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Tra tutte le città toscane, Livorno, è solitamente ritenuta la più moderna,sebbene nel suo territorio siano presenti diverse testimonianze storiche, artistiche e architettoniche sopravvissute ai massicci bombardamenti della seconda guerra mondiale e alla successiva ricostruzione. E' celebre per aver dato i natali a personalità di prestigio e grandi artisti (Amedeo Modigliani, Pietro Mascagni, Giovanni Fattori, Piero Ciampi e tanti altri).
I fossi di Livorno è un fossato (da non confondersi con canale) che in origine seguiva il perimetro della città fortificata e che, in seguito, con l'abbattimento dei bastioni, ha perso definitivamente la sua funzione difensiva. Il sistema dei fossi e dei canali livornesi, seppur soggetto a numerose modifiche nel corso dei secoli, mantiene inalterato gran parte del proprio fascino, tanto è vero che, sin dal 2002, ne è stato caldeggiato l'inserimento nella lista dei Patrimoni dell'umanità.
Inoltre la tradizione vuole che Amedeo Modigliani, sconfortato, nel 1909, incompreso e deriso dalla città e dagli amici artisti, decise di gettare nel Fosso Reale alcune sue sculture prima di tornare a Parigi, città dove passò il resto dei suoi giorni e dove oggi è sepolto al cimitero Père-Lachaise.
Nel tratto compreso tra il Mercato delle vettovaglie e la chiesa degli Olandesi nei primi anni ottanta, furono avviate le opere per la loro ricerca, con il ritrovamento di tre teste, inizialmente attribuite al maestro, ma che poi si rivelarono dei clamorosi falsi.
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Of all the Tuscan cities, Livorno is usually considered the most modern, although in its territory there are several historical, artistic and architectural testimonies that survived the massive bombings of the Second World War and subsequent reconstruction. It is famous for giving birth to prestigious personalities and great artists (Amedeo Modigliani, Pietro Mascagni, Giovanni Fattori, Piero Ciampi and many others).
The ditches of Livorno is a moat (not to be confused with a canal) which originally followed the perimeter of the fortified city and which, following the demolition of the ramparts, definitively lost its defensive function. The system of the ditches and canals of Livorno, although subject to numerous changes over the centuries, maintains much of its charm unchanged, so much so that, since 2002, its inclusion in the list of World Heritage Sites has been advocated .
In addition, tradition has it that Amedeo Modigliani, discouraged in 1909, misunderstood and derided by the city and his artist friends, decided to throw some of his sculptures in the Fosso Reale before returning to Paris, the city where he spent the rest of his days and where today he is buried in the Père-Lachaise cemetery.
In the stretch between the Market of provisions and the church of the Dutch in the early eighties, the works for their research were started, with the discovery of three heads, initially attributed to the master, but which then turned out to be resounding fakes.
f00513
L'abbazia fu fondata dai Benedettini intorno al 1070, probabilmente da un Mainhard proveniente da Santa Maria di Sitria.
L'abbazia accrebbe presto potere e prestigio grazie a numerose donazioni. Alla fine del XV secolo l'abbazia passò ai Benedettini Olivetani.
L'abbazia iniziò a decadere dal XV secolo. Nel corso delle guerre napoleoniche fu parzialmente soppresso e nel 1860, dopo la caduta dello Stato Pontificio, le sue dipendenze furono divise tra lo stato italiano, il vescovado locale e privati. Oggi parte dell'Abbazia appartiene alla Diocesi di Foligno, un'altra parte allo Stato e la terza parte a una famiglia privata.
The abbey was founded by the Benedictines around 1070, probably by one Mainhard coming from Santa Maria di Sitria.
The abbey soon increased its power and prestige thanks to numerous donations.. In the late 15th century the abbey passed to the Olivetan Benedictines.
The abbey started to decay from the 15th century. In the course of the Napoleonic Wars, it was partially closed and in 1860, after the fall of the Papal States, its dependencies were divided between the Italian state, the local bishopric and privates. Today, part of the Abbey belongs to the Diocese of Foligno, another part to the State and the third part to a private family.
© Wikipedia
LE MONT AMIATA :
Le mont Amiata est un volcan éteint des Apennins, culminant à 1 738 m, qui se situe non loin de la Maremme, du Val d'Orcia et du Val di Chiana aux confins de la Toscane près de l'Ombrie et du Latium.
Il s'agit d'une montagne comportant plusieurs pics distincts, de petits lacs et des roches volcaniques riches en cinabre, le minerai dont est extrait le mercure. Ses eaux se rassemblent pour former le fleuve Fiora depuis la Peschiera de Santa Fiora.
Il est compris en partie sur la province de Grosseto et en partie sur celle de Sienne.
fr.wikipedia.org/wiki/Mont_Amiata
La vicinanza del territorio dell' Amiata a centri di grande prestigio artistico e culturale non è estranea all'interesse che questa zona va assumendo nello scacchiere degli itinerari turistici. A pochi chilometri di distanza sono infatti facilmente raggiungibili Montalcino, Pienza, Montepulciano, Chianciano, Pitigliano, Sovana, e gli avamposti collinari della Maremma come Cinigiano, Scansano, Massa Marittima.
La prima menzione di Ghizzano risale al 988 d.C.
Il paese è stato dal X al XIII secolo proprietà della diocesi di Volterra.
Fu insieme a Peccioli, Lajatico e Legoli conteso tra la Lega Ghibellina pisana e i Guelfi fiorentini per la sua strategica posizione di confine fino a quando, nel 1364, il castello di Ghizzano fu restituito ai pisani.
In questo periodo acquistarono prestigio a Ghizzano i Venerosi dei conti di Strido.
Della chiesa dei Santi Germano e Prospero si hanno notizie dal 1406, mentre l'Oratorio della Santissima Annunziata fu edificato un fine Ottocento.
Oggi il paese è centro di contemporaneità grazie all'intervento di artisti del nostro tempo: David Tremlett ha visto la via di Mezzo come una tela e ne ha rimodellato e colorato le pareti, Alicja Kwade ha realizzato la scultura SolidSky, Patrick Tuttofuoco si è ispirato a Gozzoli per il suo Elevatio corpus.
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GHIZZANO THE COLORFUL
VILLAGE
The first mention of Ghizzano dates back to 988 AD.
The town was owned by the diocese of Volterra from the 10th to the 13th century.
Together with Peccioli, Lajatico and Legoli, it was disputed between the Pisan Ghibelline League and the Florentine Guelphs due to its strategic border position until, in 1364, the castle of Ghizzano was returned to the Pisans.
In this period the Venerosi family of the Strido counts acquired prestige in Ghizzano.
We have news of the church of Saints Germano and Prospero since 1406, while the Oratory of the Santissima Annunziata was built at the end of the 19th century.
Today the town is the center of contemporaneity thanks to the intervention of artists of our time: David Tremlett saw the via di Mezzo as a canvas and remodeled and colored its walls, Alicja Kwade created the sculpture SolidSky, Patrick Tuttofuoco was inspired to Gozzoli for his Elevatio corpus.
ls projectes per urbanitzar els costers de Montjuïc com a pulmó i espai d'esbarjo de Barcelona daten de principis del segle xx. Fou decisiu en aquesta orientació el fet que la muntanya fos escollida com a escenari de la gran Exposició Internacional de Barcelona de 1929: la direcció de la part urbanística i arquitectònica del projecte fou confiada al prestigiós arquitecte modernista Josep Puig i Cadafalch i els jardins, a Jean Claude Nicolas Forestier i a Nicolau Maria Rubió i Tudurí. El Palau Nacional fou concebut dins aquesta planificació com a palau central de l'exposició i el 1924 fou convocat un concurs per a la seva realització –un cop apartat del projecte, Puig i Cadafalch amb l'arribada de la dictadura de Primo de Rivera (1923)–, que guanyaren els arquitectes Eugenio P. Cendoya, Enric Catà i Pere Domènech i Roura. Estava destinat a allotjar una magna exposició –El Arte en España–,[6] amb més de 5.000 peces i reproduccions representatives de la història de l'art espanyol, que tenia dues extensions, el conjunt arquitectònic del Poble Espanyol, encara actiu, i el Palau d'Art Modern, que s'enderrocà.
L'edifici del Palau Nacional de Montjuïc és obra d'Eugenio Cendoya i Enric Catà, sota la supervisió de Pere Domènech i Roura, desestimant un projecte inicial de Puig i Cadafalch i Guillem Busquets. Presenta una façana principal simètrica, amb un cos central que sobresurt i dos laterals; el cos central està coronat per una cúpula d'estil romà, dominant tot el conjunt de la façana i s'acompanya de dues cúpules més petites als costats. Els quatre angles del gran Saló estan compostos per unes torres de planta quadrada que s'integren a la composició de la façana exterior.[7]
L'obra té una superfície de 32.000 m² i és d'estil classicista, inspirada en el Renaixement espanyol. Té una planta rectangular amb dos cossos laterals i un de posterior quadrat, amb una gran cúpula el·líptica a la part central. Les cascades i brolladors de l'escalinata del Palau són obra de Carles Buïgas. En la mateixa època, es van col·locar nou grans projectors que encara avui emeten uns intensos feixos de llum que escriuen el nom de la ciutat al cel.
Al seu Saló Oval es va efectuar la cerimònia d'inauguració de l'exposició El Arte en España, presidida per Alfons XIII i la reina Victòria Eugènia.
En la decoració del Palau –d'estil noucentista (contràriament al classicisme de l'estructura)– hi intervingueren diversos artistes, com els escultors Enric Casanovas, Josep Dunyach, Frederic Marès i Josep Llimona, i els pintors Francesc d'Assís Galí, Josep de Togores, Manuel Humbert, Josep Obiols, Joan Colom i Francesc Labarta.[8] Des del 1934 és la seu del MNAC.
L'any 1985 es van començar a debatre els primers projectes per rehabilitar l'edifici, però no fou fins al 1990 que van començar les obres de restitució segons el projecte dels arquitectes Gae Aulenti i Enric Steegman. L'any 1992 es va realitzar la rehabilitació de la Sala Oval i la consolidació i adequació estructural parcial de l'edifici, així com la reestructuració de dues sales d'exposicions temporals.[9] Entre 1995 i 2004 el palau va patir diverses reformes i ampliacions a càrrec de Gae Aulenti, Enric Steegman, Josep Benedito Rovira i Agustí Obiol, amb l'objectiu de crear espais per poder encabir totes les obres de la col·lecció.[10] Les obres foren encomanades a Eduard Carbonell, el director del museu en aquell moment.
La zona del palau que va necessitar una reforma més complexa fou l'ala on s'exposa l'art romànic. Es va haver de desmuntar la primera planta, reforçar la cúpula i construir parets noves i plafons, a més de canviar totes les instal·lacions de seguretat. Per tal de garantir unes condicions de conservació favorables (humitat, calor,...) el febrer de 1995 es va haver de traslladar la col·lecció d'absis romànics, sota la supervisió d'Aulenti. L'objectiu de la reforma arquitectònica era «reunir el passat i el present, preservar les necessitats filosòfiques i morals de l'edifici», interessant-se sobretot en el tema de la il·luminació. Per això es van col·locar llums arran de terra enfocant els absis, deixant alguns punts de les sales més enfosquits de manera que es reproduís l'ambient de les esglesioles romàniques. Moltes de les restauracions van ser realitzades per Gianluigi Colalucci i el seu equip, restauradors també de la Capella Sixtina del Vaticà.[11][12]
The Museu Nacional d'Art de Catalunya (Catalan pronunciation: [muˈzɛw nəsi.uˈnal ˈdaɾd də kətəˈluɲə], English: "National Art Museum of Catalonia"), abbreviated as MNAC, is the national museum of Catalan visual art located in Barcelona, Catalonia, Spain. Situated on Montjuïc hill at the end of Avinguda de la Reina Maria Cristina, near Pl Espanya, the museum is especially notable for its outstanding collection of romanesque church paintings, and for Catalan art and design from the late 19th and early 20th centuries, including modernisme and noucentisme. The museum is housed in the Palau Nacional, a huge, Italian-style building dating to 1929. The Palau Nacional, which has housed the Museu d'Art de Catalunya since 1934, was declared a national museum in 1990 under the Museums Law passed by the Catalan Government. That same year, a thorough renovation process was launched to refurbish the site, based on plans drawn up by the architects Gae Aulenti and Enric Steegmann, who were later joined in the undertaking by Josep Benedito. The Oval Hall was reopened in 1992 on the occasion of the Olympic Games, and the various collections were installed and opened over the period from 1995 (when the Romanesque Art section was reopened) to 2004. The Museu Nacional d'Art de Catalunya (Museu Nacional) was officially inaugurated on 16 December 2004.[1] It is one of the largest museums in Spain.
he history of this institution dates back to the 19th century, when, in accordance with the principles that inspired Catalonia's cultural and political Renaixença (renaissance), a movement particularly active in that century, many projects were launched to help revive and conserve the country's artistic heritage. This process began with the establishment of the Museu d'Antiguitats de Barcelona (Barcelona Museum of Antiquities) in the Chapel of St Agatha (1880) and the Museu Municipal de Belles Arts (Municipal Fine Art Museum) in the Palau de Belles Arts (1891), a palace built to mark the occasion of the 1888 Universal Exhibition. A project to install all these Catalan art collections in the Palau Nacional, launched in 1934 under the initiative of Joaquim Folch i Torres, the first director of Catalonia Museum of Art, was frustrated by the outbreak of the Spanish Civil War (1936–1939), when for protection many works were transferred to Olot, Darnius and Paris (where an important exhibit was established). During the postwar period, the 19th- and 20th-century collections were installed in the Museu d'Art Modern, housed from 1945 to 2004 in the Arsenal building in Barcelona's Parc de la Ciutadella, whilst the Romanesque, Gothic and baroque collections were installed in the Palau in 1942.
The Palau Nacional, which has housed the Museu d'Art de Catalunya since 1934, was declared a national museum in 1990 under the Museums Law passed by the Catalan Government. In 1992 a thorough renovation process was launched to refurbish the site, based on plans drawn up by the architects Gae Aulenti and Enric Steegmann, who were later joined in the undertaking by Josep Benedito. The Oval Hall was reopened in 1992 on the occasion of the Olympic Games, and the various collections were installed and opened over the period from 1995 (when the Romanesque Art section was reopened) to 2004. The Museu Nacional d'Art de Catalunya (Museu Nacional) was officially inaugurated on 16 December 2004.
Since 2004, the Palau Nacional has once more housed several magnificent art collections, mostly by Catalan art, but also Spanish and European art. The works from that first museum have now been enriched by new purchases and donations, tracing the country's art history from early medieval times to the mid-20th century: from Romanesque, Gothic, Renaissance and baroque to modern art. This heritage is completed by the Gabinet Numismàtic de Catalunya (coin and medal collections), the Gabinet de Dibuixos i Gravats (drawings and engravings) and the library.[1]
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
The existence of large basins in the sea, carved in the sandstone rock known as “pedra tosca”, and popularly called “Baños de la Reina”, have been responsible for naming the entire archaeological site.
Although these nurseries or "swimming pools" are related to the breeding of live fish, their possible use as a water garden for the contemplation of marine beauty is not ruled out, like other high imperial "villae" of the Tyrrhenian, where these facilities , expensive to build and costly to maintain, were also a sign of the power and social prestige of its owner.
La existencia de unas grandes cubetas dentro del mar, talladas en la roca arenisca conocida como “pedra tosca”, y denominadas popularmente “Baños de la Reina”, han sido las responsables de dar nombre a todo el enclave arqueológico.
Si bien estos viveros o "piscinae" están relacionados con la cría del pescado vivo, no se descarta su posible uso como jardín acuático destinado a la contemplación de la belleza marina, al igual que otras "villae" alto imperiales del Tirreno, donde estas instalaciones, de cara construcción y costoso mantenimiento, constituían además una muestra del poder y prestigio social de su propietario.
Calp/ Calpe (Alacant/ Spain)
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.
"Mansarda, em arquitetura, é a janela disposta sobre o telhado de um edifício para iluminar e ventilar seu desvão ou sótão e, por extensão, o próprio desvão ou sótão, que pode ser usado como mais um cômodo de uma casa. É um estilo de quatro lados caracterizado por dois declives em cada um de seus lados com a inclinação mais baixa, perfurado por uma janela em um ângulo mais acentuado que o superior.
O termo mansarda tem origem no nome do arquitecto parisiense François Mansart (1598-1666), que, contrariamente ao senso comum, não inventou esse elemento arquitetónico, mas o popularizou inspirando-se em obras italianas anteriores. Seu sobrinho-neto, Jules Hardouin Mansart, deu prestígio à mansarda ao utilizá-la na construção do Palácio de Versalhes."
"A mansard or mansard roof (also called a French roof or curb roof) is a four-sided gambrel-style hip roof characterised by two slopes on each of its sides with the lower slope, punctured by dormer windows, at a steeper angle than the upper.[1][2][3] The steep roof with windows creates an additional floor of habitable space[4] (a garret), and reduces the overall height of the roof for a given number of habitable storeys. The upper slope of the roof may not be visible from street level when viewed from close proximity to the building.
The earliest known example of a mansard roof is credited to Pierre Lescot on part of the Louvre built around 1550. This roof design was popularised in the early 17th century by François Mansart (1598–1666), an accomplished architect of the French Baroque period.[5] It became especially fashionable during the Second French Empire (1852–1870) of Napoléon III.[6] Mansard in Europe (France, Germany and elsewhere) also means the attic or garret space itself, not just the roof shape[7] and is often used in Europe to mean a gambrel roof."
I thank everyone for their appreciation, comments and awards in the groups. Stay safe my friend!
Agradeço a todos pela apreciação, comentários e prêmios nos grupos. Cuide-se amigo!
Chalk-browed Mockingbird
Sabiá-do-campo
Arte Digital - Digital Art
Image-editing
Effects - Texture - Collage
Double Exposure
Software: Pixlr; Windows, PicsArt Photo Studio
In my garden
Brasília, Brasil
Visual Artistry Group
Wow, que surpresa. Estou feliz em ver minha foto do Sabiá (Chalk-browed Mockingbird) como capa do grupo. Agradeço pelo prestígio!
17/05/2020
Art Week Gallery Group
Bird Art
23/07/2020
Torino, Villa della Regina (Torino - Italia): charme e prestigio regalano alla città un aspetto sempre attrattivo.
Turin, Queen's Villa (Turin - Italy): charm and prestige give the city an always attractive aspect.
L'abbazia fu fondata dai Benedettini intorno al 1070, probabilmente da un Mainhard proveniente da Santa Maria di Sitria.
L'abbazia accrebbe presto potere e prestigio grazie a numerose donazioni. Alla fine del XV secolo l'abbazia passò ai Benedettini Olivetani.
L'abbazia iniziò a decadere dal XV secolo. Nel corso delle guerre napoleoniche fu parzialmente soppresso e nel 1860, dopo la caduta dello Stato Pontificio, le sue dipendenze furono divise tra lo stato italiano, il vescovado locale e privati. Oggi parte dell'Abbazia appartiene alla Diocesi di Foligno, un'altra parte allo Stato e la terza parte a una famiglia privata.
The abbey was founded by the Benedictines around 1070, probably by one Mainhard coming from Santa Maria di Sitria.
The abbey soon increased its power and prestige thanks to numerous donations.. In the late 15th century the abbey passed to the Olivetan Benedictines.
The abbey started to decay from the 15th century. In the course of the Napoleonic Wars, it was partially closed and in 1860, after the fall of the Papal States, its dependencies were divided between the Italian state, the local bishopric and privates. Today, part of the Abbey belongs to the Diocese of Foligno, another part to the State and the third part to a private family.
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