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Detail of a chimneypiece with a griffin from the Long Gallery at Wentworth Castle, Yorkshire. 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 Long Gallery by Gibbs extends the full length of the east front. The two matching chimneypieces have paired columns and a pediment with a griffin in the tympanum, shown here.
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.
Western District, Hong Kong
Leica M3 Summaron 35mm f/3.5 Goggles
Fomapan Profi Line Action 400
Epson V700
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.
Perspective view French Baroque castle (Est.1658) and forecourt platform surrounded by a medieval moat. The moat is the only remain of a defensive type of castle replaced by the new one.
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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
Malate Church (formally known as Our Lady of Remedies Parish Church) is a church in Manila, Philippines. It is a Baroque-style church fronted by Plaza Rajah Sulayman and, ultimately, Manila Bay. The church is dedicated to Nuestra Señora de los Remedios ("Our Lady of Remedies"), the patroness of childbirth. A revered statue of the Virgin Mary in her role as Our Lady of Remedies was brought from Spain in 1624 and stands at the altar. Malate used to be known as Maalat due to the saline waters of the bay; and as Laguio or Lagunoi, the name of the street which separated it from Ermita. it is located by Manila Bay, very close to the sea.
Pražská Loreta
Hradčany, Prague, Czechia
Giovanni Orsi, architect
begun 1626 after the victory over the Protestants at the battle of the White Mountain. Funded by the aristocrat Kateřina Benigna Lobkowicz.
The baroque facade was designed by the architects Christoph Dientzenhofer and Kilian Ignaz Dientzenhofer, and added at the beginning of the 18th century.
IMG_5133
Inside the church of Santa Maria della Salute in Venice.
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 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.
The frontispiece of the Board Room for Officers of the Ordnance Board at the Royal Arsenal, Woolwich. The building is attributed to Sir John Vanbrugh and Nicholas Hawksmoor. It is datable to 1718-20 and was extended around 1741. Constructed in red brick with stone windowsills and a slate hipped roof. The plan is one room deep. The front is symmetrical with a frontispiece that has heavy rusticated piers, or banded jambs, with narrow, deeply set windows, supporting a lintel with statues of a lion and a unicorn on pedestals, as seen here. On either side of the frontispiece are three bays of tall arched windows with circular ones above. There is a cornice and parapet. The interior is a large hall with a stone and slate floor leading to rooms at either end. The one to the left became the Royal Military Academy in 1741 and later the Model Room. The one to the right became a chapel and more recently an officer's mess.
Boston House, Chiswick Square, is of c.1680 but refronted around 1740. It is of brown brick with red dressings and five windows wide. There is a moulded cornice, parapet and a roof with three dormers. The windows have flat brick arches and the sashes are in flush frames. The wooden doorcase has Roman Doric fluted pilasters, capitals with recettes, and a pediment. The door has six panels and an architrave. The forecourt has iron railings and is laid with paving stones.
Detail of a carved wooden overmantel at Wentworth Castle, Yorkshire. 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.
Blenheim Palace is a country house situated in Woodstock, Oxfordshire, England. It's the only non-royal non-episcopal country house in England to hold the title of palace. The palace, one of England's largest houses, was built between 1705 and circa 1724. UNESCO recognised the palace as a World Heritage Site in 1987.
The pilgrimage church of Wies (German: Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann, who spent the last eleven years of his life in a nearby dwelling. It is located in the foothills of the Alps, the Steingaden municipality of the Weilheim-Schongau district, Bavaria, Germany.
In 1738 tears were seen on a dilapidated wooden figure of the Scourged Saviour. This miracle resulted in a pilgrimage rush to see the sculpture. In 1740 a small chapel was built to house the statue, but it was soon realized that the building would be too small for the number of pilgrims it attracted, and thus Steingaden Abbey decided to commission a separate shrine. Many people who have prayed in front of the statue of Jesus on the altar have claimed that people have been miraculously cured of their diseases, which has made this church even more of a pilgrimage site.
In contrast to the riotous interior, the exterior of the church does not display the ostentatious theatricality and striving for effect typical of that time.
In contrast to the riotous interior, the exterior of the church does not display the ostentatious theatricality and striving for effect typical of that time.
Construction took place between 1745 and 1754, and the interior was decorated in stuccowork in the tradition of the Wessobrunner School. "Everything was done throughout the church to make the supernatural visible. Sculpture and murals combined to unleash the divine in visible form"[1]. The church, commonly regarded as Zimmermann's final masterpiece, was secularized in the beginning of the 19th century. Subsequently, protests of local farmers saved this jewel of rococo architecture and design from being sold and demolished. The Wieskirche was added to the UNESCO World Heritage List in 1983 and underwent massive restoration in 1985-91.
Entrance door to the Board Room for Officers of the Ordnance Board at the Royal Arsenal, Woolwich. The building is attributed to Sir John Vanbrugh and Nicholas Hawksmoor. It is datable to 1718-20 and was extended around 1741. Constructed in red brick with stone windowsills and a slate hipped roof. The plan is one room deep. The front is symmetrical with a frontispiece that has heavy rusticated piers, or banded jambs, with narrow, deeply set windows, as seen here, supporting a lintel with statues of a lion and a unicorn on pedestals. The interior is a large hall with a stone and slate floor leading to rooms at either end. The one to the left became the Royal Military Academy in 1741 and later the Model Room. The one to the right became a chapel and more recently an officer's mess.
The Festungsbahn is a cable railway providing access to Hohensalzburg Fortress in Altstadt the historic centre of Salzburg, Austria.
It opened in 1892 as a water balance funicular operated by the Salzburger Eisenbahn- und Tramwaygesellschaft. Previously used as barracks, the line made the fortress available to a broader range of visitors.
The line was rebuilt with new cars and an electric drive in 1960, whilst the lower and upper stations were rebuilt in 1975 and 1976. In 1991 the line was again modernised, with the provision of new cars with an increased passenger capacity and a faster line speed.
In 2011 at a cost of €4 million two new vehicles were provided and the electrical equipment replaced and new panoramic windows offer a better view of the city.
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Piers with pyramids of cannon balls from the entrance to Dial Square at the Royal Arsenal, Woolwich, a former gun boring factory and smithery, dating from 1717-20. The name comes from a later sundial on its front. The building is attributed to Sir John Vanbrugh or Andrew Jelfe (the Clerk of the Works for the Ordnance from 1719). Dial Square, together with the Royal Brass Foundry and the Board Room, formed a core expansion of the site in the early eighteenth to allow the casting of guns. Dial Square originally fronted a double courtyard: Grand Square was for the smitheries and Basin Square, to the rear, accommodated the armouers' shops. Only the entrance range survives. Built of red brick with rubbed brick headers, it is one storey high and has a hipped slate roof. The main entrance is placed symmetrically on the front and has piers with square batters (inward inclinations of a wall face) and moulded caps, supporting pyramids of cannon balls (as seen here), flanking an arch. The later sundial is dated 1764.
Early eighteenth century. Built by Thomas Lucas between 1705 and 1717. Staircase with closed string and twist baluster.
Igreja dos Carmelitas, built 1616-1650
Igreja do Carmo, built 1756-1768. José Figueiredo Seixas, architect.
Praça de Carlos Alberto, Rua do Carmo, Largo do Carmo, Porto, Portugal
DSC00996
The towers stood there like an old song carved in stone, quietly watching the sky drift by. I found myself slowing down beneath them—not because of the clock, but because something about their calm strength
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.
19, Elder Street, London, was built as a pair to No. 21 Elder Street under a lease of 28 June 1727 from William Tillard to Jonathan Beaumont, citizen and mason. (Beaumont had also received the lease for the houses on the eastern corner of Folgate Street and Spital Square). He covenanted to build two houses which were erected by July 1730. By March 1735/6 they had been assigned to a Whitechapel printer who also received an assignment of Nos. 32–36 Elder Street in March 1736. No. 19 is built of plumb-coloured stock brick. It has three storeys with an attic and basement. The windows have segmental arches with fluted keystones and stone sills. The sashes are in exposed flush frames. The door has a simple stucco surround with a round-headed arch, flat cornice and architrave which must date from the nineteenth century.
5, Elder Street, London, was built under a lease granted in July 1725 by Sir Isaac Tillard to Thomas Bunce. Bunce made two mortgage assignments of this lease to a Spitalfields weaver in February 1725/6 for £250 and in February 1727/8 for £337 10s. The house (and No. 7, adjacent, to which it forms a pair) had been built by March 1726/7. It is of three storeys with a basement and an attic. It is built of brown stock brick with red brick dressings on the first two storeys. These have double-hung sashes in exposed flush frames. The top storey of No. 5 has a wide segmental-arched weavers' window alongside a rectangular blind window.
Boston House, Chiswick Square, is of c.1680 but refronted around 1740. It is of brown brick with red dressings. The windows have flat brick arches and the sashes are in flush frames. The wooden doorcase has Roman Doric fluted pilasters, capitals with recettes, and a pediment (the Listing document of 1951 mentions a hood carried on brackets). The door has six panels.
Houghton Hall, Norfolk, was built between 1722 and 1735 (see inscription above south front doorway) for Sir Robert Walpole, later 1st earl of Orford (1717-1742). The design (originating in 1720-21) is by Thomas Ripley, and it was immediately modified by James Gibbs, who was active at the house around 1723, followed by Colen Campbell. The interiors are by William Kent. The exterior is of Whitby stone ashlar. The angle towers (one of which is seen here) have rusticated basements and a platband at first floor level. Walpole chose domes for them as proposed by Gibbs in preference to the pedimented towers suggested by Campbell.
Restoration House, Crow Lane, Rochester, is largely from the late sixteenth-century and the mid-seventeenth century. The house was conveyed to Henry Clerke, Recorder of Rochester, in 1607. The current name derives from Charles II's visit in 1660. It is of red and brown brick in English bond, with a Kent tile roof. Two storeys with attics. The core is two separate buildings of 1454 and 1502-22 to the north and south of the site. The south wing contains a great deal of late sixteenth and early seventeenth century work, and fits a traditional dating to 1587. The north and south buildings were linked during another phase of building between 1600 and 1640, and further internal work was undertaken by Henry Clerke's son, Sir Francis, betwen 1660 and 1680.
The south wing (seen here) has shaped gables at front and rear. There are moulded string courses at first and attic levels. Irregular fenestration. The windows at first-floor and attic levels are casements with mullions and transoms. The ground-floor windows have sashes with eighteen panes (nine on nine) and shutters.
29, Albury Street, Deptford, was built by Thomas Lucas between 1705 and 1717 but, internally, is substantially a modern reconstruction. It is of two storeys, with an attic and sunk basement. Stock brick with red brick dressings. The parapet conceals a tiled roof with dormers. There are tall, rectangular chimney stacks. The doorcase has panelled pilasters with a pulvinated frieze, and the hood is carried on carved brackets. The brackets have the faces of cherubs and are modern replacements by Charles Oldham, who carved a number in Albury Streeet for Martin Gloyne and Chris Fernside of Greenwich University. This followed the loss of some brackets and the reinstallation of others (after removal by the G.L.C). The door has ten fielded panels.
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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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. 3 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 sash windows in flush frames with exposed boxing. The cast-iron railings have urn finials.