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An arched window in a center, front-facing gable lends style and beauty to the façade of this three-bedroom home.
An open common area that features a great room with cathedral ceiling, a formal dining room with tray ceiling, a functional kitchen and an informal breakfast area separates the master suite from the secondary bedrooms for optimal privacy.
The master suite is expanded by a dramatic cathedral ceiling and includes access to the back porch, abundant closet space and a bath with enclosed toilet, garden tub and separate shower. Access to a versatile bonus room is nearby.
Montalbano Elicona is a comune (municipality) in the Province of Messina in the Italian region Sicily, located about 150 km east of Palermo and about 50 km southwest of Messina. As of 31 December 2004, it had a population of 2,687 and an area of 67.4 km². It is mainly known for the castle built in 1233 by the Emperor Frederic II and the medieval architecture of its streets.The municipality of Montalbano Elicona contains the frazioni (subdivisions, mainly villages and hamlets) Pellizzaro, Toscano, Santa Barbara,Casale, Villa Braidi, and Santa Maria, Santa Venera e Santo Stefano.Montalbano Elicona borders the following municipalities: Basicò, Falcone, Floresta, Francavilla di Sicilia, Librizzi, Malvagna, Oliveri, Patti, Raccuja, Roccella Valdemone, San Piero Patti, Santa Domenica Vittoria, Tripi.Crowned from a majestic Castle, encircled from secular forests that they perfume of thousands essences it is one of the antichi and evocative centers of the nebroidea area, rich of stroria, art and traditions. The students from ten years discuss on the origins of the country and of name. Montalbano Elicona derives from the Latin names mons albus with reference to mounts covered with snow or from the Arabic names al bana meaning of "excellent place". During the period of the Greek colonization (VII-VIII sec. B.C.), Dori, thinking to the mythical mount of the Muse, called Helikon the place that coinciding with the rise on which rises the medieval village and a torrent whose tortuous course justifies the name. First news about the existence of the village dates back to the XI century when it was a State possession. In 1232 it revolted against Federick II of Swabia, and supported the Pope together with other centres. Later it has belonged to different feudatories: Lancias in 1396, Romano Colonnas, Bonannos in 1587. It is prevalently an agricultural centre. Products mostly cultivated are grapes, cereals, chestnuts, walnuts, hazel-nuts. Very good are dairying products typical of the place. The tipical gastronomy are "maccheroni stirati a mano" and seasoned with sauce of pork, mutton and goat's meat. More important is the production of sweet whith almond, hazelnut and the typical biscuit of the Easter. The most interesting monuments are the Mother Church , today known as the Basilica Minore and the Church of S. Caterina. Built in Middle Ages, the Church Mother, was refounded and enlarged in 1654 by adding two side aisles and the splendid bell tower. The Church dedicated to San Nicola, the Saint Patron of the town, had a precious statue, built by Gagini in 1587. Neighbouring to castle there is the Church of Santa Caterina. It has a wonderful portal in romantic style. In the interior there is a statue of the Sant made in marble with a bas-relief base. Interesting to see are also some beautiful baroque portals: the Portale di casa Messina-Ballarino, built by Irardi da Napoli in the seventeenth century and the Portale di casa Mastropaolo, built in the eighteenth century by a stone-cutter born in Montalbano Elicona and named Bongiovanni and also the fountain of Gattuso.
Montalbano Elicona è un comune italiano di 2.485 abitanti della provincia di Messina in Sicilia.È caratterizzato dalla presenza, nella parte antica dell'abitato, di un antico Castello che fu residenza estiva di re Federico II di Aragona.La prima parte del nome è un composto di mons (monte) e albanus, da albus, bianco. In specifico, si riferisce all'antico nome del monte su cui fu realizzato un castello per volere di Federico II d'Aragona.Gli studiosi non sono concordi sulle origini del paese e del suo nome. Alcuni fanno risalire tale origine dai nomi latini mons albus con riferimento ai monti innevati, altri al nome arabo al bana, dal suggestivo significato di "luogo eccellente". L'appellativo Elicona risale senz'altro alla colonizzazione greca. Durante il periodo della colonizzazione (VII-VIII secolo a.C.), i Dori, pensando al mitico monte delle Muse, chiamarono Helikon un sito, coincidente con l'altura su cui sorge il borgo medievale ed un torrente vicino il cui andamento tortuoso giustifica l'appellativo.
Le prime testimonianze sull'esistenza del borgo risalgono all'XI secolo, quando risultava possesso demaniale. Nel 1232 si rivoltò contro Federico II di Svevia, parteggiando per il Papa insieme ad altri centri. Successivamente appartenne a diversi feudatari: ai Lancia nel 1396, ai Romano Colonna, ai Bonanno nel 1587.Montalbano Elicona è stato inserito nell'elenco dei 90 borghi medievali più belli d'Italia, cioè nel club de I borghi più belli d'Italia, un'esclusiva associazione di piccoli centri italiani che si distinguono per grande interesse artistico, culturale e storico, per l'armonia del tessuto urbano, vivibilità e servizi ai cittadini. Tra le chiese di interesse artistico certamente è da sottolineare la Basilica di Maria Assunta in cielo (Duomo) con le sue opere d'arte, in particolare quelle del Gagini.
By Catedrales e Iglesias
© Álbum 2280
By Catedrales e Iglesias
Diócesis de Antequera Oaxaca
Sitio Oficial de la Diócesis de Antequera Oaxaca
Iglesia de Las Nieves (Ntra. Sra. de las Nieves)
P. Salvador Carlos Wotto
Pino Suárez No. 109
Colonia Centro
C.P.68000
Oaxaca, Oax.
Tel.01-951-514-49 60
Nuestra Señora de las Nieves
Descripción
El origen del templo fue la capilla doméstica del Colegio Seminario de San Juan, fundado por la Compañía de Jesús en 1579. En 1596, el colegio fue clausurado, no así la capilla que siguió evolucionando en los siglos subsecuentes.
La construcción de la capilla inició en 1581 y fue bendecida en 1585 bajo la advocación de Santa María Mayor, conocida mejor como Nuestra Señora del Pópolo. Después de la clausura del colegio de San Juan, la capilla fue sustituida por un nuevo templo que retomó la advocación. Sin embargo, con el tiempo cambió a la advocación actual de Nuestra Señora de las Nieves. En una casa anexa al templo se estableció provisionalmente un internado jesuita, mientras se disponía de un lugar más amplio. Los temblores de 1696 y 1721 ocasionaron serios daños al templo. Fue hasta el 25 de diciembre de 1765 cuando el obispo Miguel Anselmo Alvarez de Abreu mandó a demolerlo y reedificarlo. Las obras iniciaron en 1770 y fue bendecido el 5 de agosto de 1772, día de Nuestra Señora de las Nieves. El proceso de reconstrucción coincidió con la expulsión de los jesuitas de la Nueva España, hecho que ocurrió a mediados de 1767. Los temblores ocurridos en el siglo XIX y principios del presente causaron algunos daños, sin llegar a afectar la estructura principal. El 9 de enero de 1984 fue declarado monumento histórico.
La fachada principal está integrada por una portada y dos torres con campanario. La portada, de dos cuerpos y remate, tiene elementos con características del renacimiento y del barroco. El primer cuerpo presenta la entrada al templo, compuesta con arco de medio punto y jambas molduradas; un monograma de la Virgen María adorna la clave del arco. A los lados del acceso hay columnas de fuste estriado y capitel corintio; sobre éstas un entablamento detallado con recuadros. El segundo cuerpo tiene la ventana coral, octagonal y abocinada, flanqueada por columnas de fuste tritóstilo.
Sobre la ventana está un marco moldurado que contiene un escudo labrado. Arriba del marco existe un nicho, con la imagen de Nuestra Señora de las Nieves, enmarcado por pilastrillas de capitel corintio y un entablamento. El remate es un cornisamento curvo y roleado, donde está un emblema papal y una cruz de cantera.
Las torres son lisas. Los campanarios, de un solo cuerpo, tienen vanos de medio punto, pilastras lisas, cornisamentos y cupulín con linternilla.
La portada lateral más pequeña tiene características semejantes a la principal; está compuesta por vano de acceso con arco de medio punto y jambas molduradas; a los lados, columnas de fuste estriado y capitel jónico, y arriba un entablamento. Sobre este último un nicho enmarcado por columnas y entablamento.
El interior tiene planta arquitectónica de cruz latina. Cuenta además con dos capillas laterales, abiertas en el muro sur de la nave, dedicadas a San Antonio de Padua y a la Virgen del Perpetuo Socorro. Las cubiertas, en general, son de bóvedas vaídas, de cañón corrido y cúpulas sobre tambor y pechinas.
El motivo esencial del interior son los retablos barrocos, en su variante salomónico y estípite, propio del siglo XVIII. Están ubicados en los transeptos y en las capillas laterales, terminados en madera tallada y chapeada. La composición de los retablos incluye, además de columnas salomónicas y estípites, cornisamentos, nichos, marcos y abundantes relieves vegetales. El retablo del transepto o brazo derecho está dedicado a Nuestra Señora de las Nieves, cuya escultura, al centro, está rodeada por seis pinturas al óleo que escenifican la Pasión de Cristo. El del transepto izquierdo, dedicado al Divino Rostro, aloja ocho pinturas al óleo.
Los retablos de las capillas están dedicados a San Antonio de Padua y a la Virgen del Perpetuo Socorro. El primero aloja catorce pinturas al óleo.
La capilla anexa al templo fue construida entre 1915 y 1920.
Localización
Se encuentra a 6 cuadras al Noreste de la plaza central (Zócalo) de la ciudad capital, en la esquina que forman la Av. Morelos y Pino Suárez.
INFORMACION TOMADA DE
oaxaca-travel.com/guide/index.php?&lang=es
Budapest Jewish Quarter.
Kazinczy-Wesselényi Street corner.
Both buidings were built in 1908.
On the left: architext: Bíró Gyula
Schiffer House on the right, architects: Jenő Schwarz and Antal Horváth, 1908. Art Nouveau.
Baloldalt: Bíró Gyula terve alapján éplt szecessziós lakóház.
Jobboldalt: Schiffer-ház (Schwarz Jenő és Horváth Antal, szecessziós, 1908).
Basilica San Marco , Florence day 3 of our Cosmos tour, October 2, 2012.
San Marco is the name of a religious complex in Florence, Italy. It comprises a church and a convent. The convent, which is now a museum, has three claims to fame: during the 15th century it was home to two famous Dominicans, the painter Fra Angelico and the preacher, Girolamo Savonarola. Also housed at the convent is a famous collection of manuscripts in a library built by Michelozzo.
The present convent occupies the site where a Vallombrosan monastery existed in the 12th century, which later passed to Benedictine monks of the Silvestrine line. In 1435 the Benedictines were replaced by Dominicans from the Convent of San Domenico in Fiesole. Two years later, they appealed to Cosimo de' Medici the Elder, who lived nearby in the family palace, now known as the Palazzo Medici-Riccardi, to fund the renovation of the entire complex. The works were entrusted to Michelozzo. Each cell of the monks cloister and many other walls were decorated by Fra Angelico in collaboration with others, including Benozzo Gozzoli. Cosimo de' Medici had a cell at the convent for his personal retreat.
San Marco is famous as the seat of Girolamo Savonarola's discourses during his short spiritual rule in Florence in the late 15th century.
For More Info: en.wikipedia.org/wiki/San_Marco,_Florence
Detail of ancient ruins carved in the rock at Little Petra, an archaeological site near the bigger site of Petra, Jordan.
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Petra, Jordan
A small dam used to control the flow of rain water near the entrance to the ancient city of Petra.
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A runner passes by the new restroom facilities in Meridian Hill Park, with the Josephine Butler Parks Center (1927, George Oakley Totten, Jr.) in the background, at 2437 15th Street NW, Washington, DC.
Contiguo al Palacio Subercaseaux y frente al Teatro Municipal se encontraba el lujoso cine Ducal, donde ahora hay un local del Banco de Chile
Montblanc (Catalan pronunciation: [mumˈbɫaŋ]) s the capital of the Catalan comarca Conca de Barberà, in the Spanish province of Tarragona.
The Prades Mountains are located in the vicinity of this municipality.
The area around Montblanc has been inhabited for thousands of years. Evidence of cave dwellings have been found dating back to Palaeolithic times.
From the 4th to the 1st century BC Iberian villages existed on Santa Bàrbara hill. These villages coexisted with the early Roman settlers. Evidence of Roman artifacts have been found which date from between the 2nd century BC to the 2nd century AD.
After the invasion by the Moors in 711 AD, much of the area became dominated by a patchwork of Islamic fiefdoms. The Islamic invasion initiated a long period of very successful agricultural and commercial development. This was responsible for the birth of many towns and villages in the region which still retain their Islamic names.
The 10th and 11th centuries seem to have been a period of relatively peaceful coexistence in which Muslims, Christians and Jews lived in the region of Montblanc. This productive period continued until an allegiance of forces, strongly supported by the Roman Catholic Church, initiated an era of expulsions, which forced the Moors, the Jews and many of the interbred mixed race peoples to leave the Iberian peninsula.
Winchester Cathedral is one of our most rewarding churches, a treasure house of art and history that is also a textbook in stone of architectural styles, from the Romanesque period to the last flowering of Gothic. It also epitomises the English preference for length over height, being the longest medieval church in Europe.
The earliest parts of the present building are 12th century Romanesque, begun in 1079 to replace the smaller Saxon cathedral (whose foundations can be traced in the churchyard) and comprise the unusually squat central tower and both transepts. The Norman crypt also survives under the choir, but suffers frequently from flooding.
The Norman nave also partially survives, but is totally unrecognisble since the late 14th century remodelling of the western limb, which now appears entirely of that date. This Gothic makeover was an immense success internally, beautifully proportioned with a magnificent sweeping vault studded with foliate bosses.
By comparison the choir is much shorter, and is the result of seperate 14th and 15th century rebuildings. It too has delicate vaulting with bosses, though here all is of wood. The dominant feature by far is the towering altar screen reredos dating from 1455-75. It's original statues were destroyed at the Reformation and are now replaced with Victorian figures; fragments of some of the original 15th century figures survive in the cathedral museum and show them to have been of very high quality indeed, a grevious loss.
Behind the great altar screen in the retrochoir stood the shrine of St Swithin, lost at the Reformation but today marked by a more modest modern replacement. This part of the building with it's chapels dates mainly from the 13th century, with the main Lady chapel remodelled in the 15th century (still possessing a sequence of early 16th century murals, hidden today under modern reproductions).
The cathedral is packed with items of interest, from the superb and amazingly preserved choir stalls of c1308 to a sequence of magnificent chantry chapels, mostly ornate late medieval creations and the largest collection in any English cathedral, the Wykeham, Beaufort , Fox and Waynflete chantries being among the finest examples of the English Perpendicular style. The Gardiner chantry is also of interest as the very last, showing a transition from Gothic to Renaissance forms.
Earlier works of art in the cathedral include the 12th century black marble font, carved with scenes from the life of St Nicholas, and some superb late 12th/early 13th century murals in the chapel of the Holy Sepulchre and the vault of the Guardian Angels chapel. Most famous of all is the exquisite Winchester Bible, one of the finest of 12th century illuminated manuscripts, on show in the cathedral library. Visitors to the library can also access the museum in the south transept gallery which contains many superb fragments of medieval sculpture.
Most of the stained glass is Victorian, the medieval glass having been mostly destroyed during the Civil War. The huge west window still shows the patchwork of fragments installed at this time, and other pieces from the 14th and 15th centuries can be found scattered throughout the building. More substantial work however survives in several of the higher choir windows but is very hard to see; the east window is still largely filled with the fine early 16th century glass installed by Bishop Fox, somewhat restored but surprisingly complete (some figures not in situ, brought from other windows to fill gaps) and remains largely unappreciated because of it's inaccessibility.
More recent artworks include some beautiful glass made to designs by Edward Burne Jones by Morris & Co in the north transept chapel. More recent still are the striking series of nave banner paintings that are often hung from the nave pillars with rich batik designs on a theme of Creation and Redemption by the late Thetis Blacker.
The former monastic buildings have mostly disappeared, the site of the cloister is still apparent on the south side (where modern buttresses were built as part of the campaign to secure the cathedral's failing foundations in the 1900s) and a nearby group of Norman arches are all that remain of the chapter house. the cathedral is still fortunate though in being seperated from the city by the relative peace of the Cathedral Close.
Casino de Madrid (España), en el nº 15 de la Calle de Alcalá. Proyectado en 1905 por L. y P. Fargé y José López Sallaberry, y construido de 1905 a 1910.
Casino de Madrid (Spain), at 15 Calle de Alcalá (street). Projected in 1905 by L. and P. Fargé and José López Sallaberry, and built from 1905 to 1910.