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Fulda Cathedral (Fuldaer Dom, also Sankt Salvator) is the former abbey church of Fulda Abbey and the burial place of Saint Boniface. Since 1752 it has also been the cathedral of the Diocese of Fulda, of which the Prince-Abbots of Fulda were created bishops. The abbey was dissolved in 1802 but the diocese and its cathedral have continued. The dedication is to Christ the Saviour (Latin: Salvator). The cathedral constitutes the high point of the Baroque district of Fulda, and is a symbol of the town.

About the Bell towers:

The facade is flanked by two towers 65 metres high, the four storeys of which are clearly delineated by ledges. Sandstone statues, greater than life size, by Andreas Balthasar Weber, represent to the right Saint Sturm as abbot, with a mitre, abbot's staff and book, and to the left Saint Boniface as bishop with a crook and a Bible pierced by a dagger. On the third storey are copper and gilt numerals and hands belonging to a mechanical clock and a sundial.

Four massive three-quarter columns accompanied by half-pilasters stand to either side of the main portal and support the architrave, the frieze with its triglyphs and the heavy cornices. On the architrave over segments of a round arch sit two large angels, supporting the arms of the Prince-Abbot Adalbert von Schleifras, sculpted by Balthasar Esterbauer, consisting of the arms of Fulda Abbey quartering those of von Schleifras.

The upper storey of the facade is divided by massive pillars. A large round-topped window is decorated with columns, inflexed arches and urns. The window is surrounded by sandstone sculptures representing the patron saints of Fulda, the twin brothers Simplicius and Faustinus, as knights. Their shields bear their symbol - three lilies - and the cross, the device of the abbey, both of which appear in the arms of the town of Fulda.

The central part of the facade is terminated by a triangular gable filled with urns and a round window. On the point of the gable stands a figure of Christ giving a blessing.

This schizophrenic building was erected in two parts, making it an exceptional and fascinating sight. One façade shows the flamboyant Late Gothic style that dates from the early 16th century. This style is in sharp contrast to the Renaissance style on the other side. In this later wing (1559 -1618), you can discover three-quarter Doric, Ionic and Corinthian columns and pilasters inspired by Italian palazzi.

The sixteenth-century wing overlooks via della Mercanzia, with the façade entirely covered with frescoes by Raimondo Sirotti that follow those made at the beginning of the twentieth century by Ludovico Pogliaghi, who in turn had rebuilt, reinterpreting them, the original ones of the Tavarone.

The painted decoration of the facade reproduces a marble cladding with ashlar on the ground floor and pilasters that divide the façade into three sections. In the center of the façade, above the imposing marble entrance portal, stands the polychrome figure depicting St. George on horseback killing the dragon, a recurring image in numerous portals of the buildings of the historic center: in the Middle Ages the saint was in fact considered the very symbol of Republic. The subject was freely interpreted by Sirotti in 1990, having disappeared all traces of the seventeenth-century original. On the sides, from left to right, six bronze statues are painted inside false niches, depicting some historical figures of the Republic: the annalist Caffaro, the "Prince" Andrea Doria, the doge Simone Boccanegra (according to some the painting would instead depict the founder of the palace, Guglielmo Boccanegra), the crusader leader Guglielmo Embriaco known as "Head of a mallet", the navigator Christopher Columbus and finally the admiral Benedetto Zaccaria.

The decoration is completed by the figures of Janus and Neptune, also in fake bronze, and the coat of arms of the "Conservatori del Mare", the body in charge of governing the port at the time of the Republic of Genoa. The facade culminates with the clock tower.

Nuestra Señora del Rivero, San Esteban de Gormaz, Soria, Castilla y León, España.

La iglesia de Nuestra Señora del Rivero, de la Virgen del Rivero o, simplemente, el Rivero, es obra románica del siglo XII, se localiza dentro del núcleo urbano de San Esteban de Gormaz (Provincia de Soria, España), sobre un altozano, en un espléndido emplazamiento, rodeada por el antiguo cementerio, totalmente cerrado por un muro de mampostería, y con entrada independiente desde la rampa de acceso al conjunto.

Consta de una sola nave, con ábside semicircular, precedido de tramo recto, y galería porticada al Sur.

La iglesia ha sufrido diversas reformas y ampliaciones, siendo añadidos posteriores la sacristía, el camarín, la capilla y la espadaña-campanario.

El ábside queda oculto tras estos añadidos, por lo que es visible en un sector muy limitado, un solo lienzo, con ventana abocinada, decorada con ajedrezado, al igual que la cornisa, apoyada en rudos canecillos.

El pórtico sigue en todos los detalles la estructura de la vecina iglesia de San Miguel, sólo queda, de su disposición original, la puerta y dos tramos, uno de dos arcos y otro de tres.

Portada de la iglesia.

La portada, situada en posición elevada respecto al pórtico, consta de tres arquivoltas, la interior baquetonada, descansa sobre jambas lisas; la central formada por un doble sogueado, sobre fustes también sogueados, y la exterior decorada con temas florales.

En su interior, la nave se divide en tres tramos, cubiertos por bóvedas de lunetos, que se apoyan en pilastras. El presbiterio, muy alterado por la adición de la capilla, tiene bóveda de cañón apuntado.

El ábside, semicircular, se cubre con bóveda de cuarto de esfera.

A los pies se sitúa el coro.

The church of Nuestra Señora del Rivero, of the Virgen del Rivero or, simply, El Rivero, is a Romanesque work from the 12th century, it is located within the urban center of San Esteban de Gormaz (Province of Soria, Spain), on a hillock, in a splendid location, surrounded by the old cemetery, totally enclosed by a masonry wall, and with an independent entrance from the access ramp to the complex.

It has a single nave, with a semicircular apse, preceded by a straight section, and a porticoed gallery to the south.

The church has undergone various reforms and extensions, with later additions to the sacristy, the alcove, the chapel and the belfry-bell tower.

The apse is hidden behind these additions, so it is visible in a very limited sector, a single canvas, with a flared window, decorated with checkered pattern, like the cornice, supported by rude corbels.

The portico follows in every detail the structure of the neighboring church of San Miguel, only the door and two sections remain, from its original layout, one with two arches and the other with three.

Church front.

The doorway, located in an elevated position with respect to the portico, consists of three archivolts, the interior one with baquetonada, rests on smooth jambs; the central formed by a double roped, on shafts also roped, and the exterior decorated with floral themes.

Inside, the nave is divided into three sections, covered by lunette vaults, which are supported by pilasters. The presbytery, greatly altered by the addition of the chapel, has a pointed barrel vault.

The semicircular apse is covered with a quarter sphere vault.

At the foot is the choir.

Fulda Cathedral (Fuldaer Dom, also Sankt Salvator) is the former abbey church of Fulda Abbey and the burial place of Saint Boniface. Since 1752 it has also been the cathedral of the Diocese of Fulda, of which the Prince-Abbots of Fulda were created bishops. The abbey was dissolved in 1802 but the diocese and its cathedral have continued. The dedication is to Christ the Saviour (Latin: Salvator). The cathedral constitutes the high point of the Baroque district of Fulda, and is a symbol of the town.

About the Bell towers:

The facade is flanked by two towers 65 metres high, the four storeys of which are clearly delineated by ledges. Sandstone statues, greater than life size, by Andreas Balthasar Weber, represent to the right Saint Sturm as abbot, with a mitre, abbot's staff and book, and to the left Saint Boniface as bishop with a crook and a Bible pierced by a dagger. On the third storey are copper and gilt numerals and hands belonging to a mechanical clock and a sundial.

Four massive three-quarter columns accompanied by half-pilasters stand to either side of the main portal and support the architrave, the frieze with its triglyphs and the heavy cornices. On the architrave over segments of a round arch sit two large angels, supporting the arms of the Prince-Abbot Adalbert von Schleifras, sculpted by Balthasar Esterbauer, consisting of the arms of Fulda Abbey quartering those of von Schleifras.

The upper storey of the facade is divided by massive pillars. A large round-topped window is decorated with columns, inflexed arches and urns. The window is surrounded by sandstone sculptures representing the patron saints of Fulda, the twin brothers Simplicius and Faustinus, as knights. Their shields bear their symbol - three lilies - and the cross, the device of the abbey, both of which appear in the arms of the town of Fulda.

The central part of the facade is terminated by a triangular gable filled with urns and a round window. On the point of the gable stands a figure of Christ giving a blessing.

Limburg Cathedral (Limburger Dom, also known as Georgsdom ("George's Cathedral") after its dedication to Saint George, is located above the old town of Limburg in Hesse, Germany. It is the cathedral of the Catholic Diocese of Limburg. Its high location on a rock above the river Lahn provides its visibility from far away. It is the result of an Early Gothic modernization of an originally Early Romanesque building and therefore shows a Romanesque-Gothic transitional style.

The medieval patron saints of the church were Saint George and Saint Nicholas.

The cathedral is a three-aisled basilica, which combines late Romanesque and early Gothic elements. It has a narthex at the western end and a semi-circular choir with an ambulatory. The outside measures 54.5 m long, with a width of 35.4 m. The building has a complicated structure; seven spires rise from it. The number seven is a symbolic reference to the number of the sacraments. The tallest of these towers are on the western side and rise to a height of 37 m. They form the distinctive "twin-tower façade [de]" of the west front. Such twin-tower façades are common in the Rheinland, for example at Xanten, Andernach [de] and Koblenz. The pointed crossing spire stands above all the other spires with a height of 66 m at the centre of the building. This height is the result of a lightning strike in 1774, before which the tower was 6.5 metres higher. The corner towers on the southern transept were erected in 1863.

The west front is divided into five levels. The most eye-catching stylistic element is a huge round window, surrounded by eight small rosettes, which forms a clear centre of the west front. The rosette symbolises the four Evangelists. Despite the symmetry of the twin towers, there is rich variation in forms and building elements, e.g. round and pointed arches, pilaster strips, small pillars, archivolts, windows and blind arches. The upper level of the north tower includes Gothic elements (e.g. window tracery).

During restorations between 1872 and 1873, the polychrome exterior painting of the cathedral was removed (the colours were, previously, white, red, yellow-brown, black and a little green) and the stone was left bare. Between 1968 and 1972, the polychrome exterior was restored, using remains of the colour from the period before 1872 in order to reconstruct the old patterns.

The Limburg cathedral was shown on the back of the 1000-DM-Banknote of the third series. The notes with the Limburg motif were issued from the end of July 1964 and replaced from 1992 by the 1000-DM-Banknote of the fourth (and last) series.

Urn Tomb - Façade

Its 26 m x 16.49 m façade is structured by two half columns at the center and two pilasters with engaged quarter columns at the corners, erected on a podium on either side of the doorway order. They bear Nabataean capitals and support a weathered entablature whose frieze contains four panels with bust-reliefs. These unusual frieze figures with their heads intruding the upper frame probably represent Nabataean deities. The dwarf pilasters of the upper order are in alignment with the bust-reliefs and the supports of the lower order. The triangular pediment is crowned by a lidded urn, which has given the tomb its name.

Another unique feature are the three burial niches (loculi) in the intercolumnar spaces high up on the façade, becoming an integral part of its design. In the opening of the middle one, there is still a relief plate on which the bust of a dignitary dressed in a tunic can be seen. Unfortunately his face is completely destroyed. Due to missing inscriptions it will never be known who was once portrayed here, but scholars believe that it is the bust of a Nabataean king, perhaps Malichus II (40-70 AD). In fact, the dwarf pilasters suggest that the tomb was made in the second half of the 1st century AD, according to: Fawzi Zayadine.

The doorway frame has two pilasters topped by Nabataean capitals with a necking band, on which a metope-triglyph frieze with several decorative mouldings and a triangular pediment rest. The window above it was opened during its Byzantine use as church.

universes.art/en/art-destinations/jordan/petra/royal-tomb...

La iglesia es obra del Renacimiento y fue terminada en el año 1580. Está dedicada a San Luis, Rey de Francia, en memoria de su fundador Don Luis Quijada. Tiene planta de cruz latina, ancha nave con pilastras de capitel corintio, cubierta de bóveda de cañón, con tres capillas laterales a cada lado, comunicadas entre si.

Collegiate Church of San Luis, in Villagarcía de Campos (Valladolid).

The church is a work of the Renaissance and was completed in 1580. It is dedicated to Saint Louis, King of France, in memory of its founder Don Luis Quijada. It has a Latin cross plan, a wide nave with pilasters with Corinthian capitals, covered with a barrel vault, with three side chapels on each side, connected to each other.

Villagarcía de Campos (Valladolid). Castilla y León. España.

Limburg Cathedral (Limburger Dom, also known as Georgsdom ("George's Cathedral") after its dedication to Saint George, is located above the old town of Limburg in Hesse, Germany. It is the cathedral of the Catholic Diocese of Limburg. Its high location on a rock above the river Lahn provides its visibility from far away. It is the result of an Early Gothic modernization of an originally Early Romanesque building and therefore shows a Romanesque-Gothic transitional style.

The medieval patron saints of the church were Saint George and Saint Nicholas.

The cathedral is a three-aisled basilica, which combines late Romanesque and early Gothic elements. It has a narthex at the western end and a semi-circular choir with an ambulatory. The outside measures 54.5 m long, with a width of 35.4 m. The building has a complicated structure; seven spires rise from it. The number seven is a symbolic reference to the number of the sacraments. The tallest of these towers are on the western side and rise to a height of 37 m. They form the distinctive "twin-tower façade [de]" of the west front. Such twin-tower façades are common in the Rheinland, for example at Xanten, Andernach [de] and Koblenz. The pointed crossing spire stands above all the other spires with a height of 66 m at the centre of the building. This height is the result of a lightning strike in 1774, before which the tower was 6.5 metres higher. The corner towers on the southern transept were erected in 1863.

The west front is divided into five levels. The most eye-catching stylistic element is a huge round window, surrounded by eight small rosettes, which forms a clear centre of the west front. The rosette symbolises the four Evangelists. Despite the symmetry of the twin towers, there is rich variation in forms and building elements, e.g. round and pointed arches, pilaster strips, small pillars, archivolts, windows and blind arches. The upper level of the north tower includes Gothic elements (e.g. window tracery).

During restorations between 1872 and 1873, the polychrome exterior painting of the cathedral was removed (the colours were, previously, white, red, yellow-brown, black and a little green) and the stone was left bare. Between 1968 and 1972, the polychrome exterior was restored, using remains of the colour from the period before 1872 in order to reconstruct the old patterns.

The Limburg cathedral was shown on the back of the 1000-DM-Banknote of the third series. The notes with the Limburg motif were issued from the end of July 1964 and replaced from 1992 by the 1000-DM-Banknote of the fourth (and last) series.

Church of the Smolensk Icon of the Mother of God Hodegetria (1746 - 1753). The territory of the Trinity-Sergius Lavra, in the city of Sergiev Posad. Russia.

The Smolensk Church is the only church in the monastery that has a circular shape "with four deep curvilinear niches for the entire height of the walls." The undulating rhythm of the wall is accentuated by curved pediments, flat double pilasters and is complicated by a double strip of windows in sculpted platbands, completed with a harmonious dome and a skylight with a miniature figured head and a cross - a fine example of Elizabethan Baroque architecture, but with amazing artistic tact, inscribed in the ancient ensemble of the monastery.

On the left is the church in honor of the Monks Zosima and Savvaty of Solovetsky (1635 - 1637).

On the right is the Kalichya Tower (1759 - 1772).

The Church of the Nativity of Christ in the refectory chambers of the New Jerusalem Monastery was built simultaneously with the three vast chambers themselves in 1686-1692. By order of Princess Tatyana Mikhailovna, who donated money for the construction, each of the three chambers of the refectory served its purpose. Thus, the middle "meal", connected to the Nativity Church, was intended for all pilgrims who arrived at the monastery, the second - for the brethren's meals, and the third, apparently, more ceremonial, "a living room for worldly food of all ranks to people."

The Christmas refectory church was made two-story, with the second floor communicating with the chambers. Its architecture is typical of the late 17th century - in the Moscow Baroque style. The lower floor - the "warm" church - was originally surrounded by an open porch, which in the 18th century was replaced by an arcade that has survived to this day, decorated with classic rustic woodwork and pilasters.

The upper, "summer" church is in two tiers of windows, covered with a closed vault, on which there are two octagonal with a dome. The entire decor of the temple: architraves, columns on the apse, octagons under the cupola, are made in the Moscow Baroque style. Not only the church is decorated in the same way, but all the refectory chambers.

In 1792, a hundred years after its construction, the refectory chambers were badly damaged by a fire in the monastery kitchen. All the chambers were burnt out, and the church utensils were barely saved, while much was still damaged by fire. After renovation, in 1810, a wooden ceiling was made in the upper part of the Nativity Church, supported by two brick pillars. This greatly reduced the space of the large baroque temple and made it much darker. Therefore, already in the 1850s. this "innovation" was removed and the restoration was carried out under the direction of the architect K.A. Ton.

The luxurious tyablo iconostasis of the Nativity Church was burned down in 1922. Museum expositions were housed in the premises of the temple. During the colossal destruction of the monastery by the Nazis in 1941. The Nativity Church was almost not damaged, and during the restoration the original appearance of the interior of the church and the refectory chambers was restored.

In 1995, the Church of the Nativity of Christ was transferred to the newly formed monastic brethren; in 1996, restoration work began there, and in 1997 the church was re-consecrated.

Now the temple is a very interesting picture - it is practically side by side adjacent to the museum remaining in the refectory chambers, and the visitor may well seem at first to be an exhibition hall as well. Only by looking more attentively, one can notice that there is no longer museum life going on here.

Limburg Cathedral (Limburger Dom, also known as Georgsdom ("George's Cathedral") after its dedication to Saint George, is located above the old town of Limburg in Hesse, Germany. It is the cathedral of the Catholic Diocese of Limburg. Its high location on a rock above the river Lahn provides its visibility from far away. It is the result of an Early Gothic modernization of an originally Early Romanesque building and therefore shows a Romanesque-Gothic transitional style.

The medieval patron saints of the church were Saint George and Saint Nicholas.

The cathedral is a three-aisled basilica, which combines late Romanesque and early Gothic elements. It has a narthex at the western end and a semi-circular choir with an ambulatory. The outside measures 54.5 m long, with a width of 35.4 m. The building has a complicated structure; seven spires rise from it. The number seven is a symbolic reference to the number of the sacraments. The tallest of these towers are on the western side and rise to a height of 37 m. They form the distinctive "twin-tower façade [de]" of the west front. Such twin-tower façades are common in the Rheinland, for example at Xanten, Andernach [de] and Koblenz. The pointed crossing spire stands above all the other spires with a height of 66 m at the centre of the building. This height is the result of a lightning strike in 1774, before which the tower was 6.5 metres higher. The corner towers on the southern transept were erected in 1863.

The west front is divided into five levels. The most eye-catching stylistic element is a huge round window, surrounded by eight small rosettes, which forms a clear centre of the west front. The rosette symbolises the four Evangelists. Despite the symmetry of the twin towers, there is rich variation in forms and building elements, e.g. round and pointed arches, pilaster strips, small pillars, archivolts, windows and blind arches. The upper level of the north tower includes Gothic elements (e.g. window tracery).

During restorations between 1872 and 1873, the polychrome exterior painting of the cathedral was removed (the colours were, previously, white, red, yellow-brown, black and a little green) and the stone was left bare. Between 1968 and 1972, the polychrome exterior was restored, using remains of the colour from the period before 1872 in order to reconstruct the old patterns.

The Limburg cathedral was shown on the back of the 1000-DM-Banknote of the third series. The notes with the Limburg motif were issued from the end of July 1964 and replaced from 1992 by the 1000-DM-Banknote of the fourth (and last) series.

El claustro de Silos es de doble planta, siendo la inferior la más antigua, que se levantó en la segunda mitad del siglo XI y primera del XII, mientras que el claustro superior se construyó en los últimos años de ese mismo siglo.

Como rasgos diferenciadores, los fustes de las columnas de la primera etapa están más separados y presentan mayor éntasis, y las tallas son de poco relieve y escaso movimiento. Las figuras del segundo taller son más realistas y poseen mayor volumen.

En el plano artístico lo más destacable es la colección de los 64 capiteles de que consta el claustro bajo y los relieves que ornamentan las caras interiores de las cuatro pilastras que forman los ángulos de la galería.

The Silos cloister has a double floor, the lower one being the oldest which was built in the second half of the 11th century and the first half of the 12th, while the upper cloister was built in the last years of that same century.

As differentiating features, the shafts of the columns of the first stage are further apart and present greater entasis, and the carvings are of little relief and little movement. The figures from the second workshop are more realistic and have greater volume.

On an artistic level, the most notable is the collection of 64 capitals that make up the lower cloister and the reliefs that decorate the interior faces of the four pilasters that form the corners of the gallery.

La ermita se encuentra ubicada en un torreón circular localizado en el extremo del Castillo, hallándose a día de hoy el mencionado torreón hundido en la mitad de su fábrica. El acceso a la ermita se produce por un frente formado por un muro con pilastras y portada de medio punto. Actualmente en el recinto del Castillo hay catorce peirones con las estaciones del Vía Crucis.

The hermitage is located in a circular tower located at the end of the Castle, the aforementioned tower being sunk in the middle of its factory today. The access to the hermitage is produced by a front formed by a wall with pilasters and a semicircular portal. Currently in the castle grounds there are fourteen peirones with the Stations of the Cross.

L'ermita es troba situada en una torrassa circular localitzat en l'extrem de l'Castell, trobant-se a dia d'avui l'esmentat torrassa enfonsat en la meitat de la seva fàbrica. L'accés a l'ermita es produeix per un front format per un mur amb pilastres i portada de mig punt. Actualment al recinte de l'Castell hi ha catorze peirons amb les estacions de l'Via Crucis.

El claustro de Silos es de doble planta, siendo la inferior la más antigua, que se levantó en la segunda mitad del siglo XI y primera del XII, mientras que el claustro superior se construyó en los últimos años de ese mismo siglo.

Como rasgos diferenciadores, los fustes de las columnas de la primera etapa están más separados y presentan mayor éntasis, y las tallas son de poco relieve y escaso movimiento. Las figuras del segundo taller son más realistas y poseen mayor volumen.

En el plano artístico lo más destacable es la colección de los 64 capiteles de que consta el claustro bajo y los relieves que ornamentan las caras interiores de las cuatro pilastras que forman los ángulos de la galería.

The Silos cloister has a double floor, the lower one being the oldest which was built in the second half of the 11th century and the first half of the 12th, while the upper cloister was built in the last years of that same century.

As differentiating features, the shafts of the columns of the first stage are further apart and present greater entasis, and the carvings are of little relief and little movement. The figures from the second workshop are more realistic and have greater volume.

On an artistic level, the most notable is the collection of 64 capitals that make up the lower cloister and the reliefs that decorate the interior faces of the four pilasters that form the corners of the gallery.

Limburg Cathedral (Limburger Dom, also known as Georgsdom ("George's Cathedral") after its dedication to Saint George, is located above the old town of Limburg in Hesse, Germany. It is the cathedral of the Catholic Diocese of Limburg. Its high location on a rock above the river Lahn provides its visibility from far away. It is the result of an Early Gothic modernization of an originally Early Romanesque building and therefore shows a Romanesque-Gothic transitional style.

The medieval patron saints of the church were Saint George and Saint Nicholas.

The cathedral is a three-aisled basilica, which combines late Romanesque and early Gothic elements. It has a narthex at the western end and a semi-circular choir with an ambulatory. The outside measures 54.5 m long, with a width of 35.4 m. The building has a complicated structure; seven spires rise from it. The number seven is a symbolic reference to the number of the sacraments. The tallest of these towers are on the western side and rise to a height of 37 m. They form the distinctive "twin-tower façade [de]" of the west front. Such twin-tower façades are common in the Rheinland, for example at Xanten, Andernach [de] and Koblenz. The pointed crossing spire stands above all the other spires with a height of 66 m at the centre of the building. This height is the result of a lightning strike in 1774, before which the tower was 6.5 metres higher. The corner towers on the southern transept were erected in 1863.

The west front is divided into five levels. The most eye-catching stylistic element is a huge round window, surrounded by eight small rosettes, which forms a clear centre of the west front. The rosette symbolises the four Evangelists. Despite the symmetry of the twin towers, there is rich variation in forms and building elements, e.g. round and pointed arches, pilaster strips, small pillars, archivolts, windows and blind arches. The upper level of the north tower includes Gothic elements (e.g. window tracery).

During restorations between 1872 and 1873, the polychrome exterior painting of the cathedral was removed (the colours were, previously, white, red, yellow-brown, black and a little green) and the stone was left bare. Between 1968 and 1972, the polychrome exterior was restored, using remains of the colour from the period before 1872 in order to reconstruct the old patterns.

The Limburg cathedral was shown on the back of the 1000-DM-Banknote of the third series. The notes with the Limburg motif were issued from the end of July 1964 and replaced from 1992 by the 1000-DM-Banknote of the fourth (and last) series.

El claustro es de estilo gótico, de finales del siglo XV y su belleza se debe sobre todo a la perfecta armonía de sus líneas y a la gran calidad de la talla de la piedra. El claustro mayor ordena el conjunto y se configura en dos plantas. El claustro bajo se desarrolla mediante arcos apuntados, ocho en los lados mayores y siete en los menores, separados por unas potentes pilastras que al interior del jardín apoyan en contrafuertes. Las galerías están cubiertas con bóvedas de crucería simple realizadas en sillería a excepción de la plementería que lo es en ladrillo. Los nervios de la bóveda apoyan directamente en el muro sin ayuda de ménsulas. El claustro alto se desarrolla a modo de pórtico o mirador, cubierto con techumbre de madera y sustentado por columnas ochavadas de piedra.

The cloister is Gothic in style, from the end of the 15th century, and its beauty is due above all to the perfect harmony of its lines and the high quality of the stone carving. The main cloister orders the complex and is configured on two floors. The lower cloister develops through pointed arches, eight on the larger sides and seven on the smaller ones, separated by powerful pilasters that are supported by buttresses inside the garden. The galleries are covered with simple ribbed vaults made of ashlar masonry, with the exception of the plementería, which is made of brick. The ribs of the vault rest directly on the wall without the help of corbels. The upper cloister develops as a porch or lookout, covered with a wooden roof and supported by octagonal stone columns.

El claustre és d'estil gòtic, de finals del segle XV i la seva bellesa es deu sobretot a la perfecta harmonia de les línies ia la gran qualitat de la talla de la pedra. El claustre major ordena el conjunt i es configura en dues plantes. El claustre baix es desenvolupa mitjançant arcs apuntats, vuit als costats majors i set als menors, separats per unes potents pilastres que a l'interior del jardí recolzen en contraforts. Les galeries estan cobertes amb voltes de creueria simple realitzades en carreuat a excepció de la plementeria que ho és en maó. Els nervis de la volta recolzen directament al mur sense ajuda de mènsules. El claustre alt es desenvolupa a manera de pòrtic o mirador, cobert amb sostre de fusta i sustentat per columnes ochavadas de pedra.

The Franciscan Church and Monastery is a large complex belonging to the Order of the Friars Minor. It consists of a monastery, a church, a library and a pharmacy. It is situated at the Placa, the main street of Dubrovnik, Croatia.

The earliest monastery was built in the 13th century outside the walls. A new monastery inside the walls and close to the Pile Gate, was built in 1317, but its construction took centuries. Parts of the complex were rebuilt several times.

The monastery was built in 1360 in late Romanesque style by the master Mihoje Brajkov of Bar. The monastery contains two cloisters. The upper cloister was built in Renaissance style, with arches and semicircular vaults. The lower cloister was built in Romanesque-Gothic style with arches, 120 columns and 12 massive pilasters and a promenade. The capitals on the colonnade of double, ornamented hexaphoras are all different showing various geometric, plant-, human- and animal-like figures.

The library (built in the 17th century) contains over 20,000 books, among them 1200 valuable old manuscripts, 137 incunables, seven books with old church corals and the inventory of the old Friars Minor Pharmacy from 1317.

(extracted from wikipedia)

La iglesia y el monasterio franciscanos es un gran complejo perteneciente a la Orden de los Frailes Menores. Consiste en un monasterio, una iglesia, una biblioteca y una farmacia. Está situado en la Placa, la calle principal de Dubrovnik, Croacia.

El primer monasterio fue construido en el siglo XIII fuera de las murallas. Un nuevo monasterio dentro de las murallas y cerca de la Puerta de Pila, fue construido en 1317, pero su construcción llevó siglos. Partes del complejo fueron reconstruidas varias veces.

El monasterio fue construido en 1360 en estilo románico tardío por el maestro Mihoje Brajkov de Bar. El monasterio contiene dos claustros. El claustro superior fue construido en estilo renacentista, con arcos y bóvedas semicirculares. El claustro inferior fue construido en estilo románico-gótico con arcos, 120 columnas y 12 pilastras macizas y un paseo. Los capiteles de la columnata de hexaphoras dobles y ornamentadas son todos diferentes mostrando varias figuras geométricas, vegetales, humanas y animales.

La biblioteca (construida en el siglo XVII) contiene más de 20,000 libros, entre ellos 1200 valiosos manuscritos antiguos, 137 incunables, siete libros con antiguos corales de iglesia y el inventario de la antigua Farmacia de los Hermanos Menores de 1317.

(extraído de la wikipedia)

Church of Guardian Angels in Kamionki from 1792 - 95, renovated in 1967 - 72. It is a modest Baroque - Classicist building. The first church was already mentioned in the 14th century. Perhaps the present one was built only as a result of the reconstruction of the older one. A hall on a rectangular plan, with a square tower topped with a pyramidal cupola with a clearance. A porch is added to the side. The windows are finished with segmental arches, the corners are accented with pilaster strips in plaster. The church is covered with a gable roof.

Kościół Aniołów Stróżów w Kamionkach z lat 1792 - 95, odnowiony w latach 1967 - 72. Jest to skromna budowla barokowo - klasycystyczna. Pierwszy kościół wzmiankowany był już w XIV wieku. Być może obecny powstał dopiero w wyniku przebudowy starszego. Hala na planie prostokąta, z kwadratową wieżą zwieńczoną ostrosłupowym hełmem z prześwitem. Z boku dobudowano ganek. Okna zakończone łukami odcinkowymi, naroża zaakcentowane lizenami w tynku. Kościół nakryty jest dwuspadowym dachem.

Church of Guardian Angels in Kamionki from 1792 - 95, renovated in 1967 - 72. It is a modest Baroque - Classicist building. The first church was already mentioned in the 14th century. Perhaps the present one was built only as a result of the reconstruction of the older one. A hall on a rectangular plan, with a square tower topped with a pyramidal cupola with a clearance. A porch is added to the side. The windows are finished with segmental arches, the corners are accented with pilaster strips in plaster. The church is covered with a gable roof.

Limburg Cathedral (Limburger Dom, also known as Georgsdom ("George's Cathedral") after its dedication to Saint George, is located above the old town of Limburg in Hesse, Germany. It is the cathedral of the Catholic Diocese of Limburg. Its high location on a rock above the river Lahn provides its visibility from far away. It is the result of an Early Gothic modernization of an originally Early Romanesque building and therefore shows a Romanesque-Gothic transitional style.

The medieval patron saints of the church were Saint George and Saint Nicholas.

The cathedral is a three-aisled basilica, which combines late Romanesque and early Gothic elements. It has a narthex at the western end and a semi-circular choir with an ambulatory. The outside measures 54.5 m long, with a width of 35.4 m. The building has a complicated structure; seven spires rise from it. The number seven is a symbolic reference to the number of the sacraments. The tallest of these towers are on the western side and rise to a height of 37 m. They form the distinctive "twin-tower façade [de]" of the west front. Such twin-tower façades are common in the Rheinland, for example at Xanten, Andernach [de] and Koblenz. The pointed crossing spire stands above all the other spires with a height of 66 m at the centre of the building. This height is the result of a lightning strike in 1774, before which the tower was 6.5 metres higher. The corner towers on the southern transept were erected in 1863.

The west front is divided into five levels. The most eye-catching stylistic element is a huge round window, surrounded by eight small rosettes, which forms a clear centre of the west front. The rosette symbolises the four Evangelists. Despite the symmetry of the twin towers, there is rich variation in forms and building elements, e.g. round and pointed arches, pilaster strips, small pillars, archivolts, windows and blind arches. The upper level of the north tower includes Gothic elements (e.g. window tracery).

During restorations between 1872 and 1873, the polychrome exterior painting of the cathedral was removed (the colours were, previously, white, red, yellow-brown, black and a little green) and the stone was left bare. Between 1968 and 1972, the polychrome exterior was restored, using remains of the colour from the period before 1872 in order to reconstruct the old patterns.

The Limburg cathedral was shown on the back of the 1000-DM-Banknote of the third series. The notes with the Limburg motif were issued from the end of July 1964 and replaced from 1992 by the 1000-DM-Banknote of the fourth (and last) series.

Nuestra Señora del Rivero, San Esteban de Gormaz, Soria, Castilla y León, España.

La iglesia de Nuestra Señora del Rivero, de la Virgen del Rivero o, simplemente, el Rivero, es obra románica del siglo XII, se localiza dentro del núcleo urbano de San Esteban de Gormaz (Provincia de Soria, España), sobre un altozano, en un espléndido emplazamiento, rodeada por el antiguo cementerio, totalmente cerrado por un muro de mampostería, y con entrada independiente desde la rampa de acceso al conjunto.

Consta de una sola nave, con ábside semicircular, precedido de tramo recto, y galería porticada al Sur.

La iglesia ha sufrido diversas reformas y ampliaciones, siendo añadidos posteriores la sacristía, el camarín, la capilla y la espadaña-campanario.

El ábside queda oculto tras estos añadidos, por lo que es visible en un sector muy limitado, un solo lienzo, con ventana abocinada, decorada con ajedrezado, al igual que la cornisa, apoyada en rudos canecillos.

El pórtico sigue en todos los detalles la estructura de la vecina iglesia de San Miguel, sólo queda, de su disposición original, la puerta y dos tramos, uno de dos arcos y otro de tres.

Portada de la iglesia.

La portada, situada en posición elevada respecto al pórtico, consta de tres arquivoltas, la interior baquetonada, descansa sobre jambas lisas; la central formada por un doble sogueado, sobre fustes también sogueados, y la exterior decorada con temas florales.

En su interior, la nave se divide en tres tramos, cubiertos por bóvedas de lunetos, que se apoyan en pilastras. El presbiterio, muy alterado por la adición de la capilla, tiene bóveda de cañón apuntado.

El ábside, semicircular, se cubre con bóveda de cuarto de esfera.

A los pies se sitúa el coro.

The church of Nuestra Señora del Rivero, of the Virgen del Rivero or, simply, El Rivero, is a Romanesque work from the 12th century, it is located within the urban center of San Esteban de Gormaz (Province of Soria, Spain), on a hillock, in a splendid location, surrounded by the old cemetery, totally enclosed by a masonry wall, and with an independent entrance from the access ramp to the complex.

It has a single nave, with a semicircular apse, preceded by a straight section, and a porticoed gallery to the south.

The church has undergone various reforms and extensions, with later additions to the sacristy, the alcove, the chapel and the belfry-bell tower.

The apse is hidden behind these additions, so it is visible in a very limited sector, a single canvas, with a flared window, decorated with checkered pattern, like the cornice, supported by rude corbels.

The portico follows in every detail the structure of the neighboring church of San Miguel, only the door and two sections remain, from its original layout, one with two arches and the other with three.

Church front.

The doorway, located in an elevated position with respect to the portico, consists of three archivolts, the interior one with baquetonada, rests on smooth jambs; the central formed by a double roped, on shafts also roped, and the exterior decorated with floral themes.

Inside, the nave is divided into three sections, covered by lunette vaults, which are supported by pilasters. The presbytery, greatly altered by the addition of the chapel, has a pointed barrel vault.

The semicircular apse is covered with a quarter sphere vault.

At the foot is the choir.

La portada se encuentra entre dos grandes pilastras de contención con hornacinas y esculturas de época renacentista de inferior calidad que sus compañeras góticas.

The façade is located between two large retaining pilasters with niches and Renaissance-era sculptures of a lower quality than their Gothic counterparts.

La portada es troba entre dues grans pilastres de contenció amb fornícules i escultures d'època renaixentista d'inferior qualitat que les seves companyes gòtiques.

3 ноября 1941 - в Киеве взорвался Успенский собор, главный храм Киево-Печерской лавры, древняя усыпальница киевских князей. Впоследствии советские власти обвинили нацистов, хозяйничавших в городе, в уничтожении уникального памятника культуры. В свою очередь, немцы приписывали вину советским подпольщикам.

Киев уже в течение полутора месяцев был оккупирован нацистами. За это время взлетел на воздух Крещатик - как оказалось, большевики, оставляя город в сентябре, заминировали немало важных сооружений. В октябре немецкие саперы разминировали Оперный театр, Педагогический музей, Госбанк, Университет, Владимирский собор и другие большие здания. Казалось, Киев в безопасности.

Однако 3 ноября примерно в 14:30 в Лавре раздался мощный взрыв (или, по некоторым данным, серия взрывов). От Успенского собора остались лишь фрагменты восточной стены, алтарь и два столба.

Известный советский кинорежиссер Александр Довженко тоже считал, что Успенский собор взорвали "свои". Сразу после изгнания врага он оказался в Киеве и по горячим следам расспросил многих жителей. В "Дневнике" записал с болью: "Не немцы уничтожили центр нашей истерзанной столицы, а мы сами ... И Лавру взорвали".

Palazzo Mincuzzi located on one of the main streets of Bari and it is owned by the merchant family, the Mincuzzi who inaugurated their studio in 1928.

Located in the Napoleonic quarter Murat on the corner between Via Sparano and Via Putignani, its project, in delicate and refined Style Liberty, is due to the architect Aldo Forcignanò, who conceived an effective and extremely scenic corner solution.

The façade of the building is made up of a succession of columns, beaded pilasters, Ionic capitals, masks, and, above, there is the monumental family banner. The interior, one of the most striking examples of Southern Italy Art Nouveau style, includes a monumental staircase and it is all illuminated by the glass dome that dominates the building.

Over time the Palazzo Mincuzzi has become the symbolic place of Bari and one of the most prestigious shops in Bari. In 2001, however, the Mincuzzi family decided to close an era and rent its building to the clothing company of Luciano Benetton.

After the change of ownership, many people feared the distortion of what for all the Baresi had always been a symbol of a history of trade and cultural exchanges. However, on the building, the Superintendent of artistic heritage has supervised and still supervises: the external and internal architecture has remained intact, absolutely respectful of the Art Nouveau style.

The nave of Saint-Lazare cathedral in Autun dates from the height of the Romanesque in Burgundy, from the beginning of the 12th century, when the cathedral was built (1125-1135).

The elevation of the central vessel is on three levels: large arcades, false triforium and high windows. The vaults, redone in the 19th century, are composed of a broken vessel and punctuated by also broken beams and double rollers. They fall on small columns and fluted pilasters.

The vault culminates at more than 23 meters (75 ft).

More information in cathedrale-autun--art--et--histoire-fr.translate.goog/la-...

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Un intérieur remarquable

La nef de la cathédrale Saint-Lazare d’Autun date de l’apogée du Roman en Bourgogne, au début du 12ème siècle, époque de la construction de la cathédral e(1125-1135).

L’élévation du vaisseau central est à trois niveaux : grandes arcades, faux triforium et fenêtres hautes. Les voûtes refaites au XIXe siècle, sont composées d’un vaisseau brisé et rythmées par des doubleaux brisés également et à double rouleau. Ils retombent sur des colonnettes et des pilastres cannelés.

La voute culmine à plus de 23 mètres.

Plus d’information sur cathedrale.autun-art-et-histoire.fr/la-cathedrale/romane-...

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Autun - South Burgundy / Bourgogne du Sud - France

All the ground level, cast iron Pilasters with foliate capitals serve both decorative and structural purposes.

Cream brick facade built in 1866-8. 18 used as a saloon, grocery store. 20 as a hardware store, plumbing business, shooting gallery, saloon. 22-24 I.O.O.F Lodge #14

Cerro Toco is a stratovolcano located in the eastern part of the Atacama desert in Chile's II Region (Antofagasta), approximately 6 km (4 mi) south of the border between Bolivia and Chile and 12 km (7 mi) SE of the Juriques and Licancabur volcanoes. It conforms the north eastern extreme of the Purico Complex, a pyroclastic shield made up by several stratovolcanoes, lava domes and a maar.

Cerro Toco is located in the Chajnantor Scientific Reserve, as is most of the Purico Complex. The Atacama Cosmology Telescope and the Huan Tran Telescope are located on the western side of the mountain at approximately 5,200 m (17,100 ft).

Although it is 320 meters less high and far less spectacular of a sight than it´s famous neighbour Licancabur, Cerro Toco still provides rewarding hiking opportunities. Novices can get a gentle introduction to high altitude climbing, while the views from the summit to the surrounding volcanos such as Licancabur and Lascar and beyond the Bolivian border to Laguna Blanca are breathtaking. For more experienced climbers this is still a good summit to get acclimatised for trips to one of the nearby higher mountains.

Cerro Toco has two routes:

The Southern Route has an elevation gain of about 600 meters and takes 2 to 3 hours up, 45 min down.

The Northern Route is longer with an elevation gain of about 1000 meters, taking 4 hours up.

***

On top of the mountains, you will see the Apachetas, piles of stones, which are offerings to Pachamama, Mother Nature. Each stone represents a problem that, when taken up the mountain, lies behind. In a pile, there are many problems of different people. Interesting is the analogy of pilasters that serve as a bridge between the sacred and the profane, between two worlds, such as church towers, totems, minarets (travel associative in travel ...).

All the ground level, cast iron Pilasters with foliate capitals serve both decorative and structural purposes.

Cream brick facade built in 1866-8. 18 used as a saloon, grocery store. 20 as a hardware store, plumbing business, shooting gallery, saloon. 22-24 I.O.O.F Lodge #14

Valencia-Estación del Norte,​ es la principal estación de ferrocarril de la ciudad española de Valencia. Es una estación terminal de carácter monumental y estilo modernista valenciano. En el interior, en su lujoso vestíbulo, la madera noble y los mismos mosaicos dan la bienvenida en todos los idiomas a todos los viajeros. Así encontramos la frase "Buen Viaje" en distintos idiomas expresados sobre artísticos mosaicos enmarcados en las pilastras y muros del zaguán. Es la estación punto de referencia monumental y representativo de la ciudad.

Valencia-Estación del Norte, is the main railway station in the Spanish city of Valencia. It is a terminal station of monumental character and Valencian modernist style. Inside, in its luxurious lobby, hardwood and mosaics themselves welcome all travelers in all languages. Thus we find the phrase "Bon Voyage" in different languages ​​expressed on artistic mosaics framed in the pilasters and walls of the hall. It is the monumental and representative point of reference station of the city.

València-Estació del Nord, és la principal estació de ferrocarril de la ciutat espanyola de València. És una estació terminal de caràcter monumental i estil modernista valencià.A l'interior, al vestíbul luxós, la fusta noble i els mateixos mosaics donen la benvinguda en tots els idiomes a tots els viatgers. Així trobem la frase "Bon Viatge" en diferents idiomes expressats sobre artístics mosaics emmarcats a les pilastres i murs del zaguán. És l'estació punt de referència monumental i representatiu de la ciutat.

Limburg Cathedral (Limburger Dom, also known as Georgsdom ("George's Cathedral") after its dedication to Saint George, is located above the old town of Limburg in Hesse, Germany. It is the cathedral of the Catholic Diocese of Limburg. Its high location on a rock above the river Lahn provides its visibility from far away. It is the result of an Early Gothic modernization of an originally Early Romanesque building and therefore shows a Romanesque-Gothic transitional style.

The medieval patron saints of the church were Saint George and Saint Nicholas.

The cathedral is a three-aisled basilica, which combines late Romanesque and early Gothic elements. It has a narthex at the western end and a semi-circular choir with an ambulatory. The outside measures 54.5 m long, with a width of 35.4 m. The building has a complicated structure; seven spires rise from it. The number seven is a symbolic reference to the number of the sacraments. The tallest of these towers are on the western side and rise to a height of 37 m. They form the distinctive "twin-tower façade [de]" of the west front. Such twin-tower façades are common in the Rheinland, for example at Xanten, Andernach [de] and Koblenz. The pointed crossing spire stands above all the other spires with a height of 66 m at the centre of the building. This height is the result of a lightning strike in 1774, before which the tower was 6.5 metres higher. The corner towers on the southern transept were erected in 1863.

The west front is divided into five levels. The most eye-catching stylistic element is a huge round window, surrounded by eight small rosettes, which forms a clear centre of the west front. The rosette symbolises the four Evangelists. Despite the symmetry of the twin towers, there is rich variation in forms and building elements, e.g. round and pointed arches, pilaster strips, small pillars, archivolts, windows and blind arches. The upper level of the north tower includes Gothic elements (e.g. window tracery).

During restorations between 1872 and 1873, the polychrome exterior painting of the cathedral was removed (the colours were, previously, white, red, yellow-brown, black and a little green) and the stone was left bare. Between 1968 and 1972, the polychrome exterior was restored, using remains of the colour from the period before 1872 in order to reconstruct the old patterns.

The Limburg cathedral was shown on the back of the 1000-DM-Banknote of the third series. The notes with the Limburg motif were issued from the end of July 1964 and replaced from 1992 by the 1000-DM-Banknote of the fourth (and last) series.

El campanario fue construido entre 1688 y 1705 por Juan Bautista Viñes, cuyo nombre aparece grabado en una lápida conmemorativa que podemos ver en su base. Obra maestra del barroco valenciano, es de planta hexagonal, y su alzado se divide en cuatro pisos separados por molduras, más el cuerpo de campanas y el remate superior. En su origen se le llamó campanar salomónico por las columnas helicoidales que adornan esa parte alta. Destaca asimismo por los resaltes a modo de pilastras que adornan sus ángulos y por la decoración de sus ventanas, donde el estilo decorativo del barroco efímero se trasladó con maestría a la piedra.

The bell tower was built between 1688 and 1705 by Juan Bautista Viñes, whose name is engraved on a commemorative stone that we can see at its base. A masterpiece of Valencian baroque, it has a hexagonal floor plan, and its elevation is divided into four floors separated by moldings, plus the body of bells and the upper finish. Originally it was called a Solomonic bell tower because of the helicoidal columns that adorn that upper part. It also stands out for the projections in the form of pilasters that adorn its angles and for the decoration of its windows, where the ephemeral baroque decorative style was masterfully transferred to stone.

El campanar va ser construït entre 1688 i 1705 per Juan Bautista Viñes, el nom del qual apareix gravat en una làpida commemorativa que podem veure a la seva base. Obra mestra del barroc valencià, és de planta hexagonal, i el seu alçat es divideix en quatre pisos separats per motllures, més el cos de campanes i la rematada superior. A l'origen se'l va anomenar campanar salomònic per les columnes helicoïdals que adornen aquesta part alta. Destaca així mateix pels ressalts com a pilastres que adornen els angles i per la decoració de les finestres, on l'estil decoratiu del barroc efímer es va traslladar amb mestratge a la pedra.

The Royal Palace of Madrid is the official residence of the Spanish royal family at the city of Madrid, although now used only for state ceremonies. The palace is on the site of a bygone Muslim-era fortress constructed by Emir Muhammad I of Córdoba in the 9th century. The main facade of the palace, the one facing the Plaza de la Armeria, consists of a two-story rusticated stone base, from which rise Ionic columns on Tuscan pilasters framing the windows of the three main floors.

Bells Mills Bridge is a historic wooden covered bridge in Sewickley Township and South Huntingdon Township, Westmoreland County, Pennsylvania. It is a 95-foot-long (29 m), Burr truss bridge, constructed in 1850. It features pedimented gables and plain pilasters in the Greek Revival style. It crosses Sewickley Creek.

It was listed on the National Register of Historic Places in 1980. (Wikipedia)

Pennsylvania is often recognized as the birthplace of covered bridge building. From the 1820s to 1900 there were about 1500 covered bridges built in Pennsylvania. Because many state residents realize the importance of these historic bridges, Pennsylvania has the largest number of covered bridges in the nation. Today, 219 bridges remain in 40 counties (Pennsylvania has a total of 67 counties). Lancaster County has more than any other county.

While covered bridges are sometimes called kissing bridges, the real reason for the covering is to protect the bridge’s truss design from the weather.

A view looking southwest from the intersection of E. Main and N. Walnut in downtown Champaign. On the corner is the First National Bank Building, a contributing building in the Champaign Downtown Historic District listed on the National Register of Historic Places in 2020.

The First National Bank, located at 30 E Main Street, is based on a Greek Revival form and features beautiful Corinthian columns and pilasters. Chicago architects, Mundie and Jensen, constructed the building in 1909. The stone-faced historic bank was one of the first steel-constructed buildings in Champaign.

The exterior of the original building has excellent architectural integrity. Interior changes occurred during the middle of the twentieth century in an attempt to modernize. There is an addition to the west and to the south. Both were constructed in 1966, and are non-contributing to the historic district. The First National Bank Building is now the location of a PNC Bank branch office.

Located in Champaign County in east central Illinois, the twin cities of Champaign and Urbana are the home of the University of Illinois. The population of the City of Champaign at the 2020 census was 88,302, while Champaign County had a population of 205,865.

Source: National Register of Historic Places Registration Form, Champaign Downtown Historic District

Three attractive domes dressed in glazed green ceramic rise atop the transept, the high altar, and the Carondelet Arch.

The transept dome is itself surmounted by an iron rooster weather vane, subject of several local legends. (These neo-classical domes, along with the neo-classical balustrade sculptures, various arches, Ionic pilasters, and the semi-circular Plaza staircase are modernizing 19th century additions.)

St. Mark's Square in Venice

Valencia-Estación del Norte,​ es la principal estación de ferrocarril de la ciudad española de Valencia. Es una estación terminal de carácter monumental y estilo modernista valenciano. En el interior, en su lujoso vestíbulo, la madera noble y los mismos mosaicos dan la bienvenida en todos los idiomas a todos los viajeros. Así encontramos la frase "Buen Viaje" en distintos idiomas expresados sobre artísticos mosaicos enmarcados en las pilastras y muros del zaguán. Es la estación punto de referencia monumental y representativo de la ciudad.

Valencia-Estación del Norte, is the main railway station in the Spanish city of Valencia. It is a terminal station of monumental character and Valencian modernist style. Inside, in its luxurious lobby, hardwood and mosaics themselves welcome all travelers in all languages. Thus we find the phrase "Bon Voyage" in different languages ​​expressed on artistic mosaics framed in the pilasters and walls of the hall. It is the monumental and representative point of reference station of the city.

València-Estació del Nord, és la principal estació de ferrocarril de la ciutat espanyola de València. És una estació terminal de caràcter monumental i estil modernista valencià.A l'interior, al vestíbul luxós, la fusta noble i els mateixos mosaics donen la benvinguda en tots els idiomes a tots els viatgers. Així trobem la frase "Bon Viatge" en diferents idiomes expressats sobre artístics mosaics emmarcats a les pilastres i murs del zaguán. És l'estació punt de referència monumental i representatiu de la ciutat.

El campanario fue construido entre 1688 y 1705 por Juan Bautista Viñes, cuyo nombre aparece grabado en una lápida conmemorativa que podemos ver en su base. Obra maestra del barroco valenciano, es de planta hexagonal, y su alzado se divide en cuatro pisos separados por molduras, más el cuerpo de campanas y el remate superior. En su origen se le llamó campanar salomónico por las columnas helicoidales que adornan esa parte alta. Destaca asimismo por los resaltes a modo de pilastras que adornan sus ángulos y por la decoración de sus ventanas, donde el estilo decorativo del barroco efímero se trasladó con maestría a la piedra.

The bell tower was built between 1688 and 1705 by Juan Bautista Viñes, whose name is engraved on a commemorative stone that we can see at its base. A masterpiece of Valencian baroque, it has a hexagonal floor plan, and its elevation is divided into four floors separated by moldings, plus the body of bells and the upper finish. Originally it was called a Solomonic bell tower because of the helicoidal columns that adorn that upper part. It also stands out for the projections in the form of pilasters that adorn its angles and for the decoration of its windows, where the ephemeral baroque decorative style was masterfully transferred to stone.

El campanar va ser construït entre 1688 i 1705 per Juan Bautista Viñes, el nom del qual apareix gravat en una làpida commemorativa que podem veure a la seva base. Obra mestra del barroc valencià, és de planta hexagonal, i el seu alçat es divideix en quatre pisos separats per motllures, més el cos de campanes i la rematada superior. A l'origen se'l va anomenar campanar salomònic per les columnes helicoïdals que adornen aquesta part alta. Destaca així mateix pels ressalts com a pilastres que adornen els angles i per la decoració de les finestres, on l'estil decoratiu del barroc efímer es va traslladar amb mestratge a la pedra.

The Church of Our Saviour (Danish: Vor Frelsers Kirke) is a baroque church in Copenhagen, Denmark, most famous for the external spiral winding staircase that can be climbed to the top, offering extensive views over central Copenhagen. It is also noted for its carillon, which is the largest in northern Europe and plays melodies every hour from 8 am to midnight.

The tower is raised three stories above the western cross arm. The levels are marked by sandstone cornices that become larger with height, and there are round-arched openings on all four sides at each level. The top level is decorated with flat pilasters and from the uppermost cornice has a gilded penetrated clock face centrally on each side. The hands are connected to a clockwork inside the tower.

The black and golden spire reaches a height of 90 metres and the external staircase turns four times counterclockwise around it. Inspiration for the design came from the spiral lantern of Sant'Ivo alla Sapienza, which turns the same way around.

It is built as a timber-framed structure, octagonal at its base, with round-arched openings and round windows with gilded frames. The windows are flanked by gilded pilasters in the composite order. Around the octagonal base of the spire on the four corners of the square tower, stand four statues of the four evangelists. The octagonal structure is topped by a small platform with a gilded railing and it is from this point that the staircase become external. There is a total number of 400 steps to the top of the spire, the last 150 being outside.

The spire is topped by a vase-like structure, carrying a gilded globe with a 4-meter-tall figure of Christ Triumphant carrying a banner. It has an infamous reputation for being the ugliest sculpture in Copenhagen but is intentionally made with exaggerated proportions because it is only meant to be seen from long distances.

The Church of Our Saviour in Christianshavn appears in a chapter of Jules Verne's A Journey to the Center of the Earth. The character Axel is made to climb the winding spire for five consecutive days by his uncle to cure him of his Acrophobia before their descent into the volcano

Андріївська церква — православна церква на честь Святого Андрія у стилі бароко у Києві.

“И сон, который окутал нас быстро Увезли в новый день И ночь смерти прошла.” Лэнгдон Смит.

Valencia-Estación del Norte,​ es la principal estación de ferrocarril de la ciudad española de Valencia. Es una estación terminal de carácter monumental y estilo modernista valenciano inaugurada en 1917 por la Compañía de los Caminos de Hierro del Norte de España, quien encargó su construcción a uno de los arquitectos de la compañía, Resulta muy interesante el edificio de la estación, de estilo modernista, que constituye por tanto una alegoría de la huerta valenciana. Mosaicos con mujeres ataviadas con el traje típico valenciano y guirnaldas de naranjas y otros productos agrícolas decoran sus fachadas exteriores. En el interior, en su lujoso vestíbulo, la madera noble y los mismos mosaicos dan la bienvenida en todos los idiomas a todos los viajeros. Así encontramos la frase "Buen Viaje" en distintos idiomas expresados sobre artísticos mosaicos enmarcados en las pilastras y muros del zaguán. Es la estación punto de referencia monumental y representativo de la ciudad.

Valencia-Estación del Norte, is the main railway station in the Spanish city of Valencia. It is a terminal station of monumental character and Valencian modernist style inaugurated in 1917 by the Company of the Iron Roads of the North of Spain, who commissioned its construction to one of the company's architects. Modernist style, which therefore constitutes an allegory of the Valencian garden. Mosaics with women dressed in the typical Valencian costume and garlands of oranges and other agricultural products decorate its exterior facades. Inside, in its luxurious lobby, hardwood and mosaics themselves welcome all travelers in all languages. Thus we find the phrase "Bon Voyage" in different languages ​​expressed on artistic mosaics framed in the pilasters and walls of the hall. It is the monumental and representative point of reference station of the city.

València-Estació del Nord, és la principal estació de ferrocarril de la ciutat espanyola de València. És una estació terminal de caràcter monumental i estil modernista valencià inaugurada el 1917 per la Companyia dels Camins de Ferro del Nord d'Espanya, que va encarregar la seva construcció a un dels arquitectes de la companyia. Resulta molt interessant l'edifici de l'estació, de estil modernista, que constitueix per tant una al·legoria de l'horta valenciana. Mosaics amb dones vestides amb el vestit típic valencià i garlandes de taronges i altres productes agrícoles decoren les façanes exteriors. A l'interior, al vestíbul luxós, la fusta noble i els mateixos mosaics donen la benvinguda en tots els idiomes a tots els viatgers. Així trobem la frase "Bon Viatge" en diferents idiomes expressats sobre artístics mosaics emmarcats a les pilastres i murs del zaguán. És l'estació punt de referència monumental i representatiu de la ciutat.

The Guildhall, which was initially used as a courtroom, was built around 1550. It was substantially remodelled with a new facade and a new council chamber being installed on the first floor in 1683. The external design involved three doors on the ground floor, three mullion windows flanked by Ionic order pilasters augmented by a balcony with iron railings on the first floor and an ornamental cupola on the roof. The projecting clock, erected at that time, was presented to the council by a London clockmaker, John Aylward, in return for being allowed to trade in the borough.

The interior design involved a courtroom on the ground floor and a council chamber on the first floor. The panelling in the council chamber was taken from Stoughton Manor House shortly before it was demolished in the late 17th century. The ornamental cupola was replaced in 1882.

During much of the 20th century the town hall served as the meeting place of the Municipal Borough of Guildford but it ceased to be the local seat of government in 1974, when the amalgamation of the municipal borough of Guildford and Guildford Rural District to form Guildford Borough Council took place; the amalgamated Borough Council decided to hold its meetings at Millmead House.

Works of art in the Guildhall include a portrait of King James VI and I by Paul van Somer I, a portrait of King Charles II by Peter Lely and a portrait of King James II by Peter Lely. There are also paintings of King William III and Queen Mary II by John Riley and a painting depicting Vice-Admiral Sir Richard Onslow receiving the surrender of the Dutch flag after the Battle of Camperdown on 11 October 1797 by John Russell.

«Тогда говорит ему Иисус: возврати меч твой в его место, ибо все, взявшие меч, мечом погибнут» (Мф. 26: 52).

Вот что мы читаем у святителя Иоанна Златоуста: «Итак, двумя причинами Он хотел успокоить учеников: во-первых, угрозою наказания тем, которые начинают нападение: ибо все, сказал Он, взявшие меч, мечом погибнут; во-вторых, тем, что Он терпит это добровольно». Как видим, по мысли святого отца, эти слова относятся к тем, кто начинает кровопролитие, следовательно, не относятся к тем, кто вынужденно обороняется.

Roof, domes, lanterns and bell tower of the Cathedral of Quito.

Three attractive domes dressed in glazed green ceramic rise atop the transept, the high altar, and the Carondelet Arch. The transept dome is itself surmounted by an iron rooster weather vane, subject of several local legends. (These neo-classical domes, along with the neo-classical balustrade sculptures, various arches, Ionic pilasters, and the semi-circular Plaza staircase are modernizing 19th century additions).

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Its neoclassical image with domes, sculptures in the balustrade, arches and the central semicircular contour staircase with two minor lateral circles, contributed to valorize the lateral facade on the main one, and to turn it into a stage of religious and artistic ceremonies until modern times.

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Metropolitan Cathedral of Quito, known simply as la Catedral, is the Catholic cathedral in Quito, Ecuador. Located on the southwestern side of the Plaza de la Independencia (La Plaza Grande) in the Historic Center of Quito, the best-preserved, least altered historic center in Latin America. In Spanish, (El Centro Histórico de Quito) was constructed on what was once a 16th century Inca city at 2,850 meters above sea level in the Andes Mountains near the Equator in Ecuador.

The Colonial Center of Quito is a UNESCO World Heritage Site that stretches over 790 acres and contains 130 monumental buildings, 5,000 smaller properties in addition to the numerous 500 year old Churches and Convents.

Este templo está concebido de acuerdo a las formulas habituales del mudéjar local; tres naves separadas entre sí mediante pilares, ábside y crucero. El ábside de la nave central se cubre con una bóveda de nervadura estrellada propia del arte gótico, fechando la construcción del templo a finales del s. XV.

La nave del evangelio se comunica al exterior mediante una puerta adintelada, mientras que la nave de la epístola se comunica a través de una puerta ojival a la lonja de San Bartolomé.

El retablo mayor del primer tercio del s. XVIII, consta de banco y cuerpo dividido en tres calles y ático.

A finales del s. XVIII, durante el barroco, el templo se transformó; se hicieron las falsas bóvedas eliminadas durante las reformas de 1975 y se añade el cuerpo superior de la torre-fachada, situada a los pies del templo con planta rectangular donde se incluye una portada adintelada entre pilastras .

La torre consta de un pedestal enmarcado entre volutas barrocas, y rematado en una terraza abalaustrada sobre la que se alza el cuerpo de campanas; todo ello rematado por frontones mixtilíneos entre diminutos pináculos y un chapitel de perfil curvo.

turismo.carmona.org/iglesia-de-san-bartolome/

This church is designed according to the usual formula of the local Mudejar style; three naves separated from each other by pillars, an apse and a transept. The apse of the central nave is covered with a starred ribbed vault very typical of Gothic art, dating the construction of the church to somewhere near the end of the 15th century.

The Gospel nave is connected to the outside through a lintelled door, whereas the Epistle nave is connected via a Gothic-style door to the large courtyard that acts as a side entrance to the church.

The main altarpiece, dating to the first third of the 18th century, consists of the lower part or basement of the altarpiece, underneath the main body which is divided into three aisles and an attic.

At the end of the 18th century, during the Baroque period, the church was transformed; the false vaults were removed during alterations carried out in 1975, and the upper body of the tower-façade was added, located at the foot of the church, with a rectangular floor plan where there is a linteled doorway between pilasters.

The tower consists of a pedestal framed by Baroque volutes, and rounded off by a balustrade terrace on which the belfry stands; it is finished off with highly decorated gables and a spire.

turismo.carmona.org/en/iglesia-de-san-bartolome/

The white-plastered, neoclassical country house with basement was built between 1851 and 1854. The house has a monumental orangery, with an upper middle part and two curved side wings, all in brick with pilasters. Neoclassical means as much as "with sober, strict, yet calm forms". The commissioner for the construction was Maria van Mattemburgh. In 1878 another conservatory was added. On the street side of the manor is a hilly flower bed in the style of Pückler-Muskau. There is also a coach house and a plastered octagonal tea dome with wooden crowning. The romantic park landscaping with an English and a French garden dates from approximately 1878. It has an area of ​​17 ha. Since the garden is located on the Brabantse Wal, where there is a strong difference in height, it was used by the landscape architects. The tea dome is located on an artificial hill 11 m above sea level. Three visual axes run from there, one to the Markiezaatsmeer and two in the direction of De Blaffert. Below the tea house is an ice cellar, which nowadays houses bats, such as the long-eared bat, water bat, fringed tail and the long-eared bat. In the lawn is a meandering pond that changes into the brook De Blaffert, and over which are two bridges, a Chinese bridge and a bridge that is built from boulders. The garden contains a number of statues, which were placed between 1990 and 1995. The long gable farm Hildernisse is located on the estate. This farm was originally 17th century, but in its current appearance it dates from the mid-18th century. In the west facade is a niche with a statue of Mary. The farm has a barn and a bakehouse. The garden is considered one of the five most important style gardens in the Netherlands.

A view looking south on N. Walnut in downtown Champaign. Ahead on the southwest corner of N. Walnut and E. Main St. is the First National Bank Building, a contributing building in the Champaign Downtown Historic District listed on the National Register of Historic Places in 2020.

The First National Bank, located at 30 E Main Street, is based on a Greek Revival form and features beautiful Corinthian columns and pilasters. Chicago architects, Mundie and Jensen, constructed the building in 1909. The stone-faced historic bank was one of the first steel-constructed buildings in Champaign.

The exterior of the original building has excellent architectural integrity. Interior changes occurred during the middle of the twentieth century in an attempt to modernize. There is an addition to the west and to the south. Both were constructed in 1966, and are non-contributing to the historic district. The First National Bank Building is now the location of a PNC Bank branch office.

Located in Champaign County in east central Illinois, the twin cities of Champaign and Urbana are the home of the University of Illinois. The population of the City of Champaign at the 2020 census was 88,302, while Champaign County had a population of 205,865.

Source: National Register of Historic Places Registration Form, Champaign Downtown Historic District