bolonia en la Piazza del Nettuno, adyacente a la Plaza Mayor. Debido a su tamaño colosal, los boloñeses la llaman afectuosamente "il Gigante" (al Żigànt en dialecto boloñés).

La estatua fue promovida por el Cardenal Legado de Bolonia Carlos Borromeo, con el objetivo de simbolizar el auspicioso gobierno del papa recientemente electo, y tío materno de Borromeo, Pío IV.

La obra fue proyectada por el arquitecto y pintor palermitano Tommaso Laureti en 1563 y fue coronada por la imponente estatua en bronce del dios Neptuno del escultor flamenco Jean de Boulogne da Douai (Juan de Bolonia), quien deseaba redimirse luego de la derrota en el concurso por la Fuente de Neptuno en la Plaza de la Señoría de Florencia.

Se dice que Juan de Bolonia quería poner al Neptuno genitales más grandes pero la iglesia se lo prohibió. El escultor no se rindió y diseñó la estatua de manera que desde un ángulo particular el pulgar tensado de la mano izquierda parezca emerger del bajo vientre, en un modo parecido a un pene erecto. En su época, las señoras de Bolonia se turbaban al ver al Neptuno, por lo que la iglesia tuvo que ponerle unos pantalones de bronce a la estatua. Toda la fuente tiene un fuerte carácter erótico, por ejemplo, las ninfas de las esquinas rocían agua por los pezones.

es.wikipedia.org/wiki/Fuente_de_Neptuno_(Bolonia)

The Fountain of Neptune (Italian: Fontana del Nettuno) is a monumental civic fountain located in the eponymous square, Piazza del Nettuno, next to Piazza Maggiore, in Bologna, Italy[1] The fountain is a model example of Mannerist taste of the Italian courtly elite in the mid-sixteenth century. The construction of the fountain was commissioned by the Cardinal Legate Charles Borromeo, to symbolize the fortunate recent election of Borromeo's uncle as Pope Pius IV.

The design and assembly of the fountain was completed by the Palermitan architect Tommaso Laureti in 1563. The over-life-size bronze figure of the god Neptune was completed and fixed in place around 1566. The statue was an early design by Giambologna, who had submitted a model for the Fountain of Neptune in Florence, but had lost the commission to Baccio Bandinelli.

Neptune Fountain has its base on three steps, on which it is situated a tank made of the local boulder and covered by marble of Verona. In the centre of the tank, there is a base where there are four Nereids holding their breasts, from which jets of water emerge. The base is decorated with pontifical emblems, ornaments that – connected to four cherubs – hold dolphins (which are allegorical representation of major rivers from the then-known corners of the world: the Ganges, the Nile, the Amazon River, and the Danube. In the centre of this base raises the majestic figure of the Neptune sculpted by Giambologna's; the statue is a typical expressions of the manneristic theatricality.

The Neptune stretches his left hand in a lordly gesture, appearing to be aiming to placate the waves; this posture is interpreted as symbolic exaltation of the new power of the Pope Pius IV: just as Neptune was the master of the seas, the Pope was the master of Bologna and of the world.

en.wikipedia.org/wiki/Fountain_of_Neptune,_Bologna

The Alhambra - Granada - Andalusia - Spain.

The Alhambra (/ælˈhæmbrə/; Spanish: [aˈlambɾa]; Arabic: الْحَمْرَاء‎ [ʔælħæmˈɾˠɑːʔ], Al-Ḥamrāʾ, lit. "The Red One", the complete Arabic form of which was Qalat Al-Hamra) is a palace and fortress complex located in Granada, Andalusia, Spain. It was originally constructed as a small fortress in AD 889 on the remains of Roman fortifications, and then largely ignored until its ruins were renovated and rebuilt in the mid-13th century by the Nasrid emir Mohammed ben Al-Ahmar of the Emirate of Granada, who built its current palace and walls. It was converted into a royal palace in 1333 by Yusuf I, Sultan of Granada. After the conclusion of the Christian Reconquista in 1492, the site became the Royal Court of Ferdinand and Isabella (where Christopher Columbus received royal endorsement for his expedition), and the palaces were partially altered in the Renaissance style. In 1526 Charles I & V commissioned a new Renaissance palace better befitting the Holy Roman Emperor in the revolutionary Mannerist style influenced by humanist philosophy in direct juxtaposition with the Nasrid Andalusian architecture, but it was ultimately never completed due to Morisco rebellions in Granada.

Alhambra's last flowering of Islamic palaces were 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.

Moorish poets described it as "a pearl set in emeralds", an allusion to the colour of its buildings and the woods around them. The palace complex was designed with the mountainous site in mind and many forms of technology were considered. The park (Alameda de la Alhambra), which is overgrown with wildflowers and grass in the spring, was planted by the Moors with roses, oranges, and myrtles; its most characteristic feature, however, is the dense wood of English elms brought by the Duke of Wellington in 1812. The park has a multitude of nightingales and is usually filled with the sound of running water from several fountains and cascades. These are supplied through a conduit 8 km (5.0 mi) long, which is connected with the Darro at the monastery of Jesus del Valle above Granada.

Despite long neglect, willful vandalism, and some ill-judged restoration, the Alhambra endures as an atypical example of Muslim art in its final European stages, relatively uninfluenced by the direct Byzantine influences found in the Mezquita of Córdoba. The majority of the palace buildings are quadrangular in plan, with all the rooms opening on to a central court, and the whole reached its present size simply by the gradual addition of new quadrangles, designed on the same principle, though varying in dimensions, and connected with each other by smaller rooms and passages. Alhambra was extended by the different Muslim rulers who lived in the complex. However, each new section that was added followed the consistent theme of "paradise on earth". Column arcades, fountains with running water, and reflecting pools were used to add to the aesthetic and functional complexity. In every case, the exterior was left plain and austere. Sun and wind were freely admitted. Blue, red, and a golden yellow, all somewhat faded through lapse of time and exposure, are the colors chiefly employed.

The decoration consists for the upper part of the walls, as a rule, of Arabic inscriptions—mostly poems by Ibn Zamrak and others praising the palace—that are manipulated into geometrical patterns with vegetal background set onto an arabesque setting ("Ataurique"). Much of this ornament is carved stucco (plaster) rather than stone. Tile mosaics ("alicatado"), with complicated mathematical patterns ("tracería", most precisely "lacería"), are largely used as panelling for the lower part. Similar designs are displayed on wooden ceilings (Alfarje). Muqarnas are the main elements for vaulting with stucco, and some of the most accomplished dome examples of this kind are in the Court of the Lions halls. The palace complex is designed in the Nasrid style, the last blooming of Islamic Art in the Iberian Peninsula, that had a great influence on the Maghreb to the present day, and on contemporary Mudejar Art, which is characteristic of western elements reinterpreted into Islamic forms and widely popular during the Reconquista in Spain.

Source: Wikipedia

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Centro Morelia has 249 UNESCO protect buildings. 21 of of those, mostly in the historic Centro, are churches. I have not entered all of them yet but following are a few interiors.

This is Morelia's Templo de la Merced.

It had been closed for several years for restoration. This is the first year it was accessible to us. Located at Av Madero Pte No 618.

In 1604, the monks Mercy Pedro Alonso García Burgos built a modest church that would be the seed of this beautiful baroque church with Plateresque motifs and churriguerescos.

The temple, built circa 1736, has a single nave, topped by a dome of baroque features with an octagonal drum.

It has two fronts: the eastern and northern eighteenth century Mannerist style.

See more at: whc.unesco.org

This corner block of offices in a very posh and expensive part of central London directly opposite the main entrance to St James's Palace (off beyond my right shoulder, above) became a Grade II" listed building in 1958. It was built in 1882 by R Norman Shaw for the Alliance Insurance Company.

It consists of red brick with plenty of stone dressings in richly-striated chromatism and moulded brick decorative panels, with tiled roofs. It is described as "Queen Anne," and is closely based on earlier Flemish Renaissance and French designs. It features four tall stories, a basement, two-storeyed attics in gables and a five-storey corner turret.

The building is six windows wide to St. James's Street (heading off to the left, above), the three to left in a slightly advanced gabled break. The stone-banded ground floor has two large semi-circular shop windows flanking enriched doorway with entablature - the window arches are deep and moulded with alternating stone and cut-brick voussoirs.

The upper floors have mullion-transom windows, tall on the first floor with two transoms, enriched heads and capitals carved on dividing piers. There are also figured brick and stone friezes and panels with sill bands and cornices.

The gable is shaped with scrolled kneelers and pediment capping. The corner turret is corbelled out from the ground floor which has mannerist pediments to windows and a finialed roof.

The return to Pall Mall (off to the right, above) has two similar large shop windows and similar fenestration and details to five bays above, all crowned by a similar gable. First-floor cast iron balconies on stone corbelling are a feature of both fronts. Atop are lofty, stone-dressed chimney stacks.

The building is considered to be an Influential commercial design. - mostly from Historic England's web page on the building.

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.

Warm evening light over Valletta, the capital city of Malta.

The city is Baroque in character, with elements of Mannerist, Neo-Classical and Modern architecture. The city was officially recognised as UNESCO World Heritage Site in 1980.

Valletta is the southernmost capital city of Europe.

Thank you for your visits / comments / faves!

View from Piazza Trinità dei Monti above Spanish Steps

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Nikon AF-S Nikkor 70-200mm 1:2.8GII ED SWM VR ED IF

_DSC3350 Anx2 1200h Q90

Localizada no Largo da Igreja, na freguesia do Seixal, é um monumento religioso construído no século XVIII, sobre os alicerces de uma igreja do século anterior. A igreja é dedicada a Nossa Senhora da Conceição. Apresenta uma arquitetura religiosa maneirista e barroca, com uma nave única retangular e um altar-mor com talha do século XVIII.

Located in Largo da Igreja, in the parish of Seixal, it is a religious monument built in the 18th century on the foundations of a church from the previous century. The church is dedicated to Our Lady of the Conception. It features Mannerist and Baroque religious architecture, with a single rectangular nave and a high altar with 18th-century carving.

Frescoes on the right wall by Bernardino Lanino (Mortara, 1512 - Vercelli, 1578): the Purification, the Massacre of the Innocents, the rest flight into Egypt, the Dispute in the Temple. The smaller panel at the top depicts the flight into Egypt (1562-64). Major Chapel of the Basilica of San Magno, Legnano

Fu allievo di Gerolamo Giovenone e fortemente improntato all'arte di Gaudenzio Ferrari. Successivamente, in occasione di soggiorni milanesi, Lanino risentirà dell'influsso di Leonardo. Tutte queste esperienze confluiranno poi in uno stile originale ed autonomo in cui la tradizione dell'alto rinascimento e del nascente Barocco si fondono in un decorativismo manieristico

He was a pupil of Gerolamo Giovenone and strongly influenced by the art of Gaudenzio Ferrari. Later, during stays in Milan, Lanino will feel the influence of Leonardo. All these experiences will come together in an original and autonomous style in which the tradition of the high Renaissance and the nascent Baroque blend in a mannerist decorativism.

Janela da fachada Ocidental, com traços de arquitectura românicos, góticos, manuelinos, renascentistas, maneiristas e barrocos do Convento de Cristo, em Tomar.

Press "L" to enlarge the photo

España - Ciudad Real - Viso del Marqués - Palacio del Marqués de Santa Cruz

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ENGLISH:

It was built at the end of the 16th century by Álvaro de Bazán, first Marquis of Santa Cruz. It is currently the headquarters of the General Archive of the Navy.

It is one of the two palaces built by this sailor, knight of the Order of Santiago, captain of the Ocean Sea and admiral of the Spanish Navy. It is located next to the church of Nuestra Señora de la Asunción, and since 1948 it has been rented by its owners, the Marquises of Santa Cruz, to the Spanish Navy, who first used it as a Museum of the Spanish Navy and later expanded its functions by also establishing the General Archive of the Navy.

The building was frequented by the first marquis thanks to its location, halfway between Madrid, where the Court was, and Seville, whose port he often went to as the Spanish Navy was anchored there, of which he was admiral during the reign of Philip II.

The palace was nearly destroyed by the Austrian troops of Edward Hamilton during the War of the Spanish Succession at the beginning of the 18th century, but was saved by the actions of the Marquis's chaplain, the poet Carlos de Praves, thanks to whom we can admire it today. It suffered some damage due to the Lisbon earthquake in 1755, which collapsed the ceiling of the hall of honour, where the great fresco depicting the Battle of Lepanto had been painted, and toppled the four corner towers, which the chronicles of Philip II described as magnificent.

In it we can find maritime objects from the period. A figurehead belonging to a ship commanded by the Marquis is noteworthy. During the War of Independence, the French razed it, and by the time the Civil War came it had served as a granary, school, stable, prison and hospital, until in 1948 and at the request of Julio Guillén Tato, director of the Naval Museum, Mrs. Casilda de Silva Fdez. de Henestrosa, descendant of Álvaro de Bazán, rented it to the Navy for 90 years as a museum-archive, which is its current function. Also, in the adjoining parish church there is a 4m long stuffed crocodile attached to one of the vaults, which was offered by the Marquis as a votive offering upon his return from one of his voyages.

Between March and April 1823, King Ferdinand VII spent the night there, after leaving Madrid for Seville, before the entry of the French contingent called the Hundred Thousand Sons of Saint Louis, about whose stay Ferdinand VII did not write a word in his travel diary. The palace was declared a National Monument in 1931 and was restored from 1948 by the Navy under the direction of Admiral Guillén.

The palace was built between 1564 and 1586 with subsequent modifications. It is a square-shaped building in the Renaissance style, built around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes with two themes: mythological scenes on the one hand and naval battles and Italian cities related to the military career of the Marquis and his family on the other. The frescoes are by Italian Mannerist painters, the Péroli family. Upon seeing them, Philip II commissioned them to do work for El Escorial and the Alcázar of Toledo.

For its construction, the Marquis hired a team of architects, painters and decorators who worked on the building from 1564 to 1586. For some, the design of the building was due to the Italian Giovanni Battista Castello, known as the Bergamasco, who later worked in El Escorial; for others, it was designed, at least in its original plan, by Enrique Egas el Mozo.

The architecture is perceived as typically Spanish, without Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically mannerist ensemble understood as an elegant and courtly style that goes beyond the merely architectural framework.

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ESPAÑOL:

Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz.​ Actualmente es la sede del Archivo General de la Marina.

Se trata de uno de los dos palacios construidos este marino, caballero de la Orden de Santiago, capitán del Mar Océano y almirante de la Marina española. Está situado al lado de la iglesia de Nuestra Señora de la Asunción, y desde el año 1948 es alquilado por parte de sus propietarios, los marqueses de Santa Cruz, a la Armada Española, quien primero lo destinó a Museo de la Marina Española y más tarde amplió sus funciones estableciendo también el Archivo General de la Marina.

El edificio era frecuentado por el primer marqués gracias a su ubicación, a medio camino entre Madrid, donde estaba la Corte, y Sevilla, a cuyo puerto acudía a menudo al mantener allí anclada la Armada Española, de la cual fue almirante durante el reinado de Felipe II.

El palacio estuvo a punto de ser destruido por las tropas austracistas de Edward Hamilton durante la Guerra de Sucesión Española a principios del siglo XVIII, salvándose por la actuación del capellán del marqués, el poeta Carlos de Praves, gracias a lo cual hoy podemos admirarlo. Sufrió algunos daños a causa del terremoto de Lisboa en 1755: el cual hundió el techo del salón de honor, donde se había pintado el gran fresco que representaba la batalla de Lepanto, y desmochó las cuatro torres de las esquinas, que las crónicas de Felipe II describían como magníficas.

En él podemos encontrar objetos marineros de la época. Llama la atención un mascarón de proa perteneciente a una nave que dirigió el marqués. Durante la Guerra de la Independencia, los franceses lo arrasaron, y para cuando llegó la Guerra Civil había servido de granero, colegio, establo, cárcel y hospital, hasta que en 1948 y a instancias​ de Julio Guillén Tato, director del Museo Naval, doña Casilda de Silva Fdez. de Henestrosa, descendiente de Álvaro de Bazán se lo rentó a la Armada por 90 años como museo-archivo, que es en la actualidad su función. Asimismo, en la iglesia parroquial aledaña hay un cocodrilo disecado de 4m de largo adosado a una de las bóvedas, que fue ofrecido por el marqués como exvoto al regreso de uno de sus viajes.

Entre marzo y abril de 1823, el rey Fernando VII pernoctó allí, tras abandonar Madrid rumbo a Sevilla, ante la entrada del contingente francés llamado los Cien Mil Hijos de San Luis, de cuya estancia Fernando VII no escribió ni una palabra en su diario del viaje. ​El palacio fue declarado Monumento Nacional en 1931 siendo restaurado a partir de 1948 por la Armada bajo la dirección del Almirante Guillén.

El palacio fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.

Para su construcción, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.

La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico.

Construit en 1516 pour Béringuier Maynier amateur d'art italien, avocat, professeur de droit et Capitoul, l'hôtel du Vieux Raisin est l’un des plus beaux hôtels particuliers de Toulouse, aux abords du quartier parlementaire. Il doit son nom à une taverne voisine qui avait pour enseigne une grappe de raisin. La richesse de son décor de pierre témoigne de l'art de la Renaissance et d'un goût prononcé pour l'Antiquité : escalier en vis logé dans une tour ornée de médaillons avec bustes. Remanié en 1547 pour le greffier Jean Brunet, l’architecte Nicolas Bachelier réalisa les fenêtres et baies à cariatides sur les façades de la cour, véritable chef d’œuvre maniériste.

Built in 1516 for Béringuier Maynier, an Italian art lover, lawyer, law professor and Capitoul, the Hôtel du Vieux Raisin is one of the most beautiful private mansions in Toulouse, on the outskirts of the parliamentary district. It owes its name to a nearby tavern which had a bunch of grapes as its sign. The richness of its stone decoration testifies to the art of the Renaissance and a pronounced taste for Antiquity: spiral staircase housed in a tower decorated with medallions with busts. Redesigned in 1547 for the clerk Jean Brunet, the architect Nicolas Bachelier created the caryatid windows and bays on the facades of the courtyard, a true Mannerist masterpiece.

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.

es.wikipedia.org/wiki/Ferrara

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.

en.wikipedia.org/wiki/Ferrara

Ajaccio Cathedral, officially the Cathedral of Our Lady of the Assumption of Ajaccio (French: Cathédrale Notre-Dame de l'Assomption de Ajaccio) and also known as the Cathedral of the Assumption of Saint Mary (French: Cathédrale de l'Assomption de Sainte-Marie), is a Roman Catholic church located in Ajaccio, Corsica. The cathedral is the ecclesiastical seat of the Bishop of Ajaccio, a suffragan of the Archdiocese of Marseille. It is dedicated to the Virgin Mary, and is in the Baroque/Mannerist architectural style.

History

The present cathedral was built between 1577 and 1593 and is attributed to Italian architect Giacomo della Porta. It was built to replace the former Cathedral of Saint-Croix, destroyed in 1553 in order to make room for developments in the city's defenses, as stated in the permit required by the Council of Ancients in 1559 to the Senate of Genoa and Pope Gregory XIII in order to build a new cathedral. The final stone was laid in 1593 by Jules Guistiniani, made bishop by Pope Sixtus V.[1] It is where Napoleon Bonaparte was baptised on 21 July 1771[2] and he recited the following on his deathbed in Saint Helena in 1821: "If they forbid my corpse, as they have forbidden my body, deny me a small piece of land in which to be buried, I wish to be buried with my ancestors in Ajaccio Cathedral in Corsica."[3]

The cathedral has been a monument historique (a national heritage site of France) since 30 October 1906.

According to legend, on 15 August 1769, Letizia Buonaparte felt sudden labour pains while in the cathedral. She rushed home to the Buonaparte's home, just steps away, and gave birth to Napoleon on a first floor sofa before she could reach her bedroom upstairs.[4]

The northern part of the Casa Loma Estate, comprising the Hunting Lodge, Potting Shed, Greenhouses and the Stables complex was begun in 1905.

The Stables complex was the first building erected on the estate, and accommodated Pellatt's Thoroughbreds, Hackneys, Clydesdales and Percherons, as well as his much loved 'chargers' Prince and The Widow. An impressive structure, the Stables features red brick construction, cast stone trim and a Mannerist-inspired design that owes much to the stables of large European houses.

Toronto Historic Landmark

Florence, February 2012

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.

en.wikipedia.org/wiki/San_Giovanni_Evangelista,_Parma

Frescoes on the right wall by Bernardino Lanino (Mortara, 1512 - Vercelli, 1578): the Purification, the Massacre of the Innocents, the rest flight into Egypt, the Dispute in the Temple. The smaller panel at the top depicts the flight into Egypt (1562-64). Major Chapel of the Basilica of San Magno, Legnano

Fu allievo di Gerolamo Giovenone e fortemente improntato all'arte di Gaudenzio Ferrari. Successivamente, in occasione di soggiorni milanesi, Lanino risentirà dell'influsso di Leonardo. Tutte queste esperienze confluiranno poi in uno stile originale ed autonomo in cui la tradizione dell'alto rinascimento e del nascente Barocco si fondono in un decorativismo manieristico

He was a pupil of Gerolamo Giovenone and strongly influenced by the art of Gaudenzio Ferrari. Later, during stays in Milan, Lanino will feel the influence of Leonardo. All these experiences will come together in an original and autonomous style in which the tradition of the high Renaissance and the nascent Baroque blend in a mannerist decorativism.

Excerpt from Wikipedia:

The Jesuit Church, also known as Church of the Gracious Mother of God, is an ornate church within the Old Town precinct in Warsaw, Poland. The temple stands on Świętojańska Street, adjacent to St John's Cathedral, and is one of the most notable mannerist-style churches in Warsaw.

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.

In 1627 the church was encompassed with three chapels, and in 1635 Urszula Meyerin, a great supporter of the Society of Jesus, was buried within. Meyerin funded a silver tabernacle for the church. She was also King Sigismund III's mistress, and was politically influential. Her grave was plundered and destroyed by the Swedes and Brandenburg Germans, in the 1650s, during the Deluge.

A vestibule was added to the interior of the temple in 1633, and a choir was added three years later. An altar made of silver was installed by Cardinal Charles Ferdinand Vasa in the 1640s. The interior of the church was damaged and looted in 1656.

An icon of Our Lady of Graces (Matka Boża Łaskawa), a gift from the Pope Innocent X, was introduced to the church and crowned in 1651. Its veneration has been growing, especially since the epidemic in 1664, when Blessed Virgin Mary was believed to save the city.

In later years the building became more and more ornate, with baroque furnishings and marble altars and floors. Two more chapels were added. When the order of Jesuits was dissolved in 1773, the church changed ownership several times. For some time it was a school church, later it was demoted to the role of the magazine of church furnishings, and then it was given to the order of Piarists. The Jesuits did not get the church back until the end of the First World War. In the 1920s and 1930s the church was renovated.

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.

The facade is Mannerist, although the interior is completely modern, because very few of the original furnishings of the church were preserved. Inside, there are preserved fragments of a tomb monument of Jan Tarło carved by Jan Jerzy Plersch in white and black marble in 1753, together with reconstructed epitaphs of Sarbiewski, Konarski, Kopczyński and Kiliński. A painting of Our Lady of Grace brought to Poland in 1651 by bishop Juan de Torres as a gift from Pope Innocent X is also displayed, along with a preserved wooden crucifix from 1383, a baroque sculpture of Our Lady of Grace, from the beginning of the 18th century, and a stone sculpture of a laying bear from the half of 18th century.

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

Шедевр готической архитектуры, Дворец дожей представляет собой впечатляющую структуру, состоящую из слоев строительных элементов и орнамента, начиная с первоначальных основ 14-го и 15-го века и заканчивая значительными ренессансными и роскошными пристройками маньеризма. Структура состоит из трех больших блоков, включающих предыдущие конструкции. Крыло к Базилике Святого Марка является самым старым, перестроенным с 1340 года. Крыло к площади Святого Марка было построено в его нынешнем виде с 1424 года. Крыло со стороны канала, в котором размещались квартиры Дожа и многие правительственные учреждения, датируется эпохой Возрождения и было построено между 1483 и 1565 годами.

Phillip Mould:

This painting of the young Queen dating to c.1558 is ‘undoubtedly the earliest portrait of the Queen after her accession’1. It is remarkable in the simplicity of its conception, and offers a surprising and refreshing alternative glimpse of Elizabeth the woman in comparison with the more familiar, later portraits, in which the individual is obscured and then entirely overwhelmed in a profusion of emblematic and allegorical representation. In the assessment of Malcolm Rogers ‘it is by far the most ambitious and the only one at three-quarter length and showing her hands (which were much admired by contemporaries).’2 Rogers also notes the painting’s superb condition, and the ‘considerable refinement and delicacy of touch’3 evident in the execution. Sir Roy Strong agrees that ‘this very early image, the Clopton portrait is by far the largest and most complete.’4

Survivals of this early pattern are rare, and the present example is unique in showing the Queen at three-quarter length. The few other examples, such as that in the collection of the National Portrait Gallery (NPG 4449), formerly at Northwick Park, show the Queen only at bust-length, and are noticeably more wooden in execution. NPG 4449 reduces the composition to a mere head emerging from an ermine collar, and the Queen’s jewellery is treated in a cursory and schematic manner. Considering the NPG portrait it is easy to understand why Elizabeth was forced in 1563 to issue a proclamation banning the further reproduction of her portrait until she had sat for a new model.

The authority of the Clopton portrait is apparent in the meticulous painting of the Queen’s ruff and cuffs, and the highly realistic depiction of her ermine collar. The painting of the face is in the tradition of English mid-sixteenth portraiture with its hard, delicate rendition of eyes, nose and mouth, but the painter has modelled the face to suggest real presence and animation which elevate it above the ranks of the increasingly mechanical and mask-like reproductions. Perhaps the most telling detail, however, which confirms the status of this portrait is the drawing of the large, square-cut jewel that the Queen wears from the double chain around her neck. This is simplified to its bare outline in NPG 4449, and the male and female figures that flank the cartouche have been misunderstood as mannerist curlicues. Throughout her reign, as her portraiture amply demonstrates, Queen Elizabeth’s jewellery was a vastly important facet of her magnificence. Numerous pieces of emblematic jewellery were worn by her, and given and exchanged between her and favourite courtiers, some of which, such as ‘The Ship Jewel’ in the Victoria and Albert Museum, survive to give a taste of their luxury. Little survives, as it was swiftly dispersed by her successors, James I and Charles I. The Clopton portrait is an important record of what must have been one of the Queen’s favourite and oldest jewels, the jewel known as ‘The Mirror of France’ which had belonged to King Henry VIII her father. The large pendant is represented so exactly that it can be recognised in at least three later portraits. She wears it from a chain around her neck in an anonymous panel portrait dated by Strong to c.1568 and again in the later Portrait of Queen Elizabeth in Robes of State c.1585 – 90 (collection of Lord Tollemache, Helmingham Hall). It is also recognisable in the famous ‘Sieve portrait’ (Marquess of Salisbury, Hatfield House).

This portrait was in the collection of the Rev F. H. Hodgson at Clopton House in Warwickshire, where it hung with portraits of the Clopton family, remaining after the sale of Clopton House in 1930 with Hodgson’s heirs until the 1980s. The Cloptons had been a family of considerable importance in Stratford on Avon, and members of the family had been benefactors and chief citizens of the town since the early middle ages. During the reign of Elizabeth they lived both at Clopton House just outside the town and at New Place, a large gabled building set around three courtyards next to the Guild Chapel built by their ancestor Sir Hugh Clopton, Lord Mayor of London in 1492. This house, where the present portrait may well have hung during their occupancy, was sold to another of Stratford’s prominent citizens in 1597, William Shakespeare, for the considerable sum of £120. Shakespeare would have had frequent dealings with the Cloptons, since he and they were the town’s richest inhabitants and chief landowners in the country nearby. The history of the Cloptons even influenced one of Shakespeare’s plays, since the story of Charlotte Clopton who was hastily interred alive in the Clopton vault during a sixteenth century outbreak of plague, is considered to be the source of the death of Juliet in Romeo and Juliet.

1. Private correspondence with Malcolm Rogers, then Deputy Director of the National Portrait Gallery London August 3rd 1992

2. ibid.

3. ibid.

4. Private correspondence with Sir Roy Strong July 27th 1991

The "Wingbuddy" tour has moved into the Historic Centro of Braga, Portugal.

The is Convento do Pópulo, Braga and the Estátua do Marechal Gomes da Costa.

CONVENT

The 16th century Church of Populo was built on the orders of archbishop Brother Agostinho de Jesus, as his burial monument. He passed away in 1609, with his remains transferred in 1628 to a wooden tomb, ordered by the city of Braga, and located in the main chapel.

The original Mannerist style underwent substantial change in the 18th century when the façade was rebuilt in a neo-classical style according to a design by Carlos Amarante. The church is dedicated to the Virgin after the Church of Saint Mary of Populo in Rome.

STATUE:

Marechal Gomes da Costa was a distinguished Portuguese army officer who played pivotal roles in World War I and led the 28th May 1926 coup d’état that ended the First Republic.

His leadership ushered in what would be known as Ditadura Nacional (National Dictatorship), which later evolved into Estado Novo (New State).

He served briefly as President of Portugal before being ousted by his political opponents.

The 1966 statue was designed by sculptor Salvador Barata Feyo.

The statue represents Marshal Gomes da Costa, wearing a military uniform and holding a baton in his hands, resting on a granite base, with an inscription that reads “TO MARSHAL GOMES DA COSTA”

Palazzo del Te was constructed 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'.

Palazzo del Te

Ludovico Carracci (Bologna, April 21, 1555 - Bologna, November 13, 1619) cousin of the brothers Agostino and Annibale Carracci - Annunciation (1584) - oil on canvas 182.5 x 221 cm - Galleria Nazionale di Bologna

Il dipinto venne commissionato dal segretario della Compagnia del Santissimo Sacramento per un piccolo ambiente collegato alla chiesa di San Giorgio in Poggiale, utilizzato per l’educazione dottrinale dei giovani, citato nei documenti come “stanza degli incontri”. Questa specifica destinazione spiega i caratteri di quest’opera, in cui al racconto evangelico si intreccia un preciso intento didattico.

Ludovico Carracci, uno dei protagonisti di quella riforma pittorica che a fine Cinquecento mise fine al sofisticato stile manierista, si dimostra così in sintonia con le indicazioni che il cardinale Gabriele Paleotti aveva raccolto nel suo “Discorso intorno alle immagini sacre e profane” del 1582: in linea con i dettami della Controriforma elaborati dopo il Concilio di Trento, raccomandava agli artisti di realizzare opere che fossero comprensibili a tutti.

Per questa pala d’altare, eseguita nel 1584, Ludovico utilizza una rigorosa prospettiva centrale, con le linee del pavimento a griglia in cotto e pietra grigia che convergono verso un unico punto di fuga, ricostruendo quella che poteva essere la stanza di una qualsiasi adolescente in una casa popolare di fine Cinquecento.

I modesti arredi sono quelli più diffusi nelle case bolognesi dell’epoca, come lo scarno armadietto a due ante che si intravede in fondo nella penombra, il letto sulla destra.

Maria, vestita con un accollato ed umile abito, ornato solamente dalla cintura, è impegnata nella lettura di un piccolo libro di preghiere, quando viene interrotta dall’angelo che le consegna un giglio.

Alle loro spalle una folata di vento apre la finestra, dalla quale entra la colomba dello Spirito Santo.

Qui il sacro non è più l'evento straordinario rappresentato nella pittura manierista, ma diviene esperienza tangibile e familiare, tanto vicina che sul fondo, oltre la finestra appare, sbiadita ma rassicurante, la città di Bologna con le sue due torri.

Significativo è anche il modo di rappresentare il racconto dei vangeli, con la Vergine e l’Angelo raffigurati come due umili fanciulli che sembrano appartenere allo stesso ceto sociale dei ragazzi che frequentano la stanza della Confraternita.

The painting was commissioned by the secretary of the Company of the Blessed Sacrament for a small room connected to the church of San Giorgio in Poggiale, used for the doctrinal education of young people, mentioned in documents as the "room of the meetings". This specific destination explains the characteristics of this work, in which the Gospel story is intertwined with a precise didactic intent.

Ludovico Carracci, one of the protagonists of the pictorial reform that at the end of the sixteenth century put an end to the sophisticated Mannerist style, thus proves to be in tune with the indications that Cardinal Gabriele Paleotti had gathered in his "Discorso intorno alle immagini sacre e profane" of 1582: in line with the dictates of the Counter-Reformation elaborated after the Council of Trent, he recommended that artists create works that could be understood by everyone.

For this altarpiece, painted in 1584, Ludovico uses a rigorous central perspective, with the lines of the grid floor in terracotta and gray stone converging toward a single vanishing point, reconstructing what could have been the room of any teenager in a late sixteenth-century council house.

The modest furnishings are those most common in the Bolognese homes of the time, such as the meager two-door cabinet that can be glimpsed in the background in the half-light, and the bed on the right.

Mary, dressed in a low-cut and humble dress, adorned only by a belt, is busy reading a small prayer book, when she is interrupted by the angel who gives her a lily.

Behind them a gust of wind opens the window, from which the dove of the Holy Spirit enters.

Here the sacred is no longer the extraordinary event represented in Mannerist painting, but becomes a tangible and familiar experience, so close that in the background, beyond the window, the city of Bologna with its two towers appears, faded but reassuring.

Significant is also the way to represent the story of the gospels, with the Virgin and the Angel depicted as two humble children who seem to belong to the same social class of the boys who attend the room of the Brotherhood.

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

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

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

visitasevilla.es/en/archbishops-palace/

O Jardim de Santa Bárbara, em Braga, é um espaço público adjacente ao Paço Episcopal Bracarense, construído entre 1951 e 1953, que se destaca pela sua geometria formal. Canteiros retangulares de ângulos curvos, interligados por caminhos de saibro, exibem uma diversidade de flora sazonal, conferindo cor ao jardim. O cenário é emoldurado pelas ruínas medievais do Paço, datadas dos séculos XIV e XV, com arcos ogivais característicos do gótico civil português. No centro do jardim, encontra-se uma fonte maneirista do século XVII, proveniente do extinto Convento dos Remédios, encimada pela imagem de Santa Bárbara, padroeira contra trovoadas e morte súbita. Este local, preservado pela autarquia, promove a integração da arquitetura histórica com o ambiente urbano, demonstrando a importância eclesiástica de Braga e funcionando como refúgio urbano e palco para eventos culturais.

The Santa Bárbara Garden in Braga is a public space adjacent to the Episcopal Palace of Braga, built between 1951 and 1953, which stands out for its formal geometry. Rectangular flower beds with curved corners, interconnected by gravel paths, display a diversity of seasonal flora, adding color to the garden. The setting is framed by the medieval ruins of the Palace, dating from the 14th and 15th centuries, with ogival arches characteristic of Portuguese civil Gothic architecture. In the center of the garden is a 17th-century Mannerist fountain from the former Convento dos Remédios, topped by the image of Santa Bárbara, patron saint against thunderstorms and sudden death. This site, preserved by the local authority, promotes the integration of historical architecture with the urban environment, demonstrating the ecclesiastical importance of Braga and serving as an urban refuge and venue for cultural events.

Frescoes on the left wall by Bernardino Lanino (Mortara, 1512 - Vercelli, 1578): the Marriage of the Virgin, the Visitation, the Adoration of the Shepherds, the Visit of the Magi (1562-64). Major Chapel of the Basilica of San Magno, Legnano

Fu allievo di Gerolamo Giovenone e fortemente improntato all'arte di Gaudenzio Ferrari. Successivamente, in occasione di soggiorni milanesi, Lanino risentirà dell'influsso di Leonardo. Tutte queste esperienze confluiranno poi in uno stile originale ed autonomo in cui la tradizione dell'alto rinascimento e del nascente Barocco si fondono in un decorativismo manieristico

He was a pupil of Gerolamo Giovenone and strongly influenced by the art of Gaudenzio Ferrari. Later, during stays in Milan, Lanino will feel the influence of Leonardo. All these experiences will come together in an original and autonomous style in which the tradition of the high Renaissance and the nascent Baroque blend in a mannerist decorativism.

Construit en 1516 pour Béringuier Maynier amateur d'art italien, avocat, professeur de droit et Capitoul, l'hôtel du Vieux Raisin est l’un des plus beaux hôtels particuliers de Toulouse, aux abords du quartier parlementaire. Il doit son nom à une taverne voisine qui avait pour enseigne une grappe de raisin. La richesse de son décor de pierre témoigne de l'art de la Renaissance et d'un goût prononcé pour l'Antiquité : escalier en vis logé dans une tour ornée de médaillons avec bustes. Remanié en 1547 pour le greffier Jean Brunet, l’architecte Nicolas Bachelier réalisa les fenêtres et baies à cariatides sur les façades de la cour, véritable chef d’œuvre maniériste.

Built in 1516 for Béringuier Maynier, an Italian art lover, lawyer, law professor and Capitoul, the Hôtel du Vieux Raisin is one of the most beautiful private mansions in Toulouse, on the outskirts of the parliamentary district. It owes its name to a nearby tavern which had a bunch of grapes as its sign. The richness of its stone decoration testifies to the art of the Renaissance and a pronounced taste for Antiquity: spiral staircase housed in a tower decorated with medallions with busts. Redesigned in 1547 for the clerk Jean Brunet, the architect Nicolas Bachelier created the caryatid windows and bays on the facades of the courtyard, a true Mannerist masterpiece.

As if the buildings themselves weren't enough reason to visit the Monastery of São Vicente de Fora you can go up onto the roof and get great views out across the tiled roofs of the Alfama district.

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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Oriel College is a constituent college of the University of Oxford. Located in Oriel Square, the college has the distinction of being the oldest royal foundation in Oxford set up by Adam de Brome, under the patronage of Edward II in 1324.

Nothing survives of the original buildings, both were demolished before the quadrangle was built in the artisan mannerist style during the 17th century. The south and west ranges and the gate tower, visible here, were built around 1620 to 1622.

This description incorporates text from the English Wikipedia.

Situado nos jardins formais do Palácio dos Marqueses de Fronteira, em Lisboa, o chafariz do século XVII ergue-se como peça central da arquitetura paisagista portuguesa, influenciada pelo Renascimento italiano e pelo estilo barroco. Este palácio, originalmente concebido como pavilhão de caça para D. João de Mascarenhas, o primeiro Marquês de Fronteira, exibe um jardim notável onde a água desempenha um papel cénico e funcional. A estrutura vertical do chafariz apresenta um fuste central com nichos escultóricos e uma grande taça superior ornamentada, culminando num remate com a heráldica dos Mascarenhas. Azulejos policromados e figuras alegóricas adornam a base poligonal em pedra calcária e o tanque octogonal. A envolvente integra sebes de buxo aparadas geometricamente e ciprestes verticais, refletindo os princípios da jardinagem formal europeia seiscentista. Este conjunto, que integra soluções hidráulicas tradicionais, reflete a opulência aristocrática da época, o gosto estético da nobreza portuguesa e a harmoniosa integração entre arquitetura, escultura e natureza.

Located in the formal gardens of the Palace of the Marquises of Fronteira in Lisbon, the 17th-century fountain stands as a centerpiece of Portuguese landscape architecture, influenced by the Italian Renaissance and the Baroque style. This palace, originally designed as a hunting lodge for D. João de Mascarenhas, the first Marquis of Fronteira, features a remarkable garden where water plays a scenic and functional role. The vertical structure of the fountain features a central shaft with sculptural niches and a large ornate upper bowl, culminating in a finial bearing the Mascarenhas coat of arms. Polychrome tiles and allegorical figures adorn the polygonal limestone base and octagonal basin. The surroundings feature geometrically trimmed boxwood hedges and vertical cypress trees, reflecting the principles of 17th-century European formal gardening. This ensemble, which incorporates traditional hydraulic solutions, reflects the aristocratic opulence of the time, the aesthetic taste of the Portuguese nobility, and the harmonious integration of architecture, sculpture, and nature.

Excerpt from Wikipedia:

The Block Arcade is a shopping arcade in the central business district of Melbourne, Victoria, Australia.

Constructed between 1891 and 1893, it is considered one of the Victorian era's finest shopping arcades and ranks among Melbourne's most popular tourist attractions.

Designed by architect David C. Askew, the arcade takes inspiration from the Galleria Vittorio Emanuele in Milan, and remains one of Melbourne's most richly decorated interior spaces, replete with mosaic tiled flooring, glass canopy, wrought iron and carved stone finishings. The arcade proper is L-shaped, connecting Collins Street at the south end to Elizabeth Street on the west. The 'L' shape is converted into a 'T' through the junction on the north side with Block Place, a partly covered pedestrian lane that leads to Little Collins Street, opening opposite the Royal Arcade. The six story office buildings on both Collins and Elizabeth Streets have nearly identical facades and are some of Australia's best surviving examples of Victorian architecture in the Mannerist style.

The arcade was formerly known as Carpenter's Lane; however, once the works were complete, local shopkeepers successfully petitioned to have it changed to its present name. The name came from men walking around 'the block' one direction and women in the opposing direction, as a tradition before attending Australian rules football matches.

The arcade is listed on the Victorian Heritage Register.

France-Voyage.com: Gilles de la Boë's house, also known as "Maison du Bon Bouillon" is located in the center of Vieux-Lille, at the corner of Place Louise-de-Bettignies and Avenue du Peuple-Belge.

This is a "Flemish Mannerist" style building built in 1636 on behalf of Gilles de la Boë, a merchant in spices and fabrics. At the time, the river port of Lille was located nearby. It was listed as a Historic Monument in 1933.

Pier Francesco Mazzucchelli (commonly known as il Morazzone; 1573–1626) was an Italian painter and draughtsman who was active in Milan. He is mainly known for his altarpieces, but his outstanding achievements are large decorative frescoes for the Sacro Monte di Varese and the Sacro Monte di Varallo.

He was born in Morazzone, near Varese, Lombardy, the son of a mason, who soon after his birth moved to Rome. There he was influenced by Ventura Salimbeni and Cavalier D'Arpino and began to work in a Mannerist style. In Rome, he painted some canvases and also his first frescoes (Adoration by the Magi and a Visitation) in San Silvestro in Capite (1596). His style also shows exposure to another pupil of D'Arpino, Caravaggio. His depictions of martyrdom and ecstasy are imbued with the morbid religiosity characteristic of Lombardy in his age.

He relocated to Milan in 1597. In Lombardy, he painted frescoes for the Cappella del Rosario in San Vittore in Varese (1599), and worked in some of the Sacri Monti of the Alps. This activity began with the Ascent to Calvary (1602–1606) chapel in the Sacro Monte of Varallo where he was influenced by Gaudenzio Ferrari and developed a more dramatic style. In 1608-1609 he completed the Flagellation chapel in the Sacro Monte of Varese then returned to Varallo for the Ecce Homo chapel (1610–13). The last of this series is the Porziuncola chapel (1616–20) in the Sacro Monte di Orta. His other frescoes include the Cappella della Buona Morte in San Gaudenzio in Novara, the altarpiece with the Virgin of the Rosary in the Certosa di Pavia and the depiction of some of the Prophets frescoed for the nave of the Piacenza Cathedral, completed after his death by the Bolognese painter Guercino.

He also painted altarpieces for many churches in Northern Italy and canvases for private collectors. He collaborated with Giovanni Battista Crespi (Il Cerano) and Giulio Cesare Procaccini in the painting of the Quadroni of San Carlo Borromeo for the Duomo of Milan. Among the pupils and followers of il Morazzone were Francesco Cairo, Stefano & Gioseffo Danedi, Isidoro Bianchi, Giovanni Paolo & Giovanni Battista Recchi, Paolo Caccianiga, Tommaso Formenti, Giambatista Pozzi, and Cristoforo Martinolli della Rocca.

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 Matteotti 1 a Fontanellato, in provincia di Parma; al suo interno si trova la Saletta di Diana e Atteone, nota per gli affreschi manieristi del Parmigianino.

The Sanvitale fortress, also known as Fontanellato castle, is a medieval period manor entirely surrounded by a moat filled with water, which stands in Piazza Matteotti 1 in Fontanellato, in the province of Parma; inside there is the room of Diana and Actaeon, known for the mannerist frescoes of Parmigianino.

L’Église, le Collège et la Maison des Jésuites forment un ensemble architectonique suggestif qui occupe entièrement l’îlot urbain situé entre le Corso Vittorio Emmanuele et les rues Roma, Tenente Genovese et Mancina.

À la fin du XVIème – début XVIIème siècle, les Pères de la Compagnie de Jésus se lancèrent dans la construction de cette bâtisse, après avoir été provisoirement hébergés dans l’église Saint-Michel d’abord et, ensuite, dans la Loggia des Pisans; ceci fut rendu possible grâce aux largesses prodiguées par les citoyens de Trapani et aux immeubles offertes par Mariano Mongiardino ainsi que par le Sénat. Selon l’usage interne de la Compagnie de Jésus, la tâche fut confiée à un architecte de l’ordre de Messine, Natale Masuccio, qui avait déjà réalisé d’autres immeubles situées à Palerme, Caltanissetta, Messine, Sciacca et Malte pour le compte des Jésuites.

L’architecte Masuccio projeta l’église attenant au Collège et communiquant avec ce dernier: la maison, par contre, était séparée par une route reliant les rues Malato et Lombardo qui existent encore aujourd’hui. Ceci rendait donc impossible la réalisation des absides de l’église. C’est pourquoi, en 1606, le recteur de la Compagnie demanda au Sénat de la ville la fermeture de cette route afin de pouvoir donner naissance à un grand ensemble unique à plusieurs éléments – église, collège et maison – reliés entre eux. Ayant reçu le feu vert (en 1655 environ), les trois édifices furent donc reliés.

La façade de l’église, achevée en 1657 par l’architecte de Lucca Francesco Bonamici, est rendue plus vivante, dans le premier ordre, par des bandeaux, des colonnes, des parastates et des tympans maniéristes, à la disposition rigoureuse. Dans le deuxième ordre, la bâtisse est enrichie des éléments typiques des couronnements baroques: des volutes, des statues et une grande fenêtre centrale.

L’intérieur, au rigoureux plan basilical à trois nefs séparées par des colonnes et des arcs en serlienne, arbore des parois aux décors de marbres polychromes et de stucs, réalisés au XVIIIème siècle par Bartolomeo Sanseverino, élève de Serpotta.

En 1714, l’architecte Giovanni Biagio Amico a réalisé la chapelle de Saint-Ignace qui se trouve à la gauche de l’abside.

The Church, the College and the House of the Jesuits form a suggestive architectural ensemble that completely occupies the urban block situated between the Corso Vittorio Emmanuele and the streets of Roma, Tenente Genovese and Mancina.

At the end of the XVIth - beginning of the XVIIth century, the Fathers of the Company of Jesus embarked on the construction of this building, after having been temporarily accommodated in the Saint-Michel church first and, then, in the Loggia of the Pisans ; this was made possible thanks to the generosity lavished by the citizens of Trapani and the buildings donated by Mariano Mongiardino as well as by the Senate. According to the internal use of the Company of Jesus, the task was entrusted to an architect of the order of Messina, Natale Masuccio, who had already realized other buildings located in Palermo, Caltanissetta, Messina, Sciacca and Malta on behalf Jesuits.

The architect Masuccio planned the church adjoining and communicating with the college: the house, on the other hand, was separated by a road connecting the Malato and Lombardo streets which still exist today. This made it impossible to realize the apses of the church. This is why, in 1606, the rector of the Company asked the city's Senate to close this road in order to be able to give birth to a large, unique complex with several elements - church, college and house - linked together. Having received the green light (in about 1655), the three buildings were therefore linked.

The facade of the church, completed in 1657 by the architect of Lucca Francesco Bonamici, is made more alive, in the first order, by bands, columns, parastats and Mannerist eardrums, in the rigorous arrangement. In the second order, the building is enriched with the elements typical of the Baroque coronations: scrolls, statues and a large central window.

The interior, with its rigorous basilica plan with three naves separated by columns and Serlian arches, has walls decorated with polychrome marbles and stucco, made in the 18th century by Bartolomeo Sanseverino, a pupil of Serpotta.

In 1714, the architect Giovanni Biagio Amico built the chapel of St. Ignatius which is to the left of the apse.

Vault detail in the gallery of maps

The Gallery of Maps is a gallery located on the west side of the Belvedere Courtyard in the Vatican containing a series of painted topographical maps of Italy based on drawings by friar and geographer Ignazio Danti. The gallery was commissioned in 1580 by Pope Gregory XIII as part of other artistic works commissioned by the Pope to decorate the Vatican. It took Danti three years (1580–1583) to complete the 40 panels of the 120 m long gallery.

The panels map the entirety of the Italian peninsula in large-scale frescoes, each depicting a region as well as a perspective view of its most prominent city. It is said that these maps are approximately 80% accurate.

With the Apennines as a partition, one side depicts the regions surrounded by the Ligurian and Tyrrhenian Seas and the other depicts the regions surrounded by the Adriatic Sea.

After the series of regional maps, there are two general geographical maps:

Ancient Italy (with the inscription “Commendatur Italia locorum salubritate, coeli temperie, soli ubertate”)

Modern Italy (with the inscription “Italia artium studiorumque plena semper est habita”).

At the beginning and at the end of the gallery:

General view of the four major Italian ports of the sixteenth century: Venice, Ancona, Genoa and Civitavecchia.

The decorations on the vaulted ceiling are the work of a group of Mannerist artists including Cesare Nebbia and Girolamo Muziano (Wikipedia).

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El Palacio de la Chancillería es un edificio ubicado en plaza Nueva, en la ciudad de Granada, sita en la comunidad autónoma de Andalucía (España). En la actualidad alberga la sede del Tribunal Superior de Justicia de Andalucía, Ceuta y Melilla. Fue declarado Bien de Interés Cultural y está considerado como la obra manierista más emblemática de la ciudad.

Fue el primer edificio de este tipo que se construyó en España para albergar un tribunal de justicia.

El edificio se construye por orden de Carlos I para albergar la Real Chancillería de Granada, comienzan las obras en 1531, y se prolongan hasta 1587, ya bajo el reinado de Felipe II. Consta de dos partes: la Chancillería y la Cárcel Real, unidas por una nave interior triangular.

La fachada es factura del arquitecto Francisco del Castillo el Mozo, aunque su ejecución fue obra del cantero Martín Díaz de Navarrete y las esculturas a Alonso Hernández, siendo la obra más emblemática del manierismo en la ciudad de Granada. Está dividida en dos cuerpos: en la parte inferior tres puertas adinteladas que permiten el acceso al edificio y la superior que consta de seis balcones con columnas corintias, siendo el central el de más tamaño y sobre el que descansa un escudo real y estatuas de La Justicia y La Fortaleza, ambas sentadas sobre el frontón. Una leve cornisa divide las dos plantas y sobre el conjunto se dispone una sobria balaustrada de piedra que se remata con altos pináculos decorativos con pirámides labradas y un templete que acoge el reloj en el centro, obra de finales del siglo XVI que estuvo ubicada en la parte izquierda del edificio hasta 1806, sustituyendo al medallón de mármol con la figura de Carlos III que actualmente se encuentra en la parte superior de la escalera.

es.wikipedia.org/wiki/Palacio_de_la_Chanciller%C3%ADa_(Granada)

The Palacio de la Chancillería is a building located in Plaza Nueva, in the city of Granada, in the autonomous community of Andalusia (Spain). It currently houses the headquarters of the High Court of Justice of Andalusia, Ceuta and Melilla. It was declared an Asset of Cultural Interest and is considered to be the most emblematic Mannerist work in the city.

It was the first building of its kind to be constructed in Spain to house a court of justice.

The building was constructed by order of Charles I to house the Royal Chancery of Granada. Work began in 1531 and continued until 1587, during the reign of Philip II. It consists of two parts: the Chancery and the Royal Prison, joined by a triangular interior nave.

The façade is the work of the architect Francisco del Castillo el Mozo, although it was built by the stonemason Martín Díaz de Navarrete and the sculptures by Alonso Hernández, and is the most emblematic work of Mannerism in the city of Granada. It is divided into two sections: in the lower part there are three lintelled doors that allow access to the building and the upper section consists of six balconies with Corinthian columns, the central one being the largest and on which rests a royal coat of arms and statues of La Justicia and La Fortaleza, both seated on the pediment. A slight cornice divides the two floors and above the whole there is a sober stone balustrade topped with high decorative pinnacles with carved pyramids and a small temple that houses the clock in the centre, a work from the late 16th century that was located on the left side of the building until 1806, replacing the marble medallion with the figure of Carlos III that is currently located at the top of the staircase.