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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.
Arrived at the 38 th edition, the event Cervia Garden City "in this 2010, as is now traditional, hosted the most skilled gardeners renowned Italian and foreign cities, to create the largest" flower show in the open " developed by technical experts and masters of nature. The gardens, flower beds, sculptures in the green and all other creations will be on display, as open-air museum throughout the summer until the end of September, distributed at various points in Cervia Milano Marittima, Pinarella and sliced . The care and maintenance works will be managed by flowers and pine green services of the Municipality of Cervia.
Can count on the accession of over 50 cities and institutions, more than 270,000 flowering plants and thousands of square feet of turf.
The outstanding works to be carried out by these gardeners, real artists, beyond the collective imagination, to complete a job turned into an art that gives life to sculptures, compositions and emotional expressions, figurative and abstract that are assembled in the original gardens and stunning floral arrangements including walking, surprise and emotion. It is since 1972 that the event draws in Cervia master gardeners from around the world. "Cervia takes you to the water of the sea with its many gardens have thoughts even of towns and cities far away, so, Tonino Guerra has masterfully summed up the significance of the demonstration.
The inauguration of the exhibition "Cervia" Garden City "will take place in the day Saturday, May 29, 2010, if the Authority invited Italian and foreign cities.
Particularly prestigious recognition of the President, that this year, as well as membership, donated a plaque with the specific mention: "The President of the 38 th edition of floral" Cervia "Garden City".
Arrivata alla 38^ edizione, la manifestazione “Cervia Città Giardino” anche in questo 2010, com’è ormai tradizione, ha ospitato i più abili giardinieri di rinomate città italiane e straniere, per dare vita alla più importante “mostra floreale a cielo aperto” realizzata da tecnici, esperti e maestri del verde. I giardini, le aiuole, le sculture nel verde e tutte le altre creazioni saranno in esposizione, come museo all’aperto, per tutta l’estate, fino alla fine di settembre, distribuiti in vari punti di Cervia, Milano Marittima, Pinarella e Tagliata. La cura ed il mantenimento delle opere floreali sarà gestito dal Servizio Verde e Pinete del Comune di Cervia.
Potrà contare sull’adesione di oltre 50 tra città e enti, più di 270.000 piante di fiori e migliaia di metri quadrati di tappeto erboso.
Le straordinarie opere che verranno realizzate da questi giardinieri, veri e propri artisti, vanno al di là dell’immaginario collettivo, per un mestiere trasformato in un’arte completa che dà vita a sculture, espressioni e composizioni emozionanti, figure e astrattismi che si assemblano in originali giardini ed incredibili allestimenti floreali fra i quali passeggiare, stupirsi ed emozionarsi. È dal 1972 che la manifestazione richiama a Cervia maestri giardinieri da tutto il mondo. “Cervia ti porta verso l’acqua del mare con i suoi innumerevoli giardini che hanno pensieri anche di paesi e città lontani”, così Tonino Guerra ha magistralmente sintetizzato il significato della manifestazione.
L’inaugurazione della manifestazione “Cervia Città Giardino” si svolgerà nella giornata di sabato 29 maggio 2010, in presenza delle Autorità delle città invitate italiane e straniere.
Di particolare prestigio il riconoscimento del Presidente della Repubblica, che anche quest’anno, oltre all’adesione, ha donato una targa con la specifica menzione: “Il Presidente della Repubblica alla 38^ edizione della rassegna floreale "Cervia Città Giardino
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*Persona o cosa de acreditada valía; influyente, famoso, conocido: que posee buen crédito, renombre. Es voz derivada del termino latino “praestigium” = ilusión, juego de manos, cosa propia de prestidigitadores, en el siglo XVII empieza a emplearlo en castellano B.Lorenzo Gracián:
"Comenzó a hacer notables prestigios, maravillosas sutilezas, teniendo toda aquella innumerable simpatía abobada"
*Pancracio Celdrán
Its the time, its the right time, Its the time, yo its the perfect time
I'm a single man, Now lets go out and hit the town and start the minglin
I'll bag the baddest girl around and get her gigglin, I'll take her out onto the floor and get her wigglin
Cuz I aint got no girlfriend, got no obligation. Baby, I'm a single man .. thats my situation
Let me put your number in my iPhone, baby. And when I call ya later, maybe I can see ya, lady
If you a single girl, Up in the club lookin for love then come and bring it, girl
This is the song, now turn it up and come and sing it, girl. And if your man blow up your phone, turn off your ringer, girl .. Turn off your ringer!
Cuz I aint got no girlfriend, you aint got one either, If you got a girlfriend, baby wont you bring her
If you got an ex, leave your ex at home, and if he instant message, throw away your cell phone
I'm finally FREE and I'ma get right tonight, I'm finally free and I'ma get right tonight
I'm so available, I'm so available
So come and get me (;
___________________________________________
Modeling: ● Prestigio AD ©
Edited by: me.
P.s If you aren't gonna comment, then don't bother to view! : )
Panoramica eseguita a mano
hand-made overview
Quando i Giochi della XI Olimpiade vennero assegnati a Berlino, inizialmente fu progettata una ristrutturazione del Deutsches Stadion. Comunque, con l'ascesa al potere del partito nazista, che riconobbe il prestigio dei Giochi olimpici, fu ordinata la costruzione di uno stadio nuovo sullo stesso sito. L'Olympiastadion venne costruito tra il 1934 e il 1936, come parte della nuova Olympischer Platz, e aveva spazio per 110.000 spettatori.
L'impianto, nei primi anni 2000, venne sottoposto a dei lavori di restauro che terminarono nel 2004. L'8 settembre dello stesso anno, lo stadio berlinese venne nuovamente aperto al pubblico. Per festeggiare la riapertura dell'Olympiastadion la federazione tedesca organizzò una partita amichevole fra la Germania ed il Brasile. Nel 2006 è stato teatro della finale del Campionato del mondo di calcio. Attualmente può contenere ben 74.400 posti ed ospita le partite interne dell'Hertha Berlino, squadra militante nella Bundesliga. Nel 2015 ha ospitato la finale della Champions League.
When the XI Olympic Games were awarded to Berlin, it was initially designed a renovation of the Deutsches Stadion. However, with the rise to power of the Nazi party, he recognized the prestige of the Olympic Games, the construction was ordered of a new stadium on the same site. The Olympiastadion was built between 1934 and 1936, as part of the new Olympischer Platz, and had room for 110,000 spectators.
The plant, in the early 2000s, underwent restoration work that was completed in 2004. On 8 September the same year, the Berlin stadium was re-opened to the public. To celebrate the reopening of the Olympiastadion, the German federation organized a friendly match between Germany and Brazil. In 2006 was the final stage of the FIFA World Championship. Currently holds 74,400 well-placed Hertha Berlin and hosts the home matches, militant team in the Bundesliga. In 2015 it hosted the final of the Champions League.
Cuando los Juegos Olímpicos XI fueron adjudicados a Berlín, que inicialmente se diseñó una renovación del Deutsches Stadion. Sin embargo, con la llegada al poder del partido nazi, reconoció el prestigio de los Juegos Olímpicos, la construcción fue ordenada de un nuevo estadio en el mismo sitio. El Olympiastadion fue construido entre 1934 y 1936, como parte de la nueva Olympischer Platz, y tenía espacio para 110.000 espectadores.
La planta, en la década de 2000, fue sometido a trabajos de restauración que se completó en 2004. El 8 de septiembre de ese mismo año, el estadio de Berlín se volvió a abrir al público. Para celebrar la reapertura del Estadio Olímpico, la federación alemana organizó un partido amistoso entre Alemania y Brasil. En 2006 fue la fase final del Campeonato Mundial de la FIFA. Actualmente ejerce en 74.400 bien colocado Hertha Berlín y alberga la partidos en casa, el equipo de militantes en la Bundesliga. En 2015 fue sede de la final de la Champions.
The Merchants' Market
If a building could symbolize the strength and richness of the flourishing Valencian XV century, this would undoubtedly be La Lonja. Shows the scope of the commercial revolution in the Middle Ages, social development and prestige achieved by the Valencian bourgeoisie. It is the most singularly beautiful piece of Valencian civil architecture in the Late Middle Ages.
The market of Valencia is one of the emblematic buildings of the city, a masterpiece of Gothic civil architecture, and a marvel of Gothic stone. The so-called Lonja de la Seda or Mercaderes is a 15th century building that, in addition to being a World Heritage Site, is considered to be the brightest example of European civil Gothic architecture.
La Lonja de los Mercaderes
Si un edificio pudiera simbolizar la pujanza y la riqueza del floreciente siglo XV valenciano, éste sería sin lugar a dudas La Lonja. Muestra del alcance de la revolución comercial en el Medievo, del desarrollo social y del prestigio alcanzado por la burguesía valenciana. Es la pieza más singularmente bella de la arquitectura civil valenciana en la Baja Edad Media.
La lonja de Valencia es uno de los edificios emblemáticos de la ciudad, pieza maestra de la arquitectura civil gótica, y maravilla en piedra gótica. La llamada Lonja de la Seda o de los Mercaderes es un edificio del siglo XV que además de Patrimonio de la Humanidad está considerado como el más brillante ejemplo del gótico civil europeo.
La Llotja de la Seda és un edifici civil d'estil gòtic valencià tardà, al centre històric de la ciutat.
L'edifici fou construït entre el 1482 i el 1548 i simbolitza, sens dubte, la puixança i riquesa del segle d'or valencià (segle xv). És una mostra de l'abast de la revolució comercial durant la baixa edat mitjana, del desenvolupament social i del prestigi aconseguit per la burgesia valenciana.
El 1996, fou declarada Patrimoni de la Humanitat per la UNESCO.
La Lonja de la Seda es un edificio civil de estilo gótico valenciano tardío, en el centro histórico de la ciudad.
El edificio fue construido entre 1482 y 1548 y simboliza, sin duda, la pujanza y riqueza del siglo de oro valenciano (siglo xv). Es una muestra del alcance de la revolución comercial durante la Baja Edad Media, del desarrollo social y del prestigio alcanzado por la burguesía valenciana.
En 1996, fue declarada Patrimonio de la Humanidad por la UNESCO.
La Llotja de la Seda is a late Valencian Gothic-style civil building in the historic center of the city.
The building was built between 1482 and 1548 and undoubtedly symbolizes the power and wealth of the Valencian Golden Age (15th century). It is a sample of the scope of the commercial revolution during the late Middle Ages, of social development and of the prestige achieved by the Valencian bourgeoisie.
In 1996, it was declared a World Heritage Site by UNESCO.
🇫🇷 Oriel et bow window sont devenus des symboles d’élégance et de raffinement, particulièrement prisés dans les demeures bourgeoises et les constructions de prestige.
Contrairement à l’oriel,la"bow window" s’étend généralement du sol au plafond, formant une continuité avec le niveau de la pièce qu’il prolonge. Cette structure est composée de plusieurs fenêtres identiques, disposées en arc pour suivre la courbe de l’ensemble,
Contrairement à la bow window, "un oriel "est une fenêtre à encorbellement fermée intégrant une porte intérieure, pouvant s’apparenter à une mini véranda (aussi appelé balcon serre), et que l'on retrouve par exemple en Alsace.
🇬🇧 Oriel and bow windows have become symbols of elegance and refinement, particularly prized in middle-class residences and prestigious buildings.
Unlike the oriel window, the bow window generally extends from floor to ceiling, forming a continuity with the level of the room it extends. This structure is made up of several identical windows, arranged in an arc to follow the curve of the whole,
Unlike the bow window, an "oriel" is a closed corbelled window incorporating an interior door, which can be likened to a mini veranda (also known as a greenhouse balcony), and is found in Alsace, for example.
Translated with DeepL.com (free version)
🇩🇪 Erker und Erkerfenster sind zu Symbolen für Eleganz und Raffinesse geworden, die besonders in bürgerlichen Häusern und repräsentativen Gebäuden geschätzt werden.
Im Gegensatz zum Erker erstreckt sich das Erkerfenster in der Regel vom Boden bis zur Decke und bildet so eine Kontinuität mit der Ebene des Raumes, den es verlängert. Diese Struktur besteht aus mehreren identischen Fenstern, die bogenförmig angeordnet sind, um der Kurve des Ganzen zu folgen,
Im Gegensatz zum Erkerfenster ist ein "oriel" ein geschlossenes Erkerfenster mit einer Innentür, das einer Mini-Veranda ähneln kann (auch Treibhausbalkon genannt) und das man zum Beispiel im Elsass findet.
🇪🇸 Las ventanas mirador y las ventanas de arco se han convertido en símbolos de elegancia y refinamiento, especialmente apreciados en viviendas de clase media y edificios de prestigio.
A diferencia de las ventanas oriel, las ventanas de arco se extienden generalmente desde el suelo hasta el techo, formando una continuidad con el nivel de la habitación a la que se extienden. Esta estructura se compone de varias ventanas idénticas, dispuestas en arco para seguir la curva del conjunto,
A diferencia de la ventana de arco, un "oriel" es una ventana cerrada con ménsulas que incorpora una puerta interior, que puede compararse a una mini veranda (también conocida como balcón de invernadero), y que se encuentra en Alsacia, por ejemplo.
🇮🇹 I bovindi e gli archi sono diventati simboli di eleganza e raffinatezza, particolarmente apprezzati nelle case borghesi e negli edifici di prestigio.
A differenza dei bovindi, i bow window si estendono generalmente dal pavimento al soffitto, formando una continuità con il livello della stanza che ampliano. Questa struttura è costituita da più finestre identiche, disposte ad arco per seguire la curva dell'insieme,
A differenza del bow window, il "bovindo" è una finestra chiusa a mensola che incorpora una porta interna, che può essere paragonata a una mini veranda (nota anche come balcone di una serra), e si trova ad esempio in Alsazia.
Portofino, situada na Ligúria, noroeste de Itália, é uma vila costeira emblemática da Riviera Italiana. O seu porto natural, com origens na época romana (Portus Delphini), evoluiu de um entreposto comercial e refúgio para pescadores, para um destino turístico de prestígio internacional. As casas coloridas de tons pastel, erguidas entre os séculos XVII e XIX segundo a tradição arquitetónica liguriana, alinham-se ao longo da baía, criando um cenário emblemático. A torre sineira da Igreja de São Martinho, um templo documentado desde o século XII, destaca-se na paisagem. Integrada no Parque Natural Regional de Portofino, a vila oferece, para além da sua beleza arquitetónica, trilhos pedestres em paisagens mediterrânicas protegidas.
Portofino, located in Liguria, northwestern Italy, is an iconic coastal village on the Italian Riviera. Its natural harbor, dating back to Roman times (Portus Delphini), has evolved from a trading post and refuge for fishermen to an internationally renowned tourist destination. The colorful pastel-colored houses, built between the 17th and 19th centuries according to Ligurian architectural tradition, line the bay, creating an iconic setting. The bell tower of the Church of St. Martin, a temple documented since the 12th century, stands out in the landscape. Part of the Portofino Regional Natural Park, the village offers, in addition to its architectural beauty, hiking trails in protected Mediterranean landscapes.
El Paraninfo de la Universidad de Alcalá de Henares es uno de los edificios más emblemáticos y antiguos de la universidad. Situado en la histórica ciudad de Alcalá de Henares, en la Comunidad de Madrid, España, el Paraninfo ha sido testigo de eventos académicos y culturales importantes a lo largo de su historia.
El edificio fue construido en el siglo XVII como parte del Colegio Mayor de San Ildefonso, que era la institución educativa principal de la universidad en ese momento. El Paraninfo fue diseñado por el arquitecto Jacobo Boyer y presenta un estilo arquitectónico barroco, con una fachada imponente y detalles ornamentales.
El Paraninfo ha sido el escenario de numerosas ceremonias y actos solemnes, incluyendo la entrega de títulos universitarios, discursos de destacados académicos y figuras políticas, conciertos, exposiciones y otros eventos culturales. Durante siglos, ha sido el lugar donde los graduados de la universidad reciben sus diplomas en una ceremonia tradicional.
En el año 1998, la Universidad de Alcalá de Henares fue declarada Patrimonio de la Humanidad por la UNESCO, y el Paraninfo es uno de los edificios más destacados dentro del conjunto histórico. Su interior cuenta con un hermoso salón principal, decorado con pinturas y esculturas de reconocidos artistas españoles, que reflejan la importancia cultural y académica de la universidad.
El Paraninfo de la Universidad de Alcalá de Henares es un símbolo de la tradición y el prestigio de esta institución educativa, así como un espacio que ha acogido a numerosos eventos de relevancia a lo largo de los años.
THE HISTORY OF THE PARANINFO OF THE UNIVERSITY OF
ALCALÁ DE HENARES.
The Paraninfo of the University of Alcalá de Henares is one of the most emblematic and oldest buildings of the university. Located in the historic city of Alcalá de Henares, in the Community of Madrid, Spain, the Paraninfo has witnessed important academic and cultural events throughout its history.
The building was constructed in the 17th century as part of the Colegio Mayor de San Ildefonso, which was the main educational institution of the university at that time. The Paraninfo was designed by the architect Jacobo Boyer and features a baroque architectural style, with an imposing facade and ornamental details.
The Paraninfo has been the venue for numerous ceremonies and solemn events, including the awarding of university degrees, speeches by prominent academics and political figures, concerts, exhibitions, and other cultural events. For centuries, it has been the place where university graduates receive their diplomas in a traditional ceremony.
In 1998, the University of Alcalá de Henares was declared a World Heritage Site by UNESCO, and the Paraninfo is one of the prominent buildings within the historic complex. Its interior features a beautiful main hall, decorated with paintings and sculptures by renowned Spanish artists, reflecting the cultural and academic importance of the university.
The Paraninfo of the University of Alcalá de Henares is a symbol of the tradition and prestige of this educational institution, as well as a space that has hosted numerous significant events over the years.
Arrived at the 38 th edition, the event Cervia Garden City "in this 2010, as is now traditional, hosted the most skilled gardeners renowned Italian and foreign cities, to create the largest" flower show in the open " developed by technical experts and masters of nature. The gardens, flower beds, sculptures in the green and all other creations will be on display, as open-air museum throughout the summer until the end of September, distributed at various points in Cervia Milano Marittima, Pinarella and sliced . The care and maintenance works will be managed by flowers and pine green services of the Municipality of Cervia.
Can count on the accession of over 50 cities and institutions, more than 270,000 flowering plants and thousands of square feet of turf.
The outstanding works to be carried out by these gardeners, real artists, beyond the collective imagination, to complete a job turned into an art that gives life to sculptures, compositions and emotional expressions, figurative and abstract that are assembled in the original gardens and stunning floral arrangements including walking, surprise and emotion. It is since 1972 that the event draws in Cervia master gardeners from around the world. "Cervia takes you to the water of the sea with its many gardens have thoughts even of towns and cities far away, so, Tonino Guerra has masterfully summed up the significance of the demonstration.
The inauguration of the exhibition "Cervia" Garden City "will take place in the day Saturday, May 29, 2010, if the Authority invited Italian and foreign cities.
Particularly prestigious recognition of the President, that this year, as well as membership, donated a plaque with the specific mention: "The President of the 38 th edition of floral" Cervia "Garden City".
Arrivata alla 38^ edizione, la manifestazione “Cervia Città Giardino” anche in questo 2010, com’è ormai tradizione, ha ospitato i più abili giardinieri di rinomate città italiane e straniere, per dare vita alla più importante “mostra floreale a cielo aperto” realizzata da tecnici, esperti e maestri del verde. I giardini, le aiuole, le sculture nel verde e tutte le altre creazioni saranno in esposizione, come museo all’aperto, per tutta l’estate, fino alla fine di settembre, distribuiti in vari punti di Cervia, Milano Marittima, Pinarella e Tagliata. La cura ed il mantenimento delle opere floreali sarà gestito dal Servizio Verde e Pinete del Comune di Cervia.
Potrà contare sull’adesione di oltre 50 tra città e enti, più di 270.000 piante di fiori e migliaia di metri quadrati di tappeto erboso.
Le straordinarie opere che verranno realizzate da questi giardinieri, veri e propri artisti, vanno al di là dell’immaginario collettivo, per un mestiere trasformato in un’arte completa che dà vita a sculture, espressioni e composizioni emozionanti, figure e astrattismi che si assemblano in originali giardini ed incredibili allestimenti floreali fra i quali passeggiare, stupirsi ed emozionarsi. È dal 1972 che la manifestazione richiama a Cervia maestri giardinieri da tutto il mondo. “Cervia ti porta verso l’acqua del mare con i suoi innumerevoli giardini che hanno pensieri anche di paesi e città lontani”, così Tonino Guerra ha magistralmente sintetizzato il significato della manifestazione.
L’inaugurazione della manifestazione “Cervia Città Giardino” si svolgerà nella giornata di sabato 29 maggio 2010, in presenza delle Autorità delle città invitate italiane e straniere.
Di particolare prestigio il riconoscimento del Presidente della Repubblica, che anche quest’anno, oltre all’adesione, ha donato una targa con la specifica menzione: “Il Presidente della Repubblica alla 38^ edizione della rassegna floreale "Cervia Città Giardino
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La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Tōeizan Kan'ei-ji Endon-in (東叡山寛永寺円頓院) (also spelled Kan'eiji or Kaneiji) is a Tendai Buddhist temple in Tokyo, Japan, founded in 1625 during the Kan'ei era by Tenkai, in an attempt to emulate the powerful religious center Enryaku-ji, in Kyoto. The main object of worship is Yakushirurikō Nyorai (薬師瑠璃光如来).
It was named in a reference both to the Enryaku-ji's location atop Mount Hiei (Tōeizan means "Mount Hiei of the East"), and also after the era during which it was erected, like Enryaku-ji (named after the Enryaku year period). Because it was one of the two Tokugawa bodaiji (funeral temple; the other was Zōjō-ji) and because it was destroyed in the closing days of the war that put an end to the Tokugawa shogunate, it is inextricably linked to the Tokugawa shōguns.
Once a great complex, it used to occupy the entire heights north and east of Shinobazu Pond and the plains where Ueno Station now stands. It had immense wealth, power and prestige, and it once consisted of over 30 buildings. Of the 15 Tokugawa shōguns, six are buried here.
Many temple structures were destroyed in the great Meireki fire of 1657. A new hall was constructed inside the enclosure of Kan'ei-ji in 1698. The temple and its numerous annexes were almost completely destroyed during the Boshin War's Battle of Ueno and never restored. Much of the site where it once stood was confiscated and is now occupied by Ueno Park.
What is today the temple's main hall was taken from Kita-in in Kawagoe (Saitama Prefecture) and transferred to the site of a former Kan'ei-ji subtemple. Kan'ei-ji's five-story pagoda and the Ueno Tōshō-gū shrine were amongst the gems of the old temple enclosure. Both stand undisturbed by the passage of years since the end of the Tokugawa shogunate.
The Shinobazu Pond itself and the Bentendō Temple which stands on its island used to be an integral part of Kan'ei-ji. Tenkai, liking Lake Biwa, had Benten Island built in imitation of Chikubushima, and then the Bentendō on it. At the time the island was accessible only by boat, but later a stone bridge was added on the east, making it possible to walk to it. The Bentendō Temple was destroyed during World War II, and the present one is a reconstruction.
Kan'ei-ji - Wikipedia
Tōeizan Kan'ei-ji Endon-in (東 叡 山 寛 永 寺 円 頓 院) (también escrito Kan'eiji o Kaneiji) es un templo budista Tendai en Tokio, Japón, fundado en 1625 durante la era Kan'ei por Tenkai, en un intento de emular al poderoso centro religioso Enryaku-ji, en Kioto. El principal objeto de adoración es Yakushirurikō Nyorai (薬 師 瑠 璃 光 如 来).
Se nombró en referencia tanto a la ubicación de Enryaku-ji en la cima del monte Hiei (Tōeizan significa "Monte Hiei del este"), y también después de la era durante la cual se erigió, como Enryaku-ji (llamado así por el período del año Enryaku ). Debido a que fue uno de los dos Tokugawa bodaiji (templo funerario; el otro fue Zōjō-ji) y debido a que fue destruido en los últimos días de la guerra que puso fin al shogunato Tokugawa, está indisolublemente ligado a los shōguns Tokugawa.
Una vez fue un gran complejo, solía ocupar todas las alturas al norte y al este del estanque Shinobazu y las llanuras donde ahora se encuentra la estación Ueno. Tenía una inmensa riqueza, poder y prestigio, y estuvo formado por más de 30 edificios. De los 15 shōguns Tokugawa, seis están enterrados aquí.
Muchas estructuras de templos fueron destruidas en el gran incendio de Meireki de 1657. Se construyó una nueva sala dentro del recinto de Kan'ei-ji en 1698. El templo y sus numerosos anexos fueron destruidos casi por completo durante la batalla de Ueno durante la Guerra Boshin y nunca fueron restaurados. . Gran parte del sitio donde una vez estuvo fue confiscado y ahora está ocupado por el Parque Ueno.
Lo que es hoy el salón principal del templo fue tomado de Kita-in en Kawagoe (Prefectura de Saitama) y trasladado al sitio de un antiguo subtemplo de Kan'ei-ji. La pagoda de cinco pisos de Kan'ei-ji y el santuario Ueno Tōshō-gū se encontraban entre las gemas del antiguo recinto del templo. Ambos permanecen impasibles por el paso de los años desde el fin del shogunato Tokugawa.
El estanque Shinobazu y el templo Bentendō que se encuentra en su isla solían ser una parte integral de Kan'ei-ji. Tenkai, al igual que el lago Biwa, hizo construir la isla Benten a imitación de Chikubushima, y luego el Bentendō en ella. En ese momento, solo se podía acceder a la isla en barco, pero más tarde se agregó un puente de piedra en el este, lo que permitió caminar hasta ella. El templo de Bentendō fue destruido durante la Segunda Guerra Mundial, y el actual es una reconstrucción.
Colonia (en alemán: Köln [kœln]; en kölsch: Kölle [ˈkœɫə]) es la cuarta ciudad más grande de Alemania, precedida por Berlín, Hamburgo y Múnich, y la más poblada dentro del Estado federado de Renania del Norte-Westfalia, aunque Düsseldorf es la capital del Estado. Fundada en el año 38 a. C. como Oppidum Ubiorum («Ciudad de los Ubios»), fue posteriormente declarada colonia romana con el nombre de Colonia Claudia Ara Agrippinensium en alusión a la emperatriz Agripina, esposa del emperador Claudio y madre de Nerón.
Es un importante centro económico y cultural de importancia internacional y representa uno de los enclaves más importantes del mundo artístico. Es famoso por ser la sede del carnaval más espectacular del país. Además es la sede de muchas asociaciones, empresas mediáticas y numerosas cadenas de televisión, discográficas y editoriales. Su importancia reside en parte en su monumento más emblemático: la catedral, su historia de más de 2000 años, sus numerosos eventos internacionales, como su cultura y su gastronomía que lo hacen uno de los destinos más visitados de Europa. La Universidad de Colonia (alrededor de 50 000 estudiantes), la Escuela Técnica Superior de Colonia (alrededor de 25 000 estudiantes) y demás escuelas superiores representa la gran importancia educativa y de investigación dentro de la región del Rin-Ruhr.
La excelente ubicación en el río Rin, en mitad de las principales rutas comerciales entre este y oeste, como sede secular como Ciudad Libre Imperial tanto como su poder eclesiástico a través del arzobispado en el Sacro Imperio Romano le consiguió granjearse un gran prestigio e importancia en el país. Como ciudad hanseática ganó mucha importancia comercial a través del libre comercio con el resto de la Hansa. Su importancia como centro neurálgico de las comunicaciones siguen hoy día con la gran cantidad de viajeros en tren que salen cada día de la Estación Central (Hauptbahnhof), y la estación Köln Eifeltor, que es uno de los mayores patios de carga ferroviarios para el transporte de mercancías. El transporte aéreo también tiene su importancia en la ciudad debido al aeropuerto de Colonia/Bonn.
es.wikipedia.org/wiki/Colonia_(Alemania)
Cologne (German: Köln or sometimes Kölle) is a city on the Rhine River in the state of North Rhine-Westphalia in Germany. About 1,060,000 people live there.
The city was founded by the Romans in the year 50. Before that, it was a Roman castle ("castellum") and a town inhabited by a local German tribe named Ubier at least for 100 years. Archaeologists have found out that the surrounding area was populated already during the stone age.
The most interesting thing to see there is Cologne Cathedral. This church was built from about 1248 to about 1550, but completed only in 1880. The United Nations list it as 'World Cultural Heritage'. Cologne's archbishop Rainald von Dassel brought the relics of the biblical Three Wise Men there in 1164. They are kept in a very beautiful golden shrine in the cathedral. Three golden crowns in the coat of arms of the city symbolize them. They made Cologne a major place of pilgrimage.
simple.wikipedia.org/wiki/Cologne
El río Rin (en alemán: Rhein; en francés: Rhin; en neerlandés: Rijn; en romanche: Rain) es un importante río de Europa, la vía fluvial más utilizada de la Unión Europea (UE). Con una longitud de 1233 km (14° más largo de Europa), es navegable en un tramo de 883 km entre Basilea (Suiza) y su delta en el mar del Norte.
El nombre Rin es de origen celta y significa 'fluir' (como en griego antiguo rheīn 'fluir'). Junto con el Danubio, el Rin constituía la mayor parte de la frontera septentrional (el limes) del Imperio romano. Los romanos lo denominaban Rhēnus.
The Rhine (Latin: Rhenus, Romansh: Rein, German: Rhein, French: le Rhin[1], Italian: Reno, Dutch: Rijn) is a European river that begins in the Swiss canton of Graubünden in the southeastern Swiss Alps, forms part of the Swiss-Liechtenstein, Swiss-Austrian, Swiss-German and then the Franco-German border, then flows through the German Rhineland and the Netherlands and eventually empties into the North Sea.
The largest city on the Rhine is Cologne, Germany, with a population of more than 1,050,000 people. It is the second-longest river in Central and Western Europe (after the Danube), at about 1,230 km (760 mi), with an average discharge of about 2,900 m3/s (100,000 cu ft/s).
The Rhine and the Danube formed most of the northern inland frontier of the Roman Empire and, since those days, the Rhine has been a vital and navigable waterway carrying trade and goods deep inland. Its importance as a waterway in the Holy Roman Empire is supported by the many castles and fortifications built along it. In the modern era, it has become a symbol of German nationalism.
El Salvador (Spanish: República de El Salvador, literally meaning "Republic of the Savior"; original name in Nahuatl was Cōzcatlān) is the smallest and also the most densely populated country in Central America. It borders the Pacific Ocean between Guatemala and Honduras. It lies on the Gulf of Fonseca, as do Honduras and Nicaragua further south.
It has a population of approximately 7.2 million people as of 2009. The capital city of San Salvador is, by some distance, the largest city of the republic. In 2001 El Salvador dropped its own currency, the colón, and adopted the U.S. dollar instead.
History
Before Spanish conquest
Before the Spanish conquest, the area that now is El Salvador was composed of three great indigenous states and several principalities. The indigenous inhabitants were the Pipils, a tribe of the nomadic people of Nahua settled down for a long time in central Mexico. The region of the east was populated and governed by the Lencas. The North zone of the Lempa Hi River was populated and governed by the Chortis, a Mayan people.
Early in their history, the Pipil became one of the few Mesoamerican indigenous groups to abolish human sacrifice. Otherwise, their culture was similar to that of their Aztec and Maya neighbors. Remains of Nahua culture are still found at ruins such as Tazumal (near Chalchuapa), San Andrés, and Joya de Cerén (north of Colón).
Spanish conquest
The first Spanish attempt to subjugate this area failed in 1524, when Pedro de Alvarado was forced to retreat by Pipil warriors. In 1525, he returned and succeeded in bringing the district under control of the Captaincy General of Guatemala, which retained its authority until 1821, despite an abortive revolution in 1811. It was Alvarado who named the district for El Salvador ("The Savior.")
Independece
The first "shout of independence" in El Salvador came in 1811, at the hands of criollo elite. Many intellectuals and merchants had grown tired of the overpowering control that Spain still had in the American colonies, and were interested in expanding their export markets to Britain and the United States. The Indigenous uprisings aimed at Spanish subjugation plagued the territory at this time, and they were re-interpreted by the Republicans to serve their purpose and show popular support for independence. Thus a movement grew amongst the middle class criollo and mestizo classes. Ultimately, the 1811 declaration of independence failed when the vice royalty of Guatemala sent troops to San Salvador in order to crush the movement. However, the momentum was not lost and many of the people involved in the 1811 movement became involved in the 1821 movement.
In 1821, El Salvador and the other Central American provinces declared their independence from Spain. When these provinces were joined with Mexico in early 1822, El Salvador resisted, insisting on autonomy for the Central American countries. Guatemalan troops sent to enforce the union were driven out of El Salvador in June 1822. El Salvador, fearing incorporation into Mexico, petitioned the United States Government for statehood. But in 1823, a revolution in Mexico ousted Emperor Agustín de Iturbide, and a new Mexican congress voted to allow the Central American provinces to decide their own fate. That year, the United Provinces of Central America was formed of the five Central American states under Gen. Manuel José Arce.
In 1832, Anastasio Aquino led an indigenous revolt against creoles and mestizos in Santiago Nonualco, a small town in the province of San Vicente. The source of the discontent of the indigenous people was lack of land to cultivate. The problem of land distribution has been the source of many political conflicts in Salvadoran history.
The Central American federation was dissolved in 1838 and El Salvador became an independent republic.
Geography
El Salvador is located in Central America. It has a total area of 8,123 square miles (21,040 km²) (about the size of New Jersey). It is the smallest country in continental America and is affectionately called the "Tom Thumb of the Americas" ("Pulgarcito de America"). It has 123.6 square miles (320 km²) of water within its borders.
Several small rivers flow through El Salvador into the Pacific Ocean, including the Goascorán, Jiboa, Torola, Paz and the Río Grande de San Miguel. Only the largest river, the Lempa River, flowing from Guatemala and Honduras across El Salvador to the ocean, is navigatable for commercial traffic.
Volcanic craters enclose lakes, the most important of which are Lake Ilopango (70 km²/27 sq mi) and Lake Coatepeque (26 km²/10 sq mi). Lake Güija is El Salvador's largest natural lake (44 km²/17 sq mi). Several artificial lakes were created by the damming of the Lempa, the largest of which is Embalse Cerrón Grande (135 km²).
El Salvador shares borders with Guatemala and Honduras. It is the only Central American country that does not have a Caribbean coastline. The highest point in the country is Cerro El Pital at 8,957 feet (2,730 m), which shares a border with Honduras.
Other info
Oficial Name:
Républica de El Salvador
Independence:
From Spain September 15, 1821
- from the UPCA 1842
Area:
21.041 km2
Inhabitants:
6.810.000
Languages:
Kekchí [kek] 12,286 in El Salvador. Alternate names: Quecchí, Cacché. Classification: Mayan, Quichean-Mamean, Greater Quichean, Kekchi
More information.
Lenca [len] Ethnic population: 36,858 in El Salvador (1987). Town of Chilango. Classification: Unclassified Nearly extinct.
More information.
Pipil [ppl] 20 (1987). Ethnic population: 196,576 (1987). Municipio of Dolores, Ocotepeque Department, near the El Salvador border. Extinct in Honduras. Alternate names: Nahuat, Nawat. Dialects: Not intelligible with Isthmus Nahuatl of Mexico. Classification: Uto-Aztecan, Southern Uto-Aztecan, Aztecan, General Aztec, Pipil Nearly extinct.
More information.
Salvadoran Sign Language [esn] Alternate names: El Salvadoran Sign Language. Classification: Deaf sign language
More information.
Spanish [spa] 5,900,000 in El Salvador (1995). Alternate names: Español, Castellano. Classification: Indo-European, Italic, Romance, Italo-Western, Western, Gallo-Iberian, Ibero-Romance, West Iberian, Castilian
More information.
Extinct languages
Cacaopera [ccr] Extinct. Department of Morazán. Dialects: Close to Matagalpa. Classification: Misumalpan
Capital city:
San Salvador
Meaning country name:
Its national name is the Republic of El Salvador. In Spanish, it is "República de El Salvador". The country was named after the Spanish word for "The Savior", in honor of Jesus Christ.
The Pipels, who arrived from central Mexico, most famous one known as "Atlacatl" renamed the area Cuscatlán", because of the lush fertility of the land. Cuscatlán translates as "Land of Precious Jewels" in the native indigenous tongue known as Pipil-Nahuat (Nahuatl in central Mexico).
"The saviour" in Spanish, named after Jesus.
Description Flag:
The flag of El Salvador was adopted on September 27, 1972. It is based on the flag of the United Provinces of Central America and was initially adopted in 1822, abandoned in 1865, reinstated in 1912, and last confirmed in 1972.
The two blue stripes represent the oceans that bathe the Central American coasts: the Pacific and the Atlantic. The white stripe represents peace.
There are two versions of the flag, one containing the National Coat of Arms and the other the words "DIOS UNION LIBERTAD" (Spanish: God, Union, Liberty). The one bearing the Coat of Arms is used by the government or state organizations. The other version is used for civil purposes. Both flags have a 3:5 aspect ratio.
From 1865 to 1912, a different flag was in use, based on the flag of the United States, with a field of alternating blue and white stripes and a red canton containing white stars.
Coat of arms:
The coat of arms of El Salvador has been in use in its current form since 15 September 1912. Its center consists of a triangle, in which five volcanoes rise out of the sea. They symbolize the five member states of the United Provinces of Central America. Above the volcanoes is a red Phrygian cap on a staff before a golden sun and the date 15 September, 1821, Independence Day of El Salvador. Over it is a rainbow. Behind the coat of arms there are five flags representing the flags of the Federal Republic of Central America raised. Under it, there is a scroll which states the national motto of El Salvador: Dios, Unión, Libertad (Span., "God, Union, Liberty"). All of this is surrounded by a laurel garland, which is tied together under the national flag. The garland is divided into 14 different parts, which symbolize the 14 Departaments, the Salvadorian subnational administrative units. All this is surrounded by golden letters, which form the Spanish words REPÚBLICA DE EL SALVADOR EN LA AMÉRICA CENTRAL (English: Republic of El Salvador in Central America).
Motto:
"God, Union, Liberty"
National Anthem: Himno Nacional de El Salvador
CHORUS
Saludemos la patria orgullosos
de hijos suyos podernos llamar;
y juremos la vida animosos,
sin descanso a su bien consagrar.
FIRST VERSE
De la paz en la dicha suprema,
siempre noble soñó El Salvador;
fue obtenerla su eterno problema,
conservarla es su gloria mayor.
Y con fe inquebrantable el camino
del progreso se afana en seguir,
por llenar su grandioso destino,
conquistarse un feliz porvenir.
Le protege una ferrea barrera
contra el choque de ruin deslealtad,
desde el día que en su alta bandera
con su sangre escribió: ¡LIBERTAD!
CHORUS
SECOND VERSE
Libertad es su dogma, es su guía
que mil veces logró defender;
y otras tantas, de audaz tiranía
rechazar el odioso poder.
Dolorosa y sangrienta es su historia,
pero excelsa y brillante a la vez;
manantial de legitima gloria,
gran lección de espartana altivez.
No desmaya en su innata bravura,
en cada hombre hay un héroe inmortal
que sabrá mantenerse a la altura
de su antiguo valor proverbial.
THIRD VERSE
Todos son abnegados, y fieles
al prestigio del bélico ardor
con que siempre segaron laureles
de la patria salvando el honor.
Respetar los derechos extraños
y apoyarse en la recta razón
es para ella, sin torpes ámanos
su invariable, mas firme ambición.
Y en seguir esta línea se aferra
dedicando su esfuerzo tenaz,
en hacer cruda guerra a la guerra;
su ventura se encuentra en la paz.
CHORUS
English translation
CHORUS
Let us salute the motherland,
Proud to be called her children.
To her well-being let us swear
Boldly and unceasingly to devote our lives.
(repeat)
Devote our lives! (repeat 4 times)
FIRST VERSE
Of peace enjoyed in perfect happiness,
El Salvador has always nobly dreamed.
To achieve this has been her eternal proposition,
To keep it, her greatest glory.
With inviolable faith, she eagerly follows
The way of progress
In order to fulfil her high destiny
And achieve a happy future.
A stern barrier protects her
Against the clash of vile disloyalty,
Ever since the day when her lofty banner,
In letters of blood, wrote "Freedom",
Wrote "Freedom", wrote "Freedom".
CHORUS
SECOND VERSE
Freedom is her dogma and her guide;
A thousand times she has defended it,
And as many times has she repelled
The hateful power of atrocious tyranny.
Her history has been bloody and sad,
Yet at the same time sublime and brilliant,
A source of legitimate glory
And a great lesson in Spartan pride.
Her innate bravery shall not waver:
In every man there is an immortal hero
Who knows how to maintain the level
Of the proverbial valour of old.
CHORUS
THIRD VERSE
All are self-denying and faithful
To the tradition of warlike ardour
With which they have always reaped fame
By saving the motherland's honour.
To respect the rights of others
And base her actions on right and justice
Is for her, without infamous intrigue,
The constant and most firm ambition.
And in following this line she persists,
Dedicating her tenacious efforts
In giving hard battle for battle;
Her happiness is found in peace.
CHORUS
Internet Page: www.elsalvador.com
E.Salvador in diferent languages
eng | ast | cat | cor | cym | dan | dsb | est | eus | fao | fin | fry | hsb | ina | isl | ita | jav | jnf | lin | lld | mlt | nld | nor | que | roh | ron | rup | scn | sme | spa | swa | swe | vor | wln | zza: El Salvador
bre | ces | frp | hrv | hun | slv: Salvador
afr | fra | por | tur: Salvador; El Salvador
deu | ltz | nds: El Salvador / El Salvador
aze | bos: Salvador / Салвадор
ind | msa: El Salvador / السالۏادور
kaa | uzb: Salvador / Сальвадор
kin | run: Ele Salvadore
lav | mlg: Salvadora
pol | szl: Salwador
arg: El Salvador; O Salbador
bam: Ɛlisaliwadɔri
crh: El Salvador / Эль Сальвадор
epo: Salvadoro
fur: Il Salvadôr
gla: El Salbhador
gle: An tSalvadóir / An tSalvadóir
glg: O Salvador
glv: Yn Salvador
hat: Salvadò
ibo: El Salvadọ
kmr: Salvador / Салвадор / سالڤادۆر
kur: Salvador / سالڤادۆر
lat: Salvatoria
lit: Salvadoras
mol: El Salvador / Ел Салвадор
nrm: Saint-Sâoveu
oci: Lo Salvador
rmy: El Salvador / एल साल्वादोर
slk: Salvádor
slo: Elsalvador / Елсалвадор
smg: Salvaduors
sqi: Salvadori
srd: El Salvadòr
tet: Salvadór
tgl: Salbador
tuk: Salwador / Сальвадор
vie: En-san-va-đo
vol: Salvadorän
wol: Salbadoor
alt | che | chm | chv | kbd | kir | kjh | kom | krc | kum | mon | oss | rus | tyv | udm | ukr: Сальвадор (Sal'vador)
bak | bel | tat: Сальвадор / Salvador
bul | mkd: Ел Салвадор (El Salvador)
abq: Сальвадор (Salvador)
kaz: Сальвадор / Salvador / سالۆادور
srp: Ел Салвадор / El Salvador
tgk: Салвадор / سلودار / Salvador
ara: السلفادور (as-Salfādūr); إلسلفادور (Ilsalfādūr)
fas: السالوادور (Elsālvādor)
prs: السلوادور (Elsalvādōr)
pus: السلوادور (Ilsalwādor); اېلسلوادور (Elsalvādor)
uig: سالۋادور / Salwador / Сальвадор
urd: ال سلواڈور (Al Salvāḋor); ایل سلواڈور (Æl Salvāḋor); ایل سالواڈور (Æl Sālvāḋor)
div: އެލް ސަލްވަޑޯ (El Salvaḋō)
heb: אל-סלודור / אל-סלוודור (El-Salvadôr); אל-סאלוואדור (El-Sâlvâdôr); אל-סלואדור (El-Salvâdôr); אל-סלבדור (El-Salṿadôr); אל-סאלבאדור (El-Sâlṿâdôr)
lad: איל סאלב'אדור / El Salvador
yid: על סאַלװאַדאָר (El Salvador)
amh: ኤል ሳልቫዶር (El Salvador); ሳልቨዶር (Salvädor)
ell-dhi: Ελ Σαλβαδόρ (El Salvadór); Σαλβαντόρ (Salvantór)
ell-kat: Σαλβαδώρ (Salvadṓr); Σαλβαδόρ (Salvadór); Σαλβαντόρ (Salvantór)
hye: Սալվադոր (Salvador); Էլ Սալվադոր (Ēl Salvador)
kat: სალვადორი (Salvadori)
hin: एल-साल्वाडोर (El-Sālvāḍor); एल-साल्वेडोर (El-Sālveḍor); सलवाडोर (Salvāḍor); सैल्वैडोर (Sælvæḍor); अल साल्वाडोर (Al Sālvāḍor)
ben: এল সালভাডোর (El Sālbʰādor); এল সালভাদর (El Sālbʰādôr); সালভেডর (Sālbʰeḍôr)
pan: ਈਲ ਸਾਲਵੇਡੋਰ (Īl Sālveḍor)
kan: ಎಲ್ ಸಾಲ್ವಡಾರ್ (El Sālvaḍār)
mal: എല് സാല്വഡോര് (El Sālvaḍōr)
tam: எல் சல்வடோர் (El Čalvaṭōr); எல் சால்வடார் (El Čālvaṭār)
tel: ఎల్ సాల్వడోర్ (El Sālvaḍār); ఎల్ సాల్వడర్ (El Sālvaḍar)
zho: 薩爾瓦多/萨尔瓦多 (Sà'ěrwǎduō)
jpn: エル・サルヴァドル (Eru Saruvadoru); エルサルバドル (Erusarubadoru)
kor: 엘살바도르 (Elsalbadoreu)
bod: སར་ཝ་དོར་ (Sar.wa.dor.)
mya: အယ္ဆာဗေဒုိ (Ɛsʰabedo)
tha: เอลซัลวาดอร์ (Ēnsânwādɔ̄[r])
khm: អែលសាល់វ៉ាឌ័រ (Ælsalvādŏr); អែលសាវាឌ័រ (Ælsāvādŏr); អែលសាលវ៉ាឌ័រ (Ælsālvādŏr)
Con el cambio de ruta del Lusitania y del Iberian Link vía Salamanca dejaron de circular trenes por la frontera entre Valencia de Alcántara y Marvao-Beira; lo unico que hay ahora es un regional entre Cáceres y Valencia de A. que ni siquiera circula los martes ni tampoco llega hasta la frontera. La parte con más encanto de la línea es el tramo entre Cáceres y Arroyo-Malpartida, aun sin renovar y limitada a 50. Ese tramo es justo el que hizo el Tren del Prestige en su viaje por Extremadura, a cargo de este buen par de 1900; no contentos con ir un día, fueron dos días hasta Arroyo; el segundo de ellos además posibilitó la rarísima escena de dos trenes en la estación. Y como allá iba el tren, allí estuvimos nosotros, el primer día lo cazamos en uno de los pasos a nivel que cruza el camino al Casar de Cáceres, y el segundo en un sitio muy cercano pero muy diferente. Las nubes ayudaron a amortiguar el contraluz.
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La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Conegut popularment com a mossèn Cinto, Jacint Verdaguer i Santaló es va convertir en el poeta més prestigiós del seu temps. Però el caràcter rebel i coherent en la defensa de les seves idees li va provocar la desgràcia personal, tot i ser molt estimat pel poble per la seva obra literària i pels seus valors.
Escriu al marquès de Comillas. Li diu que pensa passar la festa de la Mare de Déu al santuari: (...)Sento que vostè no conegui aquest santuari; no sé al món un mirador més bonic. Sols trenquen sa dolça soledat els ocells amb sos càntics, els pagesos i devots amb ses oracions, el vent amb ses remors i, de tant en tant, algun llamp que parteix aqueixes roques, sense fer mal a ningú.
2008 - S'inaugura el monument a mossèn Cinto, obra de l'artista olotí Joan Ferrés a dalt del Santuari de la Mare de Déu del Mont (Alta Garrotxa) CAT.
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Monsignor Cinto.
Popularly known as Monsignor Cinto, Jacint Verdaguer i Santaló became the most prestigious poet of his time. But the rebellious and coherent character in the defense of his ideas brought about the personal misfortune to him, in spite of being very loved by the town by his literary work and its values.
He writes to the Marquis of Comillas. He tells her that he plans to spend the feast of the Virgin in the sanctuary: (...) I feel that you do not know this sanctuary; i don't know in the world a more beautiful viewpoint. Only the birds with their songs, the peasants and devotees with their prayers, the wind with their murmurs and, from time to time, some lightning that breaks these rocks, without hurting anyone, break their sweet loneliness.
2008 - The monument to Monsignor Cinto is inaugurated, the work of the Olot artist Joan Ferrés at the top of the Sanctuary of the Virgen del Mont (Alta Garrotxa) CAT.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
La "Chiesa del Gesù" nota anche come "Casa Professa", è una delle più importanti chiese barocche di Palermo e dell'intera Sicilia.
La chiesa venne costruita alla fine del cinquecento per celebrare il prestigio dei Gesuiti arrivati in Sicilia nel 1564.
L'edificio subì diversi rimaneggiamenti nei secoli finché i bombardamenti della seconda guerra mondiale non lo danneggiarono irrimediabilmente.
Un lungo restauro, che ha riportato la chiesa alle forme originarie, ne ha consentito la riapertura nel 2009.
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The "Church of Jesus" also known as the "Casa Professa", is one of the most important baroque churches in Palermo and Sicily.
The church was built in the late sixteenth century to celebrate the prestige of the Jesuits arrived in Sicily in 1564.
The building has undergone several changes over the centuries until the bombings of World War II damaged it irreparably.
A long restoration, which brought the church to its original form, it has allowed the reopening in 2009.
A Avenida dos Campos Elísios, em Paris, é uma das mais famosas e belas do mundo. Ela liga o Arco do Triunfo à Praça da Concórdia, sendo conhecida por seus cafés, lojas, cinemas e monumentos históricos. A avenida tem cerca de dois quilómetros de comprimento e 70 metros de largura, cercada por jardins e árvores. A Avenida dos Campos Elísios é um símbolo da elegância e do prestígio da capital francesa.
The Avenue des Champs-Elysées in Paris is one of the most famous and beautiful in the world. It connects the Arc de Triomphe to Place de la Concorde and is known for its cafés, stores, cinemas and historical monuments. The avenue is about two kilometers long and 70 meters wide, surrounded by gardens and trees. The Avenue des Champs-Elysées is a symbol of the elegance and prestige of the French capital.
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.
Église Saint-Nizier, Lyon, Auvernia-Ródano-Alpes, France.
La iglesia Saint-Nizier es una iglesia en la ciudad de Lyon, ubicada en Place Saint-Nizier en el corazón de Presqu'île, entre Place des Terreaux y Place des Jacobins, en el distrito de Cordeliers. Es uno de los lugares de culto más importantes de la capital gala, tanto en antigüedad y prestigio como en visibilidad arquitectónica y monumental.
Dedicado a Nizier, uno de los obispos de Lyon, el edificio está documentado desde la Alta Edad Media. Después del año 1000, mientras la importancia política y económica de la ciudad se afirma, la de Saint-Nizier crece, lo que no deja de generar tensiones con la principal iglesia de Lyon, la catedral de Saint-Jean. , y en particular con su capítulo canónico.
Completamente reconstruida en los siglos XIV y XV en un estilo gótico flamígero, la iglesia está clasificada como monumento histórico por la lista de 1840.
La silueta de Saint-Nizier es particular con sus dos flechas asimétricas; la iglesia está construida principalmente en un estilo gótico flamígero que no tiene equivalente en Lyon. El edificio en su conjunto está construido, para las partes bajas, con dura piedra caliza recuperada de edificios romanos o de Villebois; y para las partes superiores originales en piedra tipo Lucenay. Las adiciones del siglo XIX están en piedra Tournus.
The Saint-Nizier church is a church in the city of Lyon, located on Place Saint-Nizier in the heart of Presqu'île, between Place des Terreaux and Place des Jacobins, in the Cordeliers district. It is one of the most important places of worship in the Gallic capital, both in antiquity and prestige as well as in architectural and monumental visibility.
Dedicated to Nizier, one of the bishops of Lyon, the building is documented from the High Middle Ages. After the year 1000, while the political and economic importance of the city asserts itself, that of Saint-Nizier grows, which does not stop generating tensions with the main church of Lyon, the Saint-Jean cathedral. , and in particular with its canonical chapter.
Completely rebuilt in the 14th and 15th centuries in a flamboyant Gothic style, the church is classified as a historical monument by the 1840 list.
Saint-Nizier's silhouette is particular with its two asymmetrical arrows; the church is built mainly in a flamboyant Gothic style that has no equivalent in Lyon. The building as a whole is built, for the lower parts, with hard limestone recovered from Roman buildings or from Villebois; and for the original Lucenay-type stone upper parts. The 19th century additions are in Tournus stone.
Italia - Pisa - Catedral
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ENGLISH
Pisa Cathedral is a medieval Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy. It is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. It is the seat of the Archbishop of Pisa.
Construction on the cathedral began in 1063 (1064 according to the Pisan calendar of the time) by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship.
The church was erected outside Pisa's early medieval walls, to show that Pisa had no fear of being attacked.[citation needed] The chosen area had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria. Buscheto's grand new church was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta.[citation needed]
In 1092 the cathedral was declared a primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome.
In the early 12th century the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new facade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door.
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ESPAÑOL
La catedral de Santa María Asunta, en el centro de la Piazza dei Miracoli es una catedral católica medieval dedicada a la Asunción de la Virgen, sede episcopal de la ciudad italiana de Pisa. Obra representativa del arte románico, en particular del románico pisano,1 muestra el testimonio tangible del prestigio y de la riqueza alcanzados por la república marinera de Pisa en el momento de su apogeo.
Fue iniciada en 1063 (1064 según el calendario pisano de la época) por el arquitecto Buscheto, y los costes se pagaron usando el botín recibido luchando contra los musulmanes en Sicilia en 1063. Se fundieron en ella elementos estilísticos diversos, clásicos, lombardo-emilianos, bizantinos y en particular islámicos para probar la presencia internacional de los mercaderes pisanos de aquellos tiempos. En el mismo año se iniciaba también la reconstrucción de la Basílica de San Marcos en Venecia, por lo que puede colegirse que también hubo cierta rivalidad entre las dos repúblicas marítimas para crear el lugar de culto más bello y suntuoso.
La iglesia se construyó fuera de las murallas medievales de Pisa, para demostrar que no tenían miedo de ser atacados.[cita requerida] La zona elegida ya había sido usada en la época lombarda como una necrópolis y al principio del siglo XI se erigió aquí una iglesia, pero nunca se terminó, que iba a llamarse Santa Maria. La gran iglesia nueva de Buscheto inicialmente fue llamada Santa Maria Maggiore hasta que fue oficialmente nombrada como Santa Maria Assunta.
En 1092 la catedral fue declarada iglesia primada, habiendo recibido el arzobispo Dagoberto el título de primado por el papa Urbano II. La catedral fue consagrada en 1118 por el Papa Gelasio II, que pertenecía al grupo pisano de los Gaetani (o Caetani), condes de Terriccio y d'Oriseo, familia poderosa tanto en Pisa como en Roma.
Ya en la primera mitad del siglo XII fue ampliado bajo la dirección del arquitecto Rainaldo, quien incrementó la longitud de la nave añadiendo tres tramos coherentes con el estilo original de Buscheto, agrandó el transepto y planeó una nueva fachada (la actual), concluida por su grupo de maestros guiados por los escultores Guglielmo y Biduino.
La fecha exacta de la obra no queda clara: según algunos, la obra se realizó justo después de la muerte de Buscheto alrededor del año 1100, aunque otros dicen que se hizo más próximo a 1140. En cualquier caso, la obra estaba terminada en 1180, como documenta la fecha escrita en los llamadores de bronce realizados por Bonanno Pisano y que se encuentran en la puerta principal.
El aspecto actual del complejo edificio es el resultado de repetidas campañas de restauración que se sucedieron en diversas épocas. Las primeras intervenciones radicales se realizaron tras el incendio de 1595, después del cual el tejado fue reemplazado y se elaboraron las tres puertas de bronce de la fachada, obra de escultores de la escuela de Giambologna, entre los cuales estuvieron Gasparo Mola y Pietro Tacca. A partir del siglo XVIII se inició el progresivo revestimiento de las paredes internas con grandes pinturas en tela, los quadrones con Historias de beatos y santos pisanos, realizados por los principales artistas de la época gracias a la iniciativa de algunos ciudadanos que se financiaron creando una actividad comercial para el efecto.
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.
Estrutura interior do elevador de um hotel clássico em Génova. O sistema de cabos e grelhas metálicas preserva o desenho original, característico dos elevadores históricos de edifícios europeus do final do século XIX e início do século XX. Estes elevadores, muitas vezes instalados em edifícios de prestígio, combinam funcionalidade com elementos decorativos em ferro forjado.
Interior structure of the elevator of a classic hotel in Genoa. The system of cables and metal grids preserves the original design, characteristic of the historic elevators of European buildings from the late 19th and early 20th centuries. These elevators, often installed in prestigious buildings, combine functionality with decorative elements in wrought iron.
Main tower and entrance to the Rocca Sanvitale - Fontanellato
La rocca Sanvitale, nota anche come castello di Fontanellato, è una fortezza situata nell'omonimo paese in provincia di Parma. Domina il centro abitato di Fontanellato e si caratterizza per il profondo fossato d'acqua, che la circonda completamente.
La storia dell'edificazione della rocca Sanvitale può essere fatta risalire all'anno 1124, quando venne eretta una prima torre di difesa.
Nel 1386 le terre di Fontanellato, con la relativa rocca, vennero cedute ai Sanvitale.
Nel 1404, al feudo fu conferito il rango di contea: fu in tale periodo che il castello divenne una residenza signorile di notevole prestigio. La rocca appartenne alla famiglia Sanvitale fino al 1948, anno in cui Giovanni Sanvitale la vendette all'amministrazione comunale.
The Rocca Sanvitale, or Sanvitale Castle, is a fortress residence located in the centre of the town of Fontanellato, near Parma, northern Italy. Construction of the moated block, accessible through a drawbridge, was begun in the 13th century, mostly completed by 15th century, with embellishments continuing through to the 18th century. It is prototypical of the urban castle-houses of the turbulent medieval communes of Northern Italy. Until the 1930s it was the home of the descendants of the Count of Sanvitale.
The crenelated walls and asymmetric towers are surrounded by an arcaded town. Adjacent to the castle are gardens and a courtyard. The optical chamber (camera ottica) has an optical system in place that projects to an inside wall a view of the town through mirrors and a prism. Rocca Sanvitale is now partly a museum and partly offices and conference hall for the town administration.