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There is a story that goes with this sketch, and with the other sheep shot that I put up a few weeks ago, which illustrates 'Act 2' of the story.
My essay is a bit long to put in the description box, so may I invite you to read it in 'The Globe & Mail'? (That is one of Canada's national newspapers).
The paper accepted my short piece for publication, and are printing it on the 'Facts and Arguments' page on Tuesday, 26th January.
If you enter my name in the search box on the G&M homepage the story is up now.
I hope you enjoy it.
I will be gone tomorrow. (Taking a short trip up to the mountains.) So I'll continue this on Friday. I trust everyone is having a great holiday.
217. Climbing Up the Calico Tanks Trail, 218. Are You Done Yet?, 219. Celebration, 220. 18 holes, 221. It's a... Girl!, 222. It's Alive, 223. A Cluster of Yellow, 224. Elk in Cataloochee,
225. Castle Geyser at Sunset, Take Three, 226. Castle Geyser at Sunset, Take Two, 227. Parade of Elephants, 228. Vegetable Garden, 229. Yosemite Valley, 230. Tilted Rocks, 231. The Road to Clear Skies, 232. Delicate Arch,
233. Squaredancin', 234. Between Eruptions, 235. Dashing..., 236. Drip, Drop, 237. Chrysler Building Close-up, 238. The Colors of Autumn, 239. Splish! Splash! He Was Taking a Bath, 240. Mating Ritual,
241. Yellowstone Sign, 242. Vernal Fall, 243. Another Shot of Longs Peak, 244. Sunrise, 245. Cathedral, 246. Tattered, 247. Towards Estes Park, 248. Desert View,
249. Sunset, 250. Sunset Over Cataloochee Valley, 251. Reverse Firehole River Sunset, 252. Bryce Amphitheater, 253. Showers on the Horizon, 254. Alongside the Animas River, 255. Half Dome and Tenaya Canyon, 256. I, Half Dome,
257. Red Rock, 258. Coyote in the Road, 259. Cloudy Skies at Sunset, 260. Fallen Monarch, 261. The Torchbearer, Close-up, 262. Castle Geyser at Sunrise, 263. Double Arch, 264. Fallen Rock,
265. Driving Through a Tree, 266. Beehive, 267. Autumn in Cades Cove, 268. Top of Bald River Falls, 269. Natural Bridge, 270. The Red Sandstone of Calico Hills, 271. West Side, 272. Empire State Building,
273. Greetings from Bozeman, MT, 274. Lily Lake, 275. Tower of Babel, 276. Garden of the Gods, 277. Smoky Mountain View, 278. Irises, 279. Old School Flickr, 280. Coyote in the Road, Again,
281. Joshua Trees, 282. Sunset Over Cataloochee Valley, 283. Queen Mary 2, 284. Sheep Lakes and the Fall River, 285. Bridge over Running Water, 286. Pulpit Rock Overlook, 287. Remains, 288. Mosaic Canyon
PL25 Count Twice
Plum Street Sampler
📒 Схема = 230 грн
🎨 Classic Colorworks =7 шт = 420 грн
Avocado
Ye Olde Gold
Barn Door
Perfect Piecrust
Cocoa Bean
River Rocks
Camouflage
иди замена DMC 580, 832, 918, 950, 3021, 3768, 935
This was a cereal that I loved to eat when I was a child. The idea of a chocolate breakfast was thrilling to me (what kid wouldn't find it thrilling), but I also had a strange attraction to this monster-that-wasn't-a-monster. This was probably because Instead of drinking blood, this vampire ate cereal and provided children with toys and prizes.
"In late 1971 General Mills began production of the Count, along with his pal FrankenBerry , to compete with other character -Monster Cereals were a hit, combining a very tastey cereal with in-box prizes and a dominating character presence on both tv and in the aisle. The following year Boo Berry was introduced, completing the unholy circle" (http://www.peteglover.com/chocula.html).
Looking back, I wonder what made a cereal sponsored by monsters--particularly the vampire--so appealing to me as a young child. I guess it was the accessibility of the cartoon-monster. Instead of fangs--this vampire has two buck teeth. Instead of wanting to drink my blood, this vampire wants to give me chocolate and provides cereal boxes with toys in them.
Even though the Count isn't a traditional vampire, I guess there is an element of seduction involved in eating his chocolate cereal--it's decadent and rich and calls for some kind of ritual (at least it does for me). And I wasn't the only one who bought into this advertising scheme--as the cartoon character (characterization) of the vampire was a huge hit.
"If you somehow missed a childhood full of sugar and television; Count Chocula is a vampire into chocolate rather than blood. Both his design and voice reflect Bela Lugosi" (http://www.peteglover.com/chocula.html). If you visit this website, you can see the numerous "makeovers" that the count underwent from the 1980's-2001. It's interesting to see how he started off resembling Bela Lugosi and ended up an infantalized cartoon character who looks more like a Harry Potter House-Elf than he does a vampire.
It would be interesting to do a historical study during the years that the Count was "evolving." What was going on during this time in America that warranted these changes? For instance, why in the 1980's was there an upset over whether the Count was "too Jewish looking?" Why was it so important that the count continue to undergo transformations in order to become more "digestible"--no pun intended?
Possible Trajectories: New definition of Vampire, blood-be-gone (the vampire vice translated to something more "digestible," ethnicity (and explorations of ethnic anxieties), kid-friendly monsters, a-sexual vampire seduction.
...somebunny has gotten into the garden!
This spun cotton rabbit ornament is a handmade original design by Stephanie Baker of Old World Primitives.
Celje Castle
From Wikipedia, the free encyclopedia
Celje Castle (also known as Celje Upper Castle or Old Castle) (Slovene Celjski grad, Celjski zgornji grad or Stari grad) is a castle ruin in Celje, Slovenia, formerly the seat of the Counts of Celje. It stands on three hills to the southeast of Celje, where the river Savinja meanders into the Laško valley. Today, the castle is in the process of being restored. It was once the largest fortification on Slovenian territory.
History
Early history
The earliest reference to Celje Castle dates from 1322 and calls it “purch Cylie”. Later, the castle was known by various names, including “vest Cili” (1341), “castrum Cilie” (1451), “gsloss Obercili” (1468). It is noteworthy that the name “Obercili” - Upper Celje - only appears after the Counts of Celje had died out. Its original name was “grad Celje” (Celje Castle).
The first fortified building on the site (a Romanesque palace) was built in the first half of the 13th century by the Counts of Heunburg from Carinthia on the stony outcrop on the western side of the ridge where the castle stands. It had five sides, or four plus the southern side, which was a natural defence. The first written records of the castle date back to between 1125 and 1137; it was probably built by Count Gunter. In the western section of the castle, there was a building with several floors. Remains of the walls of this palatium have survived. In the eastern section, there was an enclosed courtyard with large water reservoirs. The eastern wall, which protects the castle from its most exposed side, was around three metres thicker than the rest of the curtain wall. The wall was topped with a parapet and protected walkway. This was typical of Ministerialis castles of the time.
Lords of Sanneck and Counts of Celje
The first castle was probably burned and destroyed in the fighting between the Lords of Sanneck and the Lords of Auffenstein. The gateway was later moved from the northern side by freemen loyal to the Lords of Sanneck. They gave the castle a new curtain wall and reinforced this with a tower on the northern side, which guarded the entrance to the inner ward, sometime before 1300. The new wall reached from a natural cliff in the east to the remains of the earlier wall in the northeast. The entrance was moved to the southern side, where it still is today.
In 1333, the castle came into the possession of the Lords of Sanneck, who from 1341 onward were the Counts of Celje. They set about transforming the fortress into a comfortable living quarter and their official residence. Around 1400, they added a four-storey tower which was later called Friderikov stolp (Frederick’s tower, from bergfrid, modern German Bergfried, the term for the central tower of a castle in the Middle Ages). On the eastern side of the courtyard, there was a tall, three-story residential tower, which is the best preserved section of the castle after Friderikov stolp. The main residential building (a palatium), which also had rooms for women, stood however in the western section of the castle. This part of the castle ends at the narrow outer ward and is in a state of disrepair. On the southern side of the palatium, there was a tower, known as Andrejev stolp (Andrew’s tower), after the chapel on the ground floor, which was dedicated to Saint Andrew. In the Middle Ages, the castle walls were impenetrable; an attacker would have had to rely on starving the defenders into submission, but a hidden passageway led from the castle to a nearby granary. The Counts of Celje stopped living in the castle in this period, but they stationed a castellan with an armed entourage here.
During an earthquake in 1348, part of the Romanesque palace and the rock on which it stood were destroyed. The ruined section was rebuilt and relocated towards the bailey. In the 15th century, the outer ward was extended on the eastern side of the ridge as far as the rocky outcrop. Here, the wall connected with a powerful, five-sided tower. In the second half of the 16th century, the castle was once again renovated. The walls in the inner and outer wards were made taller, and the bailey was renovated. The modern sections of the walls feature Renaissance-era balistraria.
Holy Roman Empire
The first imperial caretaker, Krištof pl. Ungnad, was named in 1461. The second, Jurij pl. Apfaltrer, was named just two years later. The castle entered the care of Andrej pl. Hohenwart in 1470. When he took it over, he swore to take good care of it and to keep it in a good condition. He carried out this service until his death in 1503. He was succeeded as castle caretaker by Jakob pl. Landau, the government administrator in Upper and Lower Swabia. Landau obtained the position from Emperor Maximilian I, who was at the time still the King of the Romans, for having lent him 10,000 crowns. Landau was still castle caretaker in 1514. Two years later, Bernard Raunacher briefly held this position, but the emperor ordered him to hand authority to Gašper Herbst and to make do with the income generated by Rudolfswert (later Novo Mesto). Other caretakers followed, most of whom were at the same time vicedominus and the administrator of various taxes. The castle’s importance as a fortress rapidly gave way to its economic role.
Celje Castle was not only the most important castle in Slovenia, but in the entire eastern Alps. It covered an area of almost 5500 m². From the ruins that remain and from depictions of the castle that have survived, it is possible to paint a detailed picture of how it once looked. Several new techniques were employed in the castle’s architectural development, which were the model for other castles in the region under Celje’s influence.
The castle began to fall into disrepair shortly after losing its strategic importance. Georg Matthäus Vischer’s depiction of the castle from 1681 shows that Friderikov stolp no longer had a roof at the end of the 17th century. During the renovation of the lower castle (the section closest to the town) in 1748, the castle’s tiled roof was removed. When Count Gaisruck bought the castle in 1755, he removed the roof truss as well. The best stones were then re-used in the construction of the Novo Celje Mansion between Petrovče and Žalec. From this time onward, it was no longer possible to live in the castle, and it slowly turned into a complete ruin. The last residents left the site in 1795.
In 1803, the farmer Andrej Gorišek bought the castle and began to use the site as a quarry.
19th and 20th centuries
In 1846, the governor of the Styria, Count Wickenburg, bought the ruins and donated them to the Styrian estates. In 1871, interest in the ruins began to take hold and in 1882 the Celje museum society began efforts to restore the castle, which continue to this day. During the time of the Kingdom of Yugoslavia, the authorities in Maribor left control over the ruins to the local municipality, which made great contributions to the castle's preservation. During World War II, the ruins were abandoned, but reconstruction efforts continued after the war. In the corners of the Friderikov stolp, cement blocks were used to replace missing stones. A proper parking lot was also created in front of the entrance to the castle. On the northern side, the wall was knocked through to create a new side entrance to meet a new route that had been built there (Pelikanova pot).
21st century
The Celje tourist board holds an event entitled "Pod zvezdami Celjanov" ("Under the stars of Celje") at Celje Castle in late summer every year, which features performances and representations of life in the Middle Ages. Music concerts also take place in the castle. Celje Castle is visited by approximately 60,000 people every year.[1] An annual cultural entertainment event, Veronikini večeri, which is named after the character Veronika in the Slovenian opera Veronika Deseniška, also takes place in the castle.[2] The evening features various concerts, theatre performances and other entertainment, and each year the organiser, in collaboration with the municipality of Celje, awards the Veronikina nagrada (prize) for poetry and the Zlatnik poezije (gold medal for poetry). The Veronikini večeri event has been taking place since 1996 and the Veronikina nagrada has equally been awarded since then. The Zlatnik poezije has been awarded since 2004.
Devin has this obsession with my piggy bank, well more of an obsession with my eldest bro nottaking my money, so she's taken to counting my child hello kitty piggy bank weekely to make sure i'm the only one taking money out of it. i believe it came out to be almost 40$ lol
All Photos © Jason Jerde - All Rights Reserved
Please do not copy, distribute or use my photos in any way, without consent.
William James "Count" Basie - "The Kid from Red Bank"
August 21, 1904 – April 26, 1984
Native son of Red Bank, New Jersey, Jazz Musician, Legendary Band Leader.
This bust of the "Count" is located next to the historic Red Bank Train Station.
Updated profile pic.
Foto actualizada de perfil.
● Byron - Angell Studio "Van-Count Version"
● Face-up by me (Lily Skadi)
I wanted to make something clean and simple for this song, to take a step back from the vivid coloring of the album/single covers.
Count Basie Theatre
Red Bank - Circa 1926; A Town Full Of Theatres Adds One More
Even though there were already several other theatres in the Borough of Red Bank, New Jersey by 1925 (including the Strand, Palace, Empire and Lyric Theatres), on July 29, 1925 the Red Bank Register reported that Joseph Oschwald of Little Silver had announced plans to build a theatre on Monmouth Street for a partnership of Joseph Stern of Newark, the Burns and Schaffer Amusement Co., and Walter Reade. Joseph Stern was already operating the Tivoli, Central, Plaza, Savoy and Regent Theaters in Newark, the Castle Theater in Irvington, the Lincoln Theater in Bloomfield, the Capitol Theater in Belleville and the Grand and Casino Theaters in Kearney. Walter Reade, for whom the Walter Reade Theatre at Lincoln Center for the Performing Arts in New York City is now named, was already New Jersey's largest theatre owner, with ownership or an interest in thirty-one other venues in the state.
Projected to open eight months later on April 1, 1926, the new theatre would have seating for about 2,000 persons and be equipped for moving pictures, vaudeville and dramatic shows. The ninety foot by one hundred and ten foot theatre would include a wide lobby on Monmouth Street flanked by two storefronts, and a stage entrance for scenery via a ten-foot wide strip of land around the corner on Pearl Street. The noted theatre architect Thomas W. Lamb was reported to be drawing the plans for the new building, with an exterior of white terra cotta, and an interior finished in Old Gold and Red. The property and the rights of way for the land were purchased for $21,000, and the projected construction cost was $300,000 to $500,000.
The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128.
15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries.
In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence.
Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However, Lübeck still remained an important trading town on the Baltic Sea.
After the Jewish community had acquired the land in 1862 the construction of the synagogue began in 1878. It was completed in 1880, built in the so-called "Moorish style" with a dome. On Pogrom Night 1938, the synagogue was desecrated but not set on fire, as it was already slated for sale to the city of Lübeck. The Moorish style elements, as well as the dome, were removed, the building got a plain brick facade and was used as a sports hall.
After WWII the synagogue fell into a poor structural condition. A discussion arose in 2012 as to whether or not the historic façade from the time of construction should be restored. The restoration finally began in 2014.
Twice, in 1994 and in 1995 arson attacks on the synagogue were carried out. Four right-wing extremists could be identified after the first attack. They were sentenced to prison terms. The perpetrators of the second attack could not be identified.
by the flowers. Never by the leaves that fall. Count your life with smiles and not the tears that roll.
Background: acrylicpaint and foamstamps.
Finished with a magazine cut out and black and white markers.
There are videos of this process here:
* video of counting procedure: www.youtube.com/watch?v=V9mwccISLkQ
* video of tallier tallying: www.youtube.com/watch?v=e6iWInfi1RM
* video of how they handle differing ballot position of propositions (due to the varying length of the partisan races on the ballot): www.youtube.com/watch?v=vZv2aLj21gA
Detail of the Salisbury Cathedral clock, often considered the oldest working clock worldwide.
Salisbury, England
Second full day in Valencia, and a day of culture planned, or at least visits to several churches.
Which counts as culture, right?
We laid in bed to half seven, then leapt out, had showers and after dressing went down for breakfast. Breakfast was fruit, cold cuts, fresh rolls and cakes all with lashings of coffee, was good.
Traffic outside the hotel is mad in the morning, with it trying to get on the main roads alongside and over the long park, we walked over to the other side and flagged a taxi down to take us to San Nicolás de Bari, or close to it, though walking would not have taken much longer than the taxi ride. We think we got the driver to understand our required destination, and he drove off, weaving in and out of the other cars and buses.
He dropped us in a narrow alleyway lined with old shops covered in graffiti, not sure it it was art or just rundown. But with Maps on the mobile, we walked the three minutes to the church, and found out it opened at half ten. We had 90 minutes to kill.
Down the street was a coffee shop, so we had another coffee and watched the world go by from our small table on the street. We then sat on a bench nearer the church as time crept to half ten and the opening of the church.
I will be forever haunted by the homeless man who was in the doorway opposite, who had made a pair of shoes from offcuts of plastic, and who bought a coffee when he had begged enough. He had dreadlocks, and a trolley of possessions, but was young, handsome, and who knows what his story was.
I even thought about buying him some shoes and taking them there next day, but the heat of the day made me feel quite ill, so not up to the walk.
Both Jools and I have had luck, we both nearly went bankrupt and could have ended up homeless.
St Nicholas is an ancient church, but had something of a Baroque makeover in the 18th century, and the walls, ceilings and everywhere covered in paintings, frescos and statues. As a whole it is remarkable, and the work is of a very high standard indeed. As is the way here, it seems, the church was lined with side chapels with statues or triptychs.
I took lots of shots, though my vertigo was giving me grief, and I would have to sit down between taking shots up at the roof. This would come to a peak at the basilica later that morning, when snapping the inside of the dome I nearly fell over. Jools saw that I nearly came over to catch me.
Oddly, that was the last day I had vertigo, a week later after staring at choughs on the cliffs for ten minutes, I realised I wasn't getting dizzy.
So it goes, so it goes.
Or went.
A short walk away is the Cathedral, a large a sprawling complex meaning that in the search for the entrance I found another Basilica conjoined to it, so we went it and found a small square church by with the underside of the dome gloriously painted.
Basílica de la Mare de Déu dels Desemparats is a stone box with a dome, at least from the outside, but the Spanish Baroque had visited here as well, most impressively on the underside of the dome, which is magnificently painted.
It was crowded, which meant any detailed shots were impossible without annoying people who had come to actually worship.
We sat for a wile in the cool before moving on, but crowds at the entrance to the cathedral meant we thought we would return on Friday, early, to beat the crowds. It was half eleven, and in trying somewhere to shady to sit, I find two more churches which to visit, the second a service began at midday.
Santa Caterina offered a climb up the belltower for a few Euros: not in this heat I thought. So we entered the church and found a brick vaulted building, austere compared to St Nicholas and St Mary, but cool and calm.
I took a few shots before we went in search of somewhere to get a cool drink.
But only found cafes offering piping hot coffee.
We found Església de Sant Tomàs i Sant Felip Neri also open, but just before midday itmeant a service was about to start.
We did stay for a while, but in a break in the service, we make best our escape back into the bright sunshine.
Back outside it was hotter than ever, and packed with people. One last visit was to Pl. Redona, a circular plaza, which looked photogenic. But as most other photographers from Europe and beyond had the same thought, and it was filled with market stalls and street cafes, I take a few shots and we leave again through a portal into a quiet street.
But being after midday, it meant bars and restaurants were open, and on a side street we fond a small place that did cold beer and were happy to make us a bowl of Valencian paella, made with chicken and rabbit. Paella takes at least half an hour to make, so we sat, talked and drank cold beers until the tin pan full of rice, herbs, vegetables and meat was brought.
Once we had eaten, it being two in the afternoon, we walked back to the hotel for a siesta. Going was hard, but we walked on the shady side of the streets, and in 20 minutes we were back in our room, but it had yet to be serviced. When the maid came at three, we went and sat in the shade in the small park in the centre of the boulevard outside the hotel, watching people and traffic coming and going.
We sat in the room, writing and listening to podcasts until it was half six, and the heat of the day had left, to walk back to the centre for arts, so we could take shots of the complex once the sun set at quarter to nine.
In fact, the hour we took to ambe there on Wednesday could be done is close to 20 minutes if you don't stop every 20 yards to take photos. Who knew?
The paths and tracks were packed with people doing exercise, taking their dogs or children out for a walk, or just out.
Like us.
Once we reached the complex, crowds had thinned as all was closed to visitors, so it was just a hardy band of photographers and tourists waiting for the sun to set. We had 90 minutes to wait, so we walked up to the far end of the site, where the zoo was, and in there is another fine building, but it could not be seen from the road or paths, but the walk did increase our step could to over 16,000!
As the sun set, lights came on, so we walked back to the taxi rank, taking dozens, if not hundreds of shots, as the light changed minute by minute, and lights came on, illuminating and highlighting the shapes of the buildings.
Half nine, it was dark, and it took ten minutes for a taxi to come by that we could flag down, he whizzed us back to the hotel, and a walk over the road to the Irish bar where most of the city were inside watching the various games ebig shown. I got us a drink and we took them to sit on the cool pavement tables, watching the traffic and beautiful people passing by. Some were on their way out to paint the town, we were pooped, so went back to the hotel.
----------------------------------------------------
The space occupied by the parish church of San Nicolás has been considered sacred practically since the Roman foundation of the city. Apparently in this area a temple was already dedicated to pagan divinities and was a burial place outside the city walls, according to Roman custom.
Historical documents state that the first building was built in the time of King James I, who donated the place to the Dominicans who accompanied him. Years later the Dominicans founded the Convent of Santo Domingo (current Captaincy General building) and the temple was directly linked to the diocese of Valencia and the secular clergy. It was erected as a parish around 1242 and is included in the first twelve Christian parishes of the city of Valencia after the restoration of the Diocese in the year 1238.
It is the Dominicans who dedicate this new Parish to San Nicolás Obispo, patron saint of the Order, since its founder, Santo Domingo de Guzmán, was writing the Constitutions of the Order of Preachers at that time in the Convent of San Nicolás de Bologna.
Later, an altar was dedicated to San Pedro Mártir in this Parish. A miracle occurred in it that saved the life of a newborn, so the devotion in Valencia for this saint grew until San Pedro Mártir ended up being co-owner of the Parish. And although the church maintains, and as such they appear on its High Altar, the ownership of San Nicolás de Bari and San Pedro Mártir, the church is popularly known as San Nicolás.
Later, in the middle of the Golden Age, San Nicolás will be linked to relevant figures of this century such as the writer Jaume Roig, administrator of the parish; and Alfonso de Borja, future Pope Calixto III. It is the century in which San Nicolás is fully transformed into a Gothic building and is enlarged towards the feet.
Centuries later, it will experience the great Baroque transformation that results in the architectural adaptation of the building and its redecoration with the excellent fresco paintings that decorate it and that we can currently appreciate in all its splendor.
In the 19th century, the environment of the parish changed substantially, since the Plaza de San Nicolás was opened within the Interior Reform carried out by the Valencia City Council. The neo-Gothic south façade that opens onto the square stands out from this period.
During the Civil War of 1936-1939, San Nicolás suffered serious damage: the chapels were destroyed and the temple looted and turned into a warehouse. After this sad episode, the Parish was declared a National Historic-Artistic Monument in 1981.
And in the 21st century the architectural and pictorial restoration of the Parish began under the patronage of the Hortensia Herrero Foundation, whose magnificent result allows us to contemplate the Parish in all its splendor.
The primitive church built after the reconquest began its transformation towards Gothic between 1419 and 1455. In this last date the temple was enlarged towards the feet, occupying the place where the parish cemetery or fossar was located . The ribbed vault was also built in the central nave.
It is a church with a single nave with six sections, side chapels between the buttresses (six on each side although two of them are occupied by the side entrance doors) and a polygonal presbytery facing east.
Between 1690 and 1693 the Gothic interior is covered with Baroque decoration in the style of the time, a reform attributed to Juan Bautista Pérez Castiel. On the architectural reform, the fresco paintings designed by Antonio Palomino and executed by his disciple Dionís Vidal in 1700, who covered the Gothic vaults, pillars and walls with scenes from the life of San Nicolás de Bari and San Pedro Mártir, together with with allegories of the Virtues in risky foreshortenings.