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The interior of Fulda Cathedral reveals the grandeur of Baroque architecture in light and shadow.
From the rows of carved wooden pews, the eye is drawn forward to the richly decorated altar and pulpit, framed by white arches and sculpted details. Frescoes and statues highlight the interplay of faith and artistry, while soft daylight from above bathes the space in a serene atmosphere.
A moment of stillness inside one of Germany’s most significant Baroque churches.
Chiesa del Gesù
built 1590 to 1636 by the Jesuits, vaults restored after World War II
Palermo, Italy
IMG_2421
Looking over St Mark's Basin towards St Mark's Square from San Giorgio Maggiore.
The Palazzo Ducale (Doge’s Palace) is the most beautiful building in Venice, befitting its status as the centuries-long home of the Doges, rulers of the Venetian Republic.
The political and judicial hub of the empire, it was both the residence of the Doge – the head of state of the Republic – and where the offices of state were located, all the matters of empire being tended to within its walls.
The building in its present state dates back to 1340AD, when a grand hall for the Great Council was built, with the Veneto-Gothic façade surviving fires over the following centuries. The faced runs from the adjoining Basilica di San Marco, along the Piazetta and to the waterfront on St Mark’s Basin.
The building is still home to various offices of city government, but is mainly a grand tourist attraction, with visitors queuing from the early hours of the morning to take a wondrous tour through many of the state rooms and take a glimpse at the amazing treasures within.
The campanile (bell tower) is the tallest structure in Venice, topping out at 99m high and offering grand views of the entire city – though, bizarrely, not a single canal.
The 10th century original, which was both a bell tower and a lighthouse, was modified over subsequent centuries, with Bartolomeo Bon carrying out extensive work between 1511 and 1514, when the spire and gilded angel were added.
The structure was not particularly sound, however, and it collapsed entirely on July 14, 1902, the area having been cleared of people and the only victim being the custodian’s cat. It was rebuilt brick for brick a decade later and is now a popular attraction for the many thousands of tourists who swarm to St Mark’s Square every day.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
Castle chamber of Maréchal de Villars, not as decorated like the other rooms along the longitudinal corridor on the first floor that leads to several rooms. Fouquet's apartment, courtyard side, and his wife's garden side, twelve meters thick, with an antechamber, a bedroom (main room of an apartment where the relatives have free access, it is the place of sociability where they sleep, receive guests, take meals and study.
Currently, Ms. Fouquet's room is divided into two rooms, a Louis XV cabinet and a Louis XV bedroom. The right part of the first floor is only briefly worked on.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #architecture #castle #monument #room - #VLV #Maincy #FR
The church of Santa Maria della Salute rises high over the Grand Canal in Venice, seen from the top of the Campanile in St Mark's Square.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
The Grand Canal (Il Canal Grande or the Canalazzo) is the main waterway in Venice, dividing the city in two and crossed by only four bridges in its entire near-four kilometre length.
It is much wider than any of the other canals in Venice – between 30m and 70m across – but less than 5m deep and is lined with a number of palaces and churches.
The number one and number two vaporetto services take both locals and (mainly) tourists along its length, allowing them the chance to admire the sights from the water.
Kaplica Hochberga - Hochberg Chapel - Hochbergkapelle
Part of Church of saint Vincent , Greek Catholic cathedral.
Location: pl. Nankiera 15, Old Town, Wrocław, Poland
Built: 1723-1728
Architect: Christoph Hackner
Renovation: 2000-2013
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Baroque Painted Hall, part of Greenwich Hospital (London, UK).
Painted by Sir James Thornhill.
The Old Royal Naval College is the architectural centrepiece of Maritime Greenwich (London, UK).
Listed as UNESCO World Heritage Site.
The buildings were originally constructed to serve as the Royal Hospital for Seamen at Greenwich, now generally known as Greenwich Hospital, which was designed by Christopher Wren, and built between 1696 and 1712.
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Elder Street in Spitalfields was leased for building in 1722, and No. 15 was built in 1727. It was originally only one room deep but was given an extension with staircase during building. The house is built of dark-red brick with rubbed brick dressings. The wooden doorcase has panelled reveals, and fluted Doric pilasters as seen here (but described as plain in the 1950 listing document).
In 1701 Louis XIV moved his bedchamber into the drawing room lying east-west in the Palace, facing the rising sun. The three glazed doors into the Hall of Mirrors at the back were blocked off so as to form an alcove for the bed, with a carved and gilded wood balustrade separating the alcove from the rest of the chamber and over the bed a stucco allegory of France watching over the King in his slumber by Nicolas Coustou. It was in this chamber, become the visible sanctuary of the monarchy, that Louis XIV lunched en petit couvert (in relative privacy) and the ceremonies of the King’s rising and retiring took place every day. It was likewise in this chamber that Louis XIV died on 1 September 1715 after reigning for 72 years.
The chamber’s opulent decor of gold and silver brocade on a crimson ground forms a backdrop to paintings chosen by Louis XIV: The Four Evangelists and Paying Caesar’s Taxes by Le Valentin and Giovanni Lanfranco on the upper walls, Saint John the Baptist by Giovanni Battista Caracciolo above the door, Mary Magdalene by Le Dominiquin and two portraits of Antoon Van Dyck. On the two mantelpieces installed during the reign of Louis XV stand a bust of Louis XIV by Antoine Coysevox and a barometer clock and four candelabra that belonged to the Comte de Provence, Louis XVI’s brother.
[Versailles website]
The Palace of Versailles was created at the instruction of Louis XIV, and was the centre of French government and power from 1682, when Louis XIV moved from Paris, until Louis XVI and the royal family was forced to return to the capital in 1789.
The chateau is built around a hunting lodge established by by Louis XIII, and was created in four phases: 1664–68, 1669–72, 1678–84 and 1699–1710, by the architects Le Vau, Le Nôtre, and Le Brun.
No. 14 Wilkes Street (known as Wood Street up to the late nineteenth century) was part of the Wood-Michell Estate, developed by Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple between 1718 and 1728. No 14 (then 8 Wood Street) was built by James Pitman, citizen and carpenter of London, under a lease granted by Wood and Mitchell in March 1723/24 (O.S.) This house formed part of a development of four together with 16 Wilkes Street (then 9 Wood Street), and 18, 20, and 22 Hanbury Street (then nos 10 Wood Street and 8 Brown's Lane). In September 1725 Pitman assigned the lease and houses to a mercer for £1,540. In 1750 and 1773 No 14 Wilkes Street was occupied by John Freemount and Company, weavers, a reflection of the popularity of Spitalfields for the silk industry in the eighteenth century. However, these were not strictly-speaking "weavers' houses" as such, since the occupants were generally wealthy merchants and silk masters. The glazed weavers' garrets found in these houses today were added later when the area declined. No. 14 was substantially refaced in the nineteenth century (while retaining the fenestration pattern), when the terracotta bands between storeys were inserted, but its interior survives. It is two rooms deep with a hall to the south side. The sash windows are six over six and largely modern replacements.
14, Fournier Street, London (first known as Church Street), was built under a lease of 1726. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. On 26 July 1726 the lease for No. 14 was granted by Wood and Michell to William Tayler, joiner, witnessed by Samuel Worrall. The lease required Tayler to ’pave before the same in Church Street with broad paving stones or Common Square ragg stones four foot wide or more and from thence to the middle of the street where the Kennel is to runn with common paving stones’. He was to ’enclose a footway of four foot wide or more before the front… with posts proper for the purpose’. Tayler was also the first occupant. By 1743 Judith Signeratt was resident. No. 14 is constructed of varied stock brick with red brick dressings. It is four windows wide, with one window flanking the door to the east and two the west. It has three storeys with a basement and attic. The sash windows, with exposed flush frames, have segmental arches of rubbed red brick with triple keystones below moulded brick bands. The wooden doorcase has eight panels (probably reduced to insert the fanlight) and panelled reveals. It has Ionic three-quarter columns which are fluted and carry a curved hood with coffering.
31, Fournier Street, London, is an early eighteenth-century house of 1725. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. No. 31 was built in 1725 by Samuel Worrall, a carpenter, under a ninety-eight-year lease granted by Wood and Michell to him on the same day as the lease of No. 27 (14 December 1725). The lease of No. 31 was witnessed by Marmaduke Smith and William Taylor, both carpenters. The house is constructed of brown brick with red brick dressings. It is three windows wide, and has three storeys with basement and attic. The sash windows are in flush frames and have segmental arches of rubbed red brick with stone keystones. The wooden doorcase has fluted pilasters and an architrave swept up at the centre to a dentilled cornice.
St George, Bloomsbury, was designed by Nicholas Hawksmoor and built between 1716 and 1731. It was created following the Fifty New Churches Act of 1711 for the parishoners of St-Giles-in-the Fields, London. In the interior, coupled columns project from the side walls and the architrave runs above a segmental arch over an apse for the altar at the east end. The moulded ceiling of the apse, visible at far right, is decorated with pelicans and scallop shells flanked by mitres, croziers and winged cherubs, the work of Isaac Mansfield (also responsible for the plasterwork in the Long Library at Blenheim), who was recorded at St George's on 24 September 1724. Between 25 March 1725 and 31 December 1726 the plasterer - presumably Mansfield - was paid for the ‘Ceiling of…Church…portico…Ovolo Enriched with Egg…Anchor…Roses between...Modilions’, ‘Foliage with mitres, Cherubs Head…Ceiling of…Altar with…Enriched ovolo’ £16 12s. 6d., ‘Glory…Dove 6 Ft by 3 F: 6 Inch Embost’ £3 13s. 6d., ‘Shell over...Nich 5 : 4 In Diameter’ £3, ‘Middle Flower 5 Foot Diamt. £4', see Terry Friedman, 'The Eighteenth-Century Church in Britain', New Haven and London, 2011, documents on CD-rom, pp. 592-593
Salamanca, Spain
the cloister of the former Jesuit Real Colegio del Espíritu Santo de la Compañía de Jesús. The Jesuit college was sponsored by Queen Margarita de Austria of Spain and her husband King Felipe III; they even planned to be buried in the church. The cloister's architect was Andrés García de Quiñones and it is dated to 1730.
Since 1940, this complex has housed the Universidad Pontificia de Salamanca.
Accessible by a brief and well conducted tour.
DSCN8433
Great Ormond Street was developed by Nicholas Barbon from 1686 onwards, and continued after his death by Sir William Millman. The houses at the east end of the street date from 1710-15. No. 5 was built by John Cooper and Edward Chapman. It is of brown brick with red brick dressings, and has four storeys with a basement. The windows have gauged brick flat arches and later recessed sash windows with exposed boxing. There are brick bands at first- and second-floor levels, and a stone cornice at third-floor level. The wooden doorcase has fluted pilasters and an entablature. The door is panelled and has a rectangular radial overlight.
43, King Street, Westminster, was built for Admiral Russell, 1st earl of Orford, in 1716-17, probably to designs by Thomas Archer. The admiral's social connections may have helped him break the uniformity of Inigo Jones's Covent Garden piazza which the house overlooks. The house is of brick with stone dressings, the painted stucco being added at a later date. It has three storeys with an attic and basement. The facade has four giant Composite fluted pillasters on rusticated piers at ground-floor level. The centre is three windows wide, with narrower flanking bays containing two windows (2:3:2). The entablature comes forward above capitals with dosserets (blocks of stone placed above the capitals). The attic storey has a cornice, and its central section was raised in the nineteenth century, probably in 1871, when two iron vases were placed at either end. This replaced a parapet that was ramped up to a central window. The ground floor has a reinstated central three-bay porch in antis with columns on pedestals (not seen here, these date from a restoration of 1977 by Fitzroy Robinson Partnership). The windows in the outer bays have segmental arches with keystones. Those at the centre have elliptical arches and impost strings at first and second-floor levels, but originally they were divided by sunken strips. The original staircase in the double-height hall was removed around 1932 and re-erected at South Walsham Hall, Norfolk.
Formerly known as Maalat (derived from the salty waters near it), the first Malate Church was built by the Augustinians in 1588. However, it was later destroyed in 1667 by the orders of Governor-General Sabiniano Manrique de Lara over fears of an attack by the Chinese pirate Li Ma Hong. The structure was rebuilt in 1677-79 by Fr. Dionisio Suarez. The church underwent various renovations from catastrophes that swept the area number of times. The first structure built in 1591 was heavily damaged by the 1645 earthquake. The second structure, which was made of brick stone, was put up in 1680 and was used by the British forces as a form of refuge and base when they ruled Manila for 18 months. In 1868, the brick church was destroyed by another earthquake and a subsequent typhoon. The church that remains standing today was constructed in 1864 under the supervision of Rev. Francisco Cuadrado. It was razed by a fire during World War II but was restored by the Columbans in the 1950s.
French Baroque castle (Est.1658) garden front facade, almost the whole day facing the sun overlooking the park and gardens.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #castle #architecture #monument - #VLV #Maincy #FR
7, Fournier Street, London, an early eighteenth-century house of around 1722, but altered in the nineteenth century. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. No. 7 is built of yellow brick. It is two windows wide, and has three storeys with basement and attic. The 1973 listing document describes shop fronts at ground floor which have now gone so most of what is seen here is reconstruction.
Visit to the Austrian National Library on Wednesday May 21st, 2025 during the Joint Meeting Vienna. We went as a group before our gala dinner. The library in German is Österreichische Nationalbibliothek and is located at Josefsplatz 1, 1015 Wien. This is truly one of the most stunning libraries I have ever visited. The public area is the State Hall, built in the Baroque style in the 18th century by Emperor Charles the VI whose statue sits in the middle of the space.
27, Fournier Street, London, was built for Peter Bourdon, an eminent silk-weaver, in 1725. His initials are on a rainwater-head on the front of the building. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. The lease was granted by Wood and Michell on 14 December 1725 when the house was said to have been lately built by Bourdon. The witness was William Tayler of Spitalfields, carpenter. Bourdon was recorded as occupant of the house in 1743 and 1750. He was included in a list of Eminent Merchants and Traders in London in 1744, and in the following year he undertook to raise a body of twenty-six workmen to resist the Young Pretender. In 1759 the house was occupied by Obadiah Agace, a weaver of silk mixed with worsted. No. 27 is constructed of yellow brick with red brick dressings. It is five windows wide, and has three storeys with basement and attic. The sash windows at first and second floors are in flush frames and have segmental arches of rubbed red brick with stone keystones. The windows at ground-floor level are recessed. The wooden doorcase has carved brackets, a panelled soffit to the hood and curved and fluted Doric pilasters thart are much broader than the brackets they support. From 1829 to 1946 this house was used as the London Dispensary.
Visit to the Austrian National Library on Wednesday May 21st, 2025 during the Joint Meeting Vienna. We went as a group before our gala dinner. The library in German is Österreichische Nationalbibliothek and is located at Josefsplatz 1, 1015 Wien. This is truly one of the most stunning libraries I have ever visited. The public area is the State Hall, built in the Baroque style in the 18th century by Emperor Charles the VI whose statue sits in the middle of the space.
Detail of the Venetian window of the so-called Gun Room at Wentworth Castle, Yorkshire,after recent restoration. Wentworth Castle was built by Thomas Wentworth, 3rd Lord Raby, who after 1711 became 1st earl of Strafford (of the second creation). Raby purchased Stainborough Park in 1708 which he renamed Wentworth Castle in 1731. The estate was chosen because it was only six miles away from Wentworth Woodehouse which Raby considered he should have inherited instead of Thomas Watson. The enlargement and renaming of Stainborough was therefore done in a spirit of bitter rivalry and as a bid for the extinct earldom of Strafford (which Raby eventually obtained). The house was enlarged with a new east range designed by Johann de Bodt between 1710 and 1720, although his plans were modified by James Gibbs and William Thornton, the Yorkshire carpenter and builder. The Gun Room was originally either a banqueting house or bath-house. It is constructed of red brick with ashlar dressings. The Venetian window has paired side lights, the outer ones being blind. The frieze is decorated with triglyphs and bucrania.
25, Fournier Street, London, was built in or shortly before 1725. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. The lease - which described the house as new built - was granted by Wood and Michell on 30 March 1725 to Henry Conyers, citizen and bricklayer, and witnessed by William Goswell of Norton Folgate, a carpenter. The house - whose early history was closely linked to No. 23 - was mortgaged to William Taylor (who in 1747 lived in Remenham, Berkshire), and who in turn assigned both leases to Simon Michell. No. 25 is single-fronted and two rooms deep. It is constructed of multi-coloured brick, partly rebuilt, with red brick dressings to the windows. It is three windows wide, and has three storeys with basement and a boarded attic, probably later convented as a weaving loft. The windows have sashes in flush frames. The segmental arches are of rubbed red brick.
No Photos are allowed in all this area's, as you can see the shutter went off!!!!
Neuschwanstein Castle (German: Schloss [formerly Schloß] Neuschwanstein, lit. New Swan Stone palace; pronounced [nɔɪˈʃvaːnʃtaɪ̯n]) is a 19th century Bavarian palace. Located on a mountain top in Germany, near Hohenschwangau and Füssen in southwest Bavaria, the palace was built by Ludwig II of Bavaria as a retreat and as a homage to Richard Wagner, the King's inspiring muse. Although photography of the interior is not permitted,[1] it is the most photographed building in Germany[2] and is one of Germany's most popular tourist destinations.
The palace has been open to the public since 1886. About 1.3 million people vist annually, with up to 6,000 per day in the summer.[3]
A full-frame vertical shot of a richly decorated Baroque altar or shrine within the Wallfahrtsbasilika St. Georg in Walldürn, Germany. The altar is constructed with dark and reddish-brown marble, adorned with elaborate gold leaf ornamentation. It features four prominent fluted columns supporting a curved, ornate canopy with a sunburst motif at its apex. Three white statues of religious figures, likely saints, stand on the altar base. The central figure holds a staff and a book, while the figures on either side also hold religious symbols. In front of the statues, there are small potted green plants and two white candles in gold candelabra. A small framed icon of the Madonna and Child is visible below the sunburst. The background shows the church's interior walls with subtle decorative patterns and a window on the right allowing natural light. In the foreground, a polished wooden floor with a herringbone pattern is visible, with a single potted plant on it.
'The sculptural design in the area of the podium praises the services of the emperors to the university. As patron of science and art, Leopold I is flanked in the middle by "diligence" (industria) and "prudence" (consilio), and "folly" and "discord" plunge into the depths. Statues of Joseph I, Leopold's successor as patron of the university, and Charles VI, who wanted to erect a monument to himself and his two Habsburg predecessors with this state hall, stand on the sides of the outer walls.'
Aula Leopoldina
main building at the University of Wroclaw
20240404_132059
Early eighteenth-century. For Joseph Allan, Master Shipwright of the Deptford Dockyard in 1705. Staircase of circa 1710. Three twisted balusters to each tread
20, Fournier Street, London (first known as Church Street), was built under a lease of 1726. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. On 26 July 1726 the lease for No. 20 was granted by Wood and Michell to Edward Grange, carpenter, witnessed by William Tayler, 'gentleman' and 'carpenter'. In 1766 the house was inhabited by Louis de la Chaumette, a minister of the French church. No. 20 is constructed of stock brick with red brick dressings. It is three windows wide, and has three storeys with a basement and a weatherboarded attic. The sash windows, with exposed flush frames, have segmental arches of rubbed red brick. The wooden doorcase has fluted pilasters and architrave swept up to a dentilled cornice.
detail of the primary stained glass window in Iglesia de San Francisco de Paula, built in 1664....rebuilt in 1730 after being destroyed by a hurricane. The annexed women's hospital of St Francis is long gone and the church has now been transformed to a classical music venue. A small orchestra was rehearsing below the stained glass window when I entered. Was invited to attend the concert that evening. And did *~*
Castle (Est.1658) with Herm figures fence. The fence artworks are by Mathieu Lespagnandelle (1616–1689), created between 1659 and 1661, some busts were not finished because of Nicolas Fouquet’s arrest. These busts have the particularity of having a double head in order to be seen from the exterior as well as inside the domain. Eight in total representing Hercule, Zéphyr, Vulcain, Apollon, Cérès, Mercury, Minerva and Flora.
These are just some of the many sculptures and statues at the estate created in the 17th century by famous sculptors.
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Vaux-le-Vicomte (Est.1658) - a baroque French château on a 33 hectares (100 acres) estate with formal gardens along a three-kilometer axis. Built between 1658 to 1661 as a symbol of power and influence and intended to reflect the grandeur of Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
The château was an influential work of architecture in mid-17th-century Europe. The architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on this large-scale project. This marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. Their next following project was to build Versailles.
See: en.wikipedia.org/wiki/Vaux-le-Vicomte
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About Pixels - #castle #architecture #monument #art - #VLV #Maincy #FR
Panel with trophies of arms from the staircase at Ham House. The core of the house was built by Thomas Vavasour, a naval captain, between 1608 and 1610. It had an H-plan and was of standard Jacobean type, built of brick with stone dressings, but was much altered in the later seventeenth century. In 1626 the house was acquired by William Murray, a courtier close to Charles I, who modernised it in 1637-39. The staircase and suite of first floor rooms leading from it date from this period (the Round Gallery, North Drawing Room, Long Gallery and Green Closet). The design and furnishing of these rooms was directed by Franz Cleyn, the Danish artist who worked for Charles I. The woodwork of the hall and staircase is decorated with panels containing trophies of arms, such as halbards, muskets and blunderbusses. The newel posts have baskets of fruit. The doorcases with broken pediments and busts are by the joiner, Thomas Carter. Murray supported the king during the Civil War and was created earl of Dysart in 1651 but died in 1655 before the Restoration. Following the death of Murray's wife, Katherine Bruce, in 1649, the house passed to their eldest daughter, Elizabeth Dysart, who had married Sir Lionel Tollemache in 1648. After his death in 1669 she married John Maitland, 2nd earl of Lauderdale, a member of Charles II's cabal, and Secretary of State for Scotland. Between 1672 and 1674 they employed the gentleman architect Sir William Samwell to add a new south front to Ham with matching suites of apartments for themselves on the ground floor and a state apartment for Catherine of Braganza on the floor above.
The Chapelle Royale (Royal Chapel) was the fifth and final chapel built for Louis XIV, and dedicated to St Louis, patron saint of the Bourbons.
The chapel was built during the fourth (and final) phase of construction.
Designed by architect Jules Hardouin-Mansart (1646-1708), construction on the chapel began in 1689, but work was delayed due to war between France and the Grand Alliance (a coalition between the Anglo-Dutch William III, Holy Roman Emperor Leopold I, Charles II of Spain, Victor Amadeus II of Savoy, and other princes); work resumed after France's victory, running from 1699–1710.
The ceiling of the nave is decorated with 'God the Father in His Glory Bringing to the World the Promise of Redemption' by Antoine Coypel; the half-dome of the apse with 'The Resurrection of Christ' by Charles de la Fosse; and above the royal tribune is 'The Descent of the Holy Ghost upon the Virgin and the Apostles' by Jean Jouvenet.
The Palace of Versailles was created at the instruction of Louis XIV, and was the centre of French government and power from 1682, when Louis XIV moved from Paris, until Louis XVI and the royal family was forced to return to the capital in 1789.
The chateau is built around a hunting lodge established by by Louis XIII, and was created in four phases: 1664–68, 1669–72, 1678–84 and 1699–1710, by the architects Le Vau, Le Nôtre, and Le Brun.
In 1701 Louis XIV moved his bedchamber into the drawing room lying east-west in the Palace, facing the rising sun. The three glazed doors into the Hall of Mirrors at the back were blocked off so as to form an alcove for the bed, with a carved and gilded wood balustrade separating the alcove from the rest of the chamber and over the bed a stucco allegory of France watching over the King in his slumber by Nicolas Coustou. It was in this chamber, become the visible sanctuary of the monarchy, that Louis XIV lunched en petit couvert (in relative privacy) and the ceremonies of the King’s rising and retiring took place every day. It was likewise in this chamber that Louis XIV died on 1 September 1715 after reigning for 72 years.
The chamber’s opulent decor of gold and silver brocade on a crimson ground forms a backdrop to paintings chosen by Louis XIV: The Four Evangelists and Paying Caesar’s Taxes by Le Valentin and Giovanni Lanfranco on the upper walls, Saint John the Baptist by Giovanni Battista Caracciolo above the door, Mary Magdalene by Le Dominiquin and two portraits of Antoon Van Dyck. On the two mantelpieces installed during the reign of Louis XV stand a bust of Louis XIV by Antoine Coysevox and a barometer clock and four candelabra that belonged to the Comte de Provence, Louis XVI’s brother.
[Versailles website]
The Palace of Versailles was created at the instruction of Louis XIV, and was the centre of French government and power from 1682, when Louis XIV moved from Paris, until Louis XVI and the royal family was forced to return to the capital in 1789.
The chateau is built around a hunting lodge established by by Louis XIII, and was created in four phases: 1664–68, 1669–72, 1678–84 and 1699–1710, by the architects Le Vau, Le Nôtre, and Le Brun.
Detail from a carved and gilded garland of fruit and flowers from the chimneypiece in the Queen's Antechamber at Ham House. The core of the house was built by Thomas Vavasour, a naval captain, between 1608 and 1610. In 1626 the house was acquired by William Murray, a courtier close to Charles I, who modernised it in 1637-39. Murray supported the king during the Civil War and was created earl of Dysart in 1651 but died in 1655 before the Restoration. Following the death of Murray's wife, Katherine Bruce, in 1649, the house passed to their eldest daughter, Elizabeth Dysart, who had married Sir Lionel Tollemache in 1648. After his death in 1669 she married John Maitland, 2nd earl of Lauderdale, a member of Charles II's cabal, and Secretary of State for Scotland. Between 1672 and 1674 they employed the gentleman architect Sir William Samwell to add a new south front to Ham with matching suites of apartments for themselves on the ground floor and a state apartment for Catherine of Braganza on the floor above. A detail from the chimneypiece in one of these rooms, the Queen's Antechamber, is seen here.