San Gregorio Armeno is a church and a monastery in Naples, Italy. It is one of the most important Baroque complexes in Naples. The church is located on a street of the same name just south of Via dei Tribunali and a few blocks south of the church of San Paolo Maggiore, Naples.

In the 8th century, the iconoclast decrees in Greece caused a number of religious orders to flee the Byzantine empire and seek refuge elsewhere. San Gregorio Armeno in Naples was built in the 16th century over the remains of a Roman temple dedicated to Ceres, by a group of nuns escaping from the Byzantine Empire with the relics of St. Gregory, bishop of Armenia. During the Norman domination the monastery was united to that of the Salvatore and San Pantaleone, assuming the Benedictine rule.

The construction of the church was begun in 1574, using designs by Giovanni Battista Cavagni, and consecrated five years later. A later consecration dates to 1674, and refurbishment to 1762. The façade has three arcades surmounted by four pilaster strips in Tuscan order. The interior has a single nave with five side arcades: the decoration, with the exception of the five chapels, was finished by Luca Giordano (also author of the Saints over the windows of the dome) in 1679. Bernardino Lama, likely the son of Giovanni Bernardo Lama, was author of the altarpiece. The interior houses also the famous Holy Staircase, used by the nuns during their penitences.

The cupola was painted with a Glory of San Gregorio by Luca Giordano. The ceiling cassettoni or framed canvases depict the Life of the St Gregorio Armeno and were commissioned by the abbess Beatrice Carafa from the Flemish Teodoro d'Errico. On the right, the altarpieces include an Annunciation of Mary by Pacecco De Rosa, a Virgin of the Rosary by Nicola Malinconico, and frescoes by Francesco Di Maria. On the left, is a St. Benedict altarpiece by Spagnoletto. The main altar was designed by Dionisio Lazzari, and has an altarpiece depicting the Resurrection by Giovanni Bernardo Lama.

The Idria Chapel houses eighteen paintings by Paolo De Matteis, portraying the Life of Mary. Over the chapel's high altar is a medieval icon, in Byzantine style, of the Madonna dell'Idria.

The main attraction is the cloister (1580). In the centre is a marble fountain, decorated with dolphins and other marine creatures, with the statues of "Christ and the Samaritan Woman", by Matteo Bottiglieri.

Former monastery courtyard, two- to three-story two-wing complex, eaves side with rusticated ground floor and corner pilaster strips as well as field structure, towards St. Gumbert two-story wing with older portal, four-sided inner courtyard with ground floor arcades and stair tower, north wing with stair tower

Ehemaliger Stiftshof, zwei- bis dreigeschossige Zweiflügelanlage, traufseitig mit rustiziertem Erdgeschoss und Ecklisenen sowie Feldergliederung, gegen St. Gumbert zweigschossiger Flügel mit älterem Portal, vierseitiger Innenhof mit Erdgeschossarkaden und Treppenturm, Nord-Flügel mit Stiegenturm

The castle Gartrop is a moated castle in the Hünxer district of Gartrop-Bühl. The castle arrangement lies near the country road between Hünxe and Schermbeck-Gahlen in the lip meadows in the southern area of the nature reserve high Mark-Westmünsterland. From the settlement of the former castle employee the today's place Gartrop developed.

The arrangement can be visited every second Thursday within the scope of events of the country inn resident there.

The plastered mansion in the strict style of the Dutch baroque is surrounded on three sides by a pond-like moat. In the 2-storey construction structural fabric of the first castle house from the 14th century is still included.

Four wings of the building surround a narrow inner courtyard which is roofed with a view dome. Besides, the eastern one and the western wing are shorter than remaining both and come out risalitartig of the construction body. The main entrance is in the biaxial east wing with a low watch tower which is concluded by an embowed bonnet with open lantern. Other three tracts of the simple construction own in each case a level hipped roof with small dormers.

7-stage steps lead to the main entrance from sandstone which is flanked by two half columns which run out on top in obelisks with ball handle. About the entrance the stone alliance coat of arms Albrecht Gisberts of Hüchtenbruck and his first Mrs. Johanna Katharina von Heiden as well as his second Mrs. Agne Maria von Bernsau is found.

Moreover, the annual number 1675 tells of the end of the construction time under Albrecht Gisbert son Albert Georg von Hüchtenbruck.

The most important space of the mansion is a big baroque hall in the ground floor which is developed to the Beletage. He owns a luxuriously formed relief stucco cover which is together with an alike formed copy in the castle Anholt incredibly on the Lower Rhine. Moreover, he owns a colourfully calm Lambris with about that to hanging, painted wall strings and a rococo chimney of marble which is up to height of the cover wood.

Nevertheless, central centre is the former inner courtyard which was reshaped by a roofing to a 2-storey hall. She serves with her pilasters as a Vestibül and stairwell. From there all rooms of the mansion are accessible. Their creation partially occurred in Dutch, partly in the classicistic style.

Old wall strings – the so-called Gartroper chinoiseries – were discovered in progress by restoration works from 2005. Besides, it concerns nine coherent canvases of 3.5-metre height and 80-to 98-centimetre width. On silvery gleaming, green ground with flowers and tendrils paintings they show the plants which are populated by exotic birds and in Chinese inspired scenes with women and children. Findings point to the fact that the strings come from the big baroque hall, because they well fitted to the green wooden version at that time of the space. Later the wall disguising was transferred in a smaller cabinet which was converted in the course of the time into a kitchen, so that the canvases disappeared, besides, under a wallpaper from the early days.

The Gartroper chinoiseries are especially valuable in her form and quality and incredibly in the space from the Lower Rhine. Merely in Potsdam teahouse of Friedrich II. comparable is found. Models for the wall strings very much popular in the 18th century in the Chinese style are rococo paintings as for example from Antoine Watteau and François Boucher.

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.

The castle Gartrop is a moated castle in the Hünxer district of Gartrop-Bühl. The castle arrangement lies near the country road between Hünxe and Schermbeck-Gahlen in the lip meadows in the southern area of the nature reserve high Mark-Westmünsterland. From the settlement of the former castle employee the today's place Gartrop developed.

The arrangement can be visited every second Thursday within the scope of events of the country inn resident there.

The plastered mansion in the strict style of the Dutch baroque is surrounded on three sides by a pond-like moat. In the 2-storey construction structural fabric of the first castle house from the 14th century is still included.

Four wings of the building surround a narrow inner courtyard which is roofed with a view dome. Besides, the eastern one and the western wing are shorter than remaining both and come out risalitartig of the construction body. The main entrance is in the biaxial east wing with a low watch tower which is concluded by an embowed bonnet with open lantern. Other three tracts of the simple construction own in each case a level hipped roof with small dormers.

7-stage steps lead to the main entrance from sandstone which is flanked by two half columns which run out on top in obelisks with ball handle. About the entrance the stone alliance coat of arms Albrecht Gisberts of Hüchtenbruck and his first Mrs. Johanna Katharina von Heiden as well as his second Mrs. Agne Maria von Bernsau is found.

Moreover, the annual number 1675 tells of the end of the construction time under Albrecht Gisbert son Albert Georg von Hüchtenbruck.

The most important space of the mansion is a big baroque hall in the ground floor which is developed to the Beletage. He owns a luxuriously formed relief stucco cover which is together with an alike formed copy in the castle Anholt incredibly on the Lower Rhine. Moreover, he owns a colourfully calm Lambris with about that to hanging, painted wall strings and a rococo chimney of marble which is up to height of the cover wood.

Nevertheless, central centre is the former inner courtyard which was reshaped by a roofing to a 2-storey hall. She serves with her pilasters as a Vestibül and stairwell. From there all rooms of the mansion are accessible. Their creation partially occurred in Dutch, partly in the classicistic style.

Old wall strings – the so-called Gartroper chinoiseries – were discovered in progress by restoration works from 2005. Besides, it concerns nine coherent canvases of 3.5-metre height and 80-to 98-centimetre width. On silvery gleaming, green ground with flowers and tendrils paintings they show the plants which are populated by exotic birds and in Chinese inspired scenes with women and children. Findings point to the fact that the strings come from the big baroque hall, because they well fitted to the green wooden version at that time of the space. Later the wall disguising was transferred in a smaller cabinet which was converted in the course of the time into a kitchen, so that the canvases disappeared, besides, under a wallpaper from the early days.

The Gartroper chinoiseries are especially valuable in her form and quality and incredibly in the space from the Lower Rhine. Merely in Potsdam teahouse of Friedrich II. comparable is found. Models for the wall strings very much popular in the 18th century in the Chinese style are rococo paintings as for example from Antoine Watteau and François Boucher.

Palacio de Valdecarzana-Heredia, Oviedo, Asturias, España.

El palacio de Valdecarzana-Heredia se localiza en la ciudad de Oviedo, capital del Principado de Asturias (España). Es una gran residencia palaciega urbana.

De estilo barroco desornamentado y academicista, la calle central es el eje compositivo y decorativo de esta fachada meridional, que está organizada, al igual que la occidental, en tres plantas separadas con líneas de imposta. La planta baja acoge la puerta de ingreso, de arco rebajado, entre pilastras con caja almohadillada. En el primer piso, se abre el balcón principal, enmarcado por dos semicolumnas de orden dórico. Sobre ellas reposa un entablamento quebrado, con friso decorativo clásico. Un frontón partido de volutas, ya en el piso superior, actúa de base del escudo, que rompe la línea de la cornisa. El escudo de los Heredia muestra a Hércules luchando con el león de Nemea y un mascarón, con la inscripción, a modo de diadema, del año 1774. Los siete balcones que se abren en el patio principal son de arco rebajado y presentan artísticos y moldurados remates, con veneras y máscaras.

The Valdecarzana-Heredia Palace is located in the city of Oviedo, capital of the Principality of Asturias (Spain). It is a large urban palatial residence.

In the unadorned and academic Baroque style, the central street is the compositional and decorative axis of this southern façade, which, like the western façade, is organized into three floors separated by impost lines. The ground floor houses the entrance door, with a lowered arch between pilasters and a cushioned box. On the first floor, the main balcony opens, framed by two Doric semi-columns. Above them rests a broken entablature with a classical decorative frieze. A broken pediment of volutes, on the upper floor, acts as the base of the coat of arms, which breaks the line of the cornice. The Heredia coat of arms shows Hercules fighting the Nemean lion and a figurehead, with the inscription, like a diadem, of the year 1774. The seven balconies that open onto the main courtyard have lowered arches and feature artistic, moulded finials, with scallops and masks.

Покро́вская це́рковь — православный каменный храм, сооружённый в Киеве на Подоле в 1772 году по проекту архитектора И. Г. Григоровича-Барского на месте старой деревянной церкви. Является памятником архитектуры Украины.

Вулиця Бо́ричів Тік — вулиця в Подільському районі міста Києва, місцевість Поділ. Пролягає від Боричевого узвозу до Фролівської вулиці.

Місцевість, де пролягає вулиця, відома ще з часів Київської Русі. У X–XVII століттях тут селилися переважно ремісники. Власне вулиця Боричів Тік по її сучасній лінії виникла після Подільської пожежі 1811 року, яка знищила дерев'яну забудову і, за свідченнями очевидців та архівними документами, «перетворила на попіл найкращу частину міста». Вулиця була прокладена у зв'язку з переплануванням Подолу за проектом архітектора Вільяма Гесте, згідно з яким Поділ був поділений сіткою вулиць на прямокутні квартали.

Sobre un zócalo de piedra de granito y rodeado por una reja de hierro policromado y dorado, se levanta el sepulcro del infante Don Pedro, muerto en julio de 1366 al caer desde una ventana del Alcázar de Segovia, según cuenta la tradición.

El sepulcro que vemos en la imagen, fue realizado en la segunda mitad del siglo XVI, cuando se trasladaron los restos desde la catedral vieja.

El que sirve de base guarda en su interior, en un nicho rectangular excavado en la piedra, un cofre que contenía una blusa de seda con botones de tela, un faldón, un cinturón y tres huesos (la tibia derecha y ambos fémures).

El bloque de piedra que sirve de tapa, está tallado con la figura yacente del niño. Tanto la base como la tapa están policromadas al óleo y presentan zonas doradas al mixtión. La decoración pintada imita diferentes piedras de mármol.

La reja, de estilo renacentista, está formada por balaustres de hierro policromado en azul y dorado en los anillos y pilastras de las esquinas. En el friso superior aparece la inscripción: “AQVÍ IAZE EL INFANTE DON PEDRO FIJO DEL SEÑOR REI DON ENRRIQVE SEGUNDO – ERA – 1404 – AN – 1366”.

On a granite stone plinth and surrounded by a polychrome and gilded iron grille, stands the tomb of Infante Don Pedro, who died in July 1366 after falling from a window in the Alcázar of Segovia, according to tradition.

The tomb seen in the image was made in the second half of the 16th century, when the remains were moved from the old cathedral.

The tomb serving as the base houses, in a rectangular niche carved into the stone, a chest containing a silk blouse with cloth buttons, a skirt, a belt, and three bones (the right tibia and both femurs).

The stone block serving as the lid is carved with the recumbent figure of the child. Both the base and lid are painted in oil paint and feature gilded areas. The painted decoration imitates various marble stones.

The Renaissance-style railing is made up of polychrome iron balusters in blue and gold on the rings and corner pilasters. The upper frieze bears the inscription: “AQVÍ IAZE EL INFANTE DON PEDRO FIJO DEL SEÑOR REI DON ENRRIQVE SEGUNDO – ERA – 1404 – AN – 1366.”

Iconostasis (view from the north wall of the temple) of the Cathedral of the Archangel Michael Mikhailovsky Zlatoverho monastery.

Около 1713 г. на средства киевского генерал - губернатора Д. М. Голицына в соборе был перестроен северный придел великомученицы Варвары, стены которого расписаны в 1818 г. Голицын заказал для Варваринского придела деревянный резной иконостас и деревянный балдахин над ракой с мощами великомученицы Варвары.

В 1877 г., при епископе Порфирии (Успенском), на средства московского купца В. Зенина был построен новый 3-ярусный позолоченный иконостас.

В 1731 г., возможно на пожертвования императора Петра I и его супруги Екатерины, с южной стороны Михайловского собора симметрично Варваринскому был пристроен придел во имя великомученицы Екатерины. В 3-ярусном иконостасе имелись иконы великомучениц Екатерины и Варвары в серебряных ризах.

Для освещения собора между основным объемом и приделами были вырезаны широкие арки.

В 1820 г. на средства иеромонаха Иеронима стены Екатерининского придела были расписаны сценами из Апокалипсиса; в 1888 г. росписи «возобновлены».

Background

Built by the Dutch Railways as Head Administration Building III sober Cubist-Expressionist style by pulling the Amsterdam School design by GW of Heukelom. Together with the two previous buildings, namely Main Administration Building 1 (designed by architects NJ Kamperdijk and C. Vermeijs, built in 1870-71 / designed by AC Finch expanded in 1879) and Head of Administration Building II (designed by JF Klinkhamer, built in 1893- 95) the ensemble has the status of national monument.

The monument register speaks of a "sober detail office building in modern brick building, designed according to rationalist principles - identified in the symmetric uniformly distributed plan and the use of as many windows as well as the emphasis on the structure by the use of buttresses, pilasters and arches - and designed in a cubist-expressionist style which the great variety in slab construction volumes and rhythmic facade layout with many niches and developed buttresses characteristic; also important from the viewpoint of the administrative development of the railways, created as it was following the merger of me. Exploitation of State Railways and the Dutch Railways in 1917. "

Exterior

If Main III of Dutch Railways established large, flat-topped office at the height of five storeys - basement, ground floor and three floors bell - entirely in brick built in austere Cubist-Expressionist style designed by GW Heukelom in 1918-21 around a rectangular courtyard in a completely symmetric basis in both on the outside and on the side of the courtyard a higher uplink middle ressault with effect party in each of the walls (with the exception of the ZW-wall on the inside), and in looked down upon kicking, annex water tower in recognition of the NO to the side-situated main entrance; the whole is surrounded by a low garden brick wall, partly consisting of misfires and further provided with block-shaped reinforcements, in correspondence with the located stepwise upwardly tapering buttresses against the walls, that count, respectively, 19 and 16 bays. In addition to these buttresses are the facades further articulated by the recessed applied high narrow windows with similar steel rod division, but varying in length and width and rhythmically grouped by two, three or four, in each as a savings field treated bay with pilaster strips and dental strips in the frame .

Triple main entrance with wide and high stone sidewalk, has completed law itself abruptly deepening niches in which the double wooden doors with brass railings are installed and crowned by terracotta friezes, as well as four more senior stylized heads manufactured by WC Brouwer and lead bulb holders, recessed in the front and repeated on the corners, fitted at the Amsterdam School-related and curly motives

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Фрагмент зображення верхнього лівого фронтону лицьового західного фасаду собору. У центрі розпису - постать преподобного Феодосія Печерського, оточена картинами, що розповідають про його святі діяння.

Преподобний Антоній мирно помер 1074 р., а преподобний Феодосій опікувався побудовою храму і через рік, коли було зведено стіни, також спочив сном праведника. Спорудження церкви була закінчено у 1077 р., а третій рік ігуменства Стефана Печерського (1040-1094), наступника преподобного Феодосія на престолі.

The so-called Stadlerkapelle near Kiefenholz is one of my favorite places. It has a gable roof with tail gables, pilasters and a round-arched opening and was built in the 17th century. The two large-leaved linden (Tilia platyphyllos, in German Sommerlinde) are between 100 and 200 years old.

This morning, we still had white frost near the river Danube. so we strolled around near the village Pfatter. Going back home, I made this picture.

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Ce passage forme le prolongement de la rue de Choiseul, qui porte le nom d'Étienne-François de Choiseul-Beaupré-Stainville, ministre de la Guerre et ministre des Affaires étrangères sous Louis XV.

Le passage Choiseul fut édifié entre 1825 et 1827 à proximité des Grands Boulevards, alors très fréquentés, à l'initiative de la banque Mallet et Cie en vue de réaliser une opération d'ordre spéculatif.

Pour cela, on fit détruire les hôtels de Lionne, de Langlée, de Gesvres (dont le porche constitue encore l’entrée nord du passage) et Radepont, en projetant de construire des immeubles à leur place. Or, seul le passage Choiseul fut bâti finalement.

Les plans ont été dessinés par l'architecte François Mazois1 mais celui-ci ne verra pas l'achèvement de son travail puisqu'il meurt en 1826. La relève est assurée par Antoine Tavernier qui fut chargé de l'achèvement du passage.

Le passage est le plus long des passages couverts parisiens avec une longueur de 190 m pour une largeur de 3,7 m. Il consiste en une enfilade d'arcades sur pilastres au niveau du rez-de-chaussée. Ce dernier et l'entresol sont occupés en majorité par des boutiques tandis que les premier et second étages sont plutôt résidentiels. Il est recouvert d'une verrière qui fut remplacée vers 1907.

This passage forms the extension of the rue de Choiseul, named after Étienne-François de Choiseul-Beaupré-Stainville, Minister of War and Minister of Foreign Affairs under Louis XV.

The Passage Choiseul was built between 1825 and 1827 near the Grands Boulevards, which were very busy at the time, on the initiative of the bank Mallet et Cie in order to carry out a speculative operation.

To this end, the hotels of Lionne, Langlée, Gesvres (whose porch still forms the northern entrance to the passage) and Radepont were demolished, with plans to construct buildings in their place. However, only the Passage Choiseul was finally built.

The plans were drawn up by the architect François Mazois1 but he did not see his work through to completion as he died in 1826. He was succeeded by Antoine Tavernier, who was responsible for completing the passage.

The passage is the longest of the Parisian covered passages with a length of 190 m for a width of 3.7 m. It consists of a series of arcades on pilasters on the ground floor. The ground floor and the mezzanine are mostly occupied by shops, while the first and second floors are more residential. It is covered by a glass roof which was replaced around 1907.

The tower you see is a from a different building and not part of this one.This is the 1881 (the year built is in Roman numerals behind the red flag) W.&J. Sloane Building at 889-888 Broadway between 18th and 19th Streets in the Flatiron district in Manhattan.There are some pretty fascinating detail on this structure.They're not very clear in the shot however.The link below shows them better.There are birds,monsters,angels,and other figures in the terra-cotta pilasters and panels on the facade.The brothers William and John Sloane,were natives of Scotland who mastered the craft of weaving.The Sloane firm gained a reputation for selling high quality goods after the Civil War and then catered to the New York carriage trade.They did well esp in the carpet industry controlling the product in a great number of domestic and foreign carpet- mills.They also did interior design,upholstery,and antiques.Nearly every major hotel in NYC-the Waldorf Astoria,Plaza,and Savoy among them-was decorated and carpeted by Sloane.daytoninmanhattan.blogspot.com/2011/12/w-j-sloane-buildli...

The Parish Church of Santa María de Alcoy is situated in the historic centre of Alcoy, in the Plaza de España. Neoclassical in style and built in the 18th century, its origins date back to the 13th century. The main façade is imposing and stands out for its neoclassical style façade with columns and pilasters, with two symmetrical bell towers flanking the façade. A large central rose window allows natural light to enter, while a large central rose window allows natural light to enter, while a large central rose window allows natural light to enter. There is a central dome over the transept, as well as side chapels between the buttresses. Its sober decoration is typical of the neoclassical period, while its high altarpiece is dedicated to the Assumption of the Blessed Virgin Mary. The church suffered major damage during the Spanish Civil War and had to be partially rebuilt. It is one of the most significant religious buildings in Alcoy and is still the centre of many religious and cultural celebrations in the city, including the famous Moors and Christians festivities.

Sobre un zócalo de piedra de granito y rodeado por una reja de hierro policromado y dorado, se levanta el sepulcro del infante Don Pedro, muerto en julio de 1366 al caer desde una ventana del Alcázar de Segovia, según cuenta la tradición.

El sepulcro que vemos en la imagen, fue realizado en la segunda mitad del siglo XVI, cuando se trasladaron los restos desde la catedral vieja.

El que sirve de base guarda en su interior, en un nicho rectangular excavado en la piedra, un cofre que contenía una blusa de seda con botones de tela, un faldón, un cinturón y tres huesos (la tibia derecha y ambos fémures).

El bloque de piedra que sirve de tapa, está tallado con la figura yacente del niño. Tanto la base como la tapa están policromadas al óleo y presentan zonas doradas al mixtión. La decoración pintada imita diferentes piedras de mármol.

La reja, de estilo renacentista, está formada por balaustres de hierro policromado en azul y dorado en los anillos y pilastras de las esquinas. En el friso superior aparece la inscripción: “AQVÍ IAZE EL INFANTE DON PEDRO FIJO DEL SEÑOR REI DON ENRRIQVE SEGUNDO – ERA – 1404 – AN – 1366”.

On a granite stone plinth and surrounded by a polychrome and gilded iron grille, stands the tomb of Infante Don Pedro, who died in July 1366 after falling from a window in the Alcázar of Segovia, according to tradition.

The tomb seen in the image was made in the second half of the 16th century, when the remains were moved from the old cathedral.

The tomb serving as the base houses, in a rectangular niche carved into the stone, a chest containing a silk blouse with cloth buttons, a skirt, a belt, and three bones (the right tibia and both femurs).

The stone block serving as the lid is carved with the recumbent figure of the child. Both the base and lid are painted in oil paint and feature gilded areas. The painted decoration imitates various marble stones.

The Renaissance-style railing is made up of polychrome iron balusters in blue and gold on the rings and corner pilasters. The upper frieze bears the inscription: “AQVÍ IAZE EL INFANTE DON PEDRO FIJO DEL SEÑOR REI DON ENRRIQVE SEGUNDO – ERA – 1404 – AN – 1366.”

Le Palais des Princes-Évêques de Liège ou Palais épiscopal de Liège, se situe sur la place Saint-Lambert dans le centre de Liège. Le Palais actuel, devenu le Palais de justice de Liège, a été reconstruit au XVIe siècle à l'initiative du cardinal Érard de La Marck, à l'emplacement d'un ancien édifice détruit lors du sac de Charles le Téméraire. Une nouvelle aile néo-gothique, le Palais provincial, est construite entre 1849 et 1853.

La cour d'honneur est rectangulaire, de 59 m de longueur sur 42 m de largeur, et entourée d'une galerie ouverte, formée de 56 colonnes et 4 piliers d'angle, composés d'un faisceau de pilastres et de colonnes, qui soutiennent 60 arcades. La galerie du pourtour a 5,60 m de largeur sur 6,50 m d'élévation.

The Palace of the Princes-Bishops of Liège or the Episcopal Palace of Liège, is located on the Place Saint-Lambert in the center of Liège. The present-day Palace, now the Palace of Justice of Liège, was rebuilt in the 16th century at the initiative of Cardinal Érard de La Marck, on the site of an old building destroyed during the sack of Charles the Bold. A new neo-Gothic wing, the Provincial Palace, was built between 1849 and 1853.

The courtyard is rectangular, 59 m long by 42 m wide, and surrounded by an open gallery, consisting of 56 columns and 4 corner pillars, consisting of a bundle of pilasters and columns, Support 60 arcades. The perimeter gallery is 5.60 m wide by 6.50 m elevation.

The Anglican Church of St Swithin on The Paragon in the Walcot area of Bath, England, was built between 1777 and 1790. It is a Grade II* listed building.

The church stands on the site of a previous place of worship dating back to the 10th century, the remains of which are beneath the crypt. The dedication is to Swithun, an Anglo-Saxon Bishop of Winchester and subsequently patron saint of Winchester Cathedral. Jane Austen's parents were married at St Swithin's on 26 April 1764 and her father George Austen is buried there.

The current building was erected by John Palmer between 1777 and 1790. His new church opened in 1777 but was soon too small for its growing congregation, as the city became increasingly popular and expanded well beyond its traditional boundaries.

On 30 May 1797 the abolitionist William Wilberforce and Barbara Spooner Wilberforce were married in the church. In 1805 it was the burial place of the writer and poet Christopher Anstey and, in 1831, of Rear Admiral Sir Edward Berry. In 1840 it was the burial place of the writer Frances Burney; her husband, General Alexandre D'Arblay was buried there in 1818. The church house, number 38, The Paragon, was built in the early 18th century. A depiction of the Ascension of Jesus in stained glass was added to the east wall in the 1840s. The adjoining cemetery has gates with a rusticated base and panels with inverted torches between pilasters. There is an entablature with metopes and triglyphs.

This description incorporates text from the English Wikipedia.

10 km from Gori on the bank of the river Kura there stands one of the rarest monuments in the world – the ancient fortified city Uplistsikhe cut inside the volcanic rocks of the Kvernaki ridge. It was first mentioned in the annals of the 1st century BC and prospered in the 9th -10th centuries.

Even from afar this quaint rocky city looks bewitching. Looking like giant pores on the rocks gape the cave grottoes, which used to be full of life. Long time ago there were huge majestic halls, temples, dwellings connected by winding corridors of streets. It is hard to believe that this grandiose titanic creation of the whole city from stone was done by human hands.

Hundreds of different structures – temples, public buildings, houses, streets, squares etc. were cut inside the rock. Despite the non-standard approach to the construction, the buildings of Uplistsikhe accurately repeat the samples of conventional architecture: columns, pilasters, capitals, arches, etc. The city was surrounded by the protective moat surrounding it from the east and the north. Uplistsikhe had four gates from all parts of the world.

The cave city still has the two-column “reception hall of Queen Tamara” with arch niches and huge pylons. It is magnificent in its sizes, perfect workmanship and graceful architectural forms. Some premises, wine storages, fragments of temples and fortifications, the secret underground tunnel used for water supply are still intact.

Uplistsikhe was a cult temple city, a large pagan centre prior to Christianity introduction in Georgia (the 4 th century). Later they observed every possible pagan rituals, and sacrifices. Later Christian churches were built.

In the 13 th century Uplistsikhe was destroyed as a result of devastating invasion of Genghis-khan hordes to Georgia.

In the 19 th century Uplistsikhe was lost under the layers of dirt and sand. Huge efforts of many experts in its excavation, cleaning, strengthening, restoration and studying of this outstanding historical monument in the history of Georgian culture revived Uplistsikhe which is listed among the historical monuments protected by UNESCO.

Victoria House as seen from Bloomsbury Square

The building was constructed with a steel frame and Portland stone façades. It has eight main storeys, plus basement and sub-basement, with 15 bays along the east and west elevations, and five bays on the north and south sides. The rusticated ground floor level has retail units on Southampton Row. Giant order pilaster, separated by window openings, span the second to fourth floors, with porticos in the centre of each long side. The tympanum of each triangular pediment includes figurative sculptures by Herbert William Palliser, with the group to the west representing the bounty of the natural world and the group to the east representing navigation and industry. Two further storeys in the frieze and parapet levels, and two in the green slate mansard roof with dormer windows, topped by a small central two-storey feature above the mansard.[1]

The Cattedrale di Santa Maria del Fiore (Italian pronunciation: [katteˈdraːle di ˈsanta maˈriːa del ˈfjoːre]; in English "Cathedral of Saint Mary of the Flowers") is the main church of Florence, Italy. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi. The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.

The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile. These three buildings are part of the UNESCO World Heritage Site covering the historic centre of Florence and are a major attraction to tourists visiting Tuscany. The basilica is one of Italy's largest churches, and until development of new structural materials in the modern era, the dome was the largest in the world. It remains the largest brick dome ever constructed.

The cathedral is the mother church of the Roman Catholic Archdiocese of Florence, whose archbishop is currently Giuseppe Betori.

Santa Maria del Fiore was built on the site of an earlier cathedral dedicated to Saint Reparata. The ancient structure, founded in the early 5th century and having undergone many repairs, was crumbling with age, according to the 14th-century Nuova Cronica of Giovanni Villani, and was no longer large enough to serve the growing population of the city. Other major Tuscan cities had undertaken ambitious reconstructions of their cathedrals during the Late Medieval period, such as Pisa and particularly Siena where the enormous proposed extensions were never completed.

Giotto's bell tower (campanile)

The new church was designed by Arnolfo di Cambio and approved by city council in 1294. Di Cambio was also architect of the church of Santa Croce and the Palazzo Vecchio. He designed three wide naves ending under the octagonal dome, with the middle nave covering the area of Santa Reparata. The first stone was laid on September 9, 1296, by Cardinal Valeriana, the first papal legate ever sent to Florence. The building of this vast project was to last 140 years; Arnolfo's plan for the eastern end, although maintained in concept, was greatly expanded in size.

After Arnolfo died in 1310, work on the cathedral slowed for thirty years. When the relics of Saint Zenobius were discovered in 1330 in Santa Reparata, the project gained a new impetus. In 1331, the Arte della Lana, the guild of wool merchants, took over patronage for the construction of the cathedral and in 1334 appointed Giotto to oversee the work. Assisted by Andrea Pisano, Giotto continued di Cambio's design. His major accomplishment was the building of the campanile. When Giotto died in 1337, Andrea Pisano continued the building until work was halted due to the Black Death in 1348.

In 1349, work resumed on the cathedral under a series of architects, starting with Francesco Talenti, who finished the campanile and enlarged the overall project to include the apse and the side chapels. In 1359, Talenti was succeeded by Giovanni di Lapo Ghini (1360–1369) who divided the center nave in four square bays. Other architects were Alberto Arnoldi, Giovanni d'Ambrogio, Neri di Fioravante and Andrea Orcagna. By 1375, the old church Santa Reparata was pulled down. The nave was finished by 1380, and by 1418, only the dome remained incomplete.

On 18 August 1418, the Arte della Lana announced an architectural design competition for erecting Neri's dome. The two main competitors were two master goldsmiths, Lorenzo Ghiberti and Filippo Brunelleschi, the latter of whom was supported by Cosimo de Medici. Ghiberti had been the winner of a competition for a pair of bronze doors for the Baptistery in 1401 and lifelong competition between the two remained sharp. Brunelleschi won and received the commission.

Ghiberti, appointed coadjutator, drew a salary equal to Brunelleschi's and, though neither was awarded the announced prize of 200 florins, was promised equal credit, although he spent most of his time on other projects. When Brunelleschi became ill, or feigned illness, the project was briefly in the hands of Ghiberti. But Ghiberti soon had to admit that the whole project was beyond him. In 1423, Brunelleschi was back in charge and took over sole responsibility.

Work started on the dome in 1420 and was completed in 1436. The cathedral was consecrated by Pope Eugene IV on March 25, 1436, (the first day of the year according to the Florentine calendar). It was the first 'octagonal' dome in history to be built without a temporary wooden supporting frame. It was one of the most impressive projects of the Renaissance. During the consecration in 1436, Guillaume Dufay's motet Nuper rosarum flores was performed. The structure of this motet was strongly influenced by the structure of the dome.

The decoration of the exterior of the cathedral, begun in the 14th century, was not completed until 1887, when the polychrome marble façade was completed with the design of Emilio De Fabris. The floor of the church was relaid in marble tiles in the 16th century.

The exterior walls are faced in alternate vertical and horizontal bands of polychrome marble from Carrara (white), Prato (green), Siena (red), Lavenza and a few other places. These marble bands had to repeat the already existing bands on the walls of the earlier adjacent baptistery the Battistero di San Giovanni and Giotto's Bell Tower. There are two side doors: the Doors of the Canonici (south side) and the Door of the Mandorla (north side) with sculptures by Nanni di Banco, Donatello, and Jacopo della Quercia. The six side windows, notable for their delicate tracery and ornaments, are separated by pilasters. Only the four windows closest to the transept admit light; the other two are merely ornamental. The clerestory windows are round, a common feature in Italian Gothic.

During its long history, this cathedral has been the seat of the Council of Florence (1439), heard the preachings of Girolamo Savonarola and witnessed the murder of Giuliano di Piero de' Medici on Sunday, 26 April 1478 (with Lorenzo Il Magnifico barely escaping death), in the Pazzi conspiracy.

For further information please visit en.wikipedia.org/wiki/Piazza_del_Duomo,_Florence

Florence (/ˈflɒrəns/ FLOR-əns; Italian: Firenze [fiˈrɛntse] ( listen)) is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with approximately 382,000 inhabitants, expanding to over 1,520,000 in the metropolitan area.

Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time, is considered the birthplace of the Renaissance, and has been called "the Athens of the Middle Ages". A turbulent political history includes periods of rule by the powerful Medici family, and numerous religious and republican revolutions. From 1865 to 1871 the city was the capital of the recently established Kingdom of Italy.

The Historic Centre of Florence attracts 13 millions of tourists each year, and Euromonitor International ranked the city as the world's 89th most visited in 2012, with 1.8 million visitors. It was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture and monuments. The city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florence's artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world.

Florence is an important city in Italian fashion, being ranked in the top 51 fashion capitals of the world; furthermore, it is a major national economic centre, as well as a tourist and industrial hub. In 2008, the city had the 17th highest average income in Italy.

For further information please visit en.wikipedia.org/wiki/Florence

Excerpt from cdnsm5-hosted.civiclive.com/UserFiles/Servers/Server_1218...:

The Public Utilities Commission building is an example of Modern Classicism architecture where building forms are simplified to a reduced and economic form. It is a reflection of early 1920's architecture and a prominent style for public buildings at the time.

The PUC building has symmetrical facades, flat roof, prominent entablatures, and stone trim as characteristic of Modern Classicism. The building design is simple and rectangular in its floor plan.

lts façades are similar but dissimilar, detailed and prominent on the street faces and reduced on the remaining facades. A concrete base 3'—0"in height founds the building and sets its first floor.

The main entrance to the building is centred in the symmetrical east façade which faces St. Catharine Street. The entrance contains a pair of wood doors with a wood transom terminating at a stone pediment. The stone pediment has a top which is curved on three sides and meets the brick face of the building. Two stone supports, one on each of the pilasters, holds the pediment in place. The wood doors contain 3/4 glazed panels. The entrance is flanked by stone pilasters which project from the brick face of the building. A light exists at mid height in each of the pilasters, The original name of the building appears in the head of the entrance below the stone pediment.

10 km from Gori on the bank of the river Kura there stands one of the rarest monuments in the world – the ancient fortified city Uplistsikhe cut inside the volcanic rocks of the Kvernaki ridge. It was first mentioned in the annals of the 1st century BC and prospered in the 9th -10th centuries.

Even from afar this quaint rocky city looks bewitching. Looking like giant pores on the rocks gape the cave grottoes, which used to be full of life. Long time ago there were huge majestic halls, temples, dwellings connected by winding corridors of streets. It is hard to believe that this grandiose titanic creation of the whole city from stone was done by human hands.

Hundreds of different structures – temples, public buildings, houses, streets, squares etc. were cut inside the rock. Despite the non-standard approach to the construction, the buildings of Uplistsikhe accurately repeat the samples of conventional architecture: columns, pilasters, capitals, arches, etc. The city was surrounded by the protective moat surrounding it from the east and the north. Uplistsikhe had four gates from all parts of the world.

The cave city still has the two-column “reception hall of Queen Tamara” with arch niches and huge pylons. It is magnificent in its sizes, perfect workmanship and graceful architectural forms. Some premises, wine storages, fragments of temples and fortifications, the secret underground tunnel used for water supply are still intact.

Uplistsikhe was a cult temple city, a large pagan centre prior to Christianity introduction in Georgia (the 4 th century). Later they observed every possible pagan rituals, and sacrifices. Later Christian churches were built.

In the 13 th century Uplistsikhe was destroyed as a result of devastating invasion of Genghis-khan hordes to Georgia.

In the 19 th century Uplistsikhe was lost under the layers of dirt and sand. Huge efforts of many experts in its excavation, cleaning, strengthening, restoration and studying of this outstanding historical monument in the history of Georgian culture revived Uplistsikhe which is listed among the historical monuments protected by UNESCO.

Der Blick auf die westliche Langhausdecke mit den nachträglich eingeplanten Seitenemporen und deren Gitterbrüstungen die Laufgänge entlang der Seitenmauern absichern. Der Innenaufbau gestaltet sich als dreigeschossiger Wandpfeilerbau da die Wanddurchbrüche so schmal sind, daß diese nicht als Seitenschiffe betrachtet werden.

Excerpt from www.centralelgin.org/en/recreation-and-culture/Heritage/H...:

Morrow House

232 Colborne Street, Port Stanley

The Morrow house in Port Stanley has been designated for both cultural and architectural reasons. It is a fine example of a Regency Cottage style with the central doorway with pilasters on either side. The windows are balanced and features typical sashes of the 1840s. The building was originally the first library in Port and later the offices of Dr. Jackson and then Dr. Clinton Bell. It had been neglected for many years but a few years ago, John and Cathy Morrow purchased the home and restored much of its heritage features.

10 km from Gori on the bank of the river Kura there stands one of the rarest monuments in the world – the ancient fortified city Uplistsikhe cut inside the volcanic rocks of the Kvernaki ridge. It was first mentioned in the annals of the 1st century BC and prospered in the 9th -10th centuries.

Even from afar this quaint rocky city looks bewitching. Looking like giant pores on the rocks gape the cave grottoes, which used to be full of life. Long time ago there were huge majestic halls, temples, dwellings connected by winding corridors of streets. It is hard to believe that this grandiose titanic creation of the whole city from stone was done by human hands.

Hundreds of different structures – temples, public buildings, houses, streets, squares etc. were cut inside the rock. Despite the non-standard approach to the construction, the buildings of Uplistsikhe accurately repeat the samples of conventional architecture: columns, pilasters, capitals, arches, etc. The city was surrounded by the protective moat surrounding it from the east and the north. Uplistsikhe had four gates from all parts of the world.

The cave city still has the two-column “reception hall of Queen Tamara” with arch niches and huge pylons. It is magnificent in its sizes, perfect workmanship and graceful architectural forms. Some premises, wine storages, fragments of temples and fortifications, the secret underground tunnel used for water supply are still intact.

Uplistsikhe was a cult temple city, a large pagan centre prior to Christianity introduction in Georgia (the 4 th century). Later they observed every possible pagan rituals, and sacrifices. Later Christian churches were built.

In the 13 th century Uplistsikhe was destroyed as a result of devastating invasion of Genghis-khan hordes to Georgia.

In the 19 th century Uplistsikhe was lost under the layers of dirt and sand. Huge efforts of many experts in its excavation, cleaning, strengthening, restoration and studying of this outstanding historical monument in the history of Georgian culture revived Uplistsikhe which is listed among the historical monuments protected by UNESCO.

Built in 1883-1884, this Queen Anne-style townhouse was built for R. Philip Gormully, an owner of an architectural sheet metal manufacturing firm, and demonstrates some of the products that his company manufactured. Gormully also was a founder of the bicycle manufacturing firm known as Gormully & Jeffery, the second bicycle manufacturer to be incorporated in the United States in 1879. The house features a rusticated sandstone base with a large tripartite first floor picture window with transoms, a front door with a transom and sidelights, and a corner pilaster with a Corinthian column, a second-story oriel window clad in copper with curved corners and an iron railing on the roof, wooden shingle cladding not he second floor, decorative copper trim, decorative window surrounds, a front gable, clad-clad mansard roof, a copper railing on the roof, and a front-gable dormer. The house is a contributing structure in the Gold Coast Historic District, listed on the National Register of Historic Places in 1978.

C'est reparti, mais ce sera en dent de scie

Encore un bel ouvrage pour le 2 rue des Clercs. Il semblerait daté du milieu du XIXe siècle et fait appel aux souvenirs de la Renaissance pour arranger les ornements. La pierre de Jaumont continue à recouvrir la ville de Metz et est particulièrement finement taillée ici.

Infos : Blog d'un messin ayant refait le portrait à cet édifice (FR) && Ravalement de façade numérique YT (Multi)

The castle Gartrop is a moated castle in the Hünxer district of Gartrop-Bühl. The castle arrangement lies near the country road between Hünxe and Schermbeck-Gahlen in the lip meadows in the southern area of the nature reserve high Mark-Westmünsterland. From the settlement of the former castle employee the today's place Gartrop developed.

The arrangement can be visited every second Thursday within the scope of events of the country inn resident there.

The plastered mansion in the strict style of the Dutch baroque is surrounded on three sides by a pond-like moat. In the 2-storey construction structural fabric of the first castle house from the 14th century is still included.

Four wings of the building surround a narrow inner courtyard which is roofed with a view dome. Besides, the eastern one and the western wing are shorter than remaining both and come out risalitartig of the construction body. The main entrance is in the biaxial east wing with a low watch tower which is concluded by an embowed bonnet with open lantern. Other three tracts of the simple construction own in each case a level hipped roof with small dormers.

7-stage steps lead to the main entrance from sandstone which is flanked by two half columns which run out on top in obelisks with ball handle. About the entrance the stone alliance coat of arms Albrecht Gisberts of Hüchtenbruck and his first Mrs. Johanna Katharina von Heiden as well as his second Mrs. Agne Maria von Bernsau is found.

Moreover, the annual number 1675 tells of the end of the construction time under Albrecht Gisbert son Albert Georg von Hüchtenbruck.

The most important space of the mansion is a big baroque hall in the ground floor which is developed to the Beletage. He owns a luxuriously formed relief stucco cover which is together with an alike formed copy in the castle Anholt incredibly on the Lower Rhine. Moreover, he owns a colourfully calm Lambris with about that to hanging, painted wall strings and a rococo chimney of marble which is up to height of the cover wood.

Nevertheless, central centre is the former inner courtyard which was reshaped by a roofing to a 2-storey hall. She serves with her pilasters as a Vestibül and stairwell. From there all rooms of the mansion are accessible. Their creation partially occurred in Dutch, partly in the classicistic style.

Old wall strings – the so-called Gartroper chinoiseries – were discovered in progress by restoration works from 2005. Besides, it concerns nine coherent canvases of 3.5-metre height and 80-to 98-centimetre width. On silvery gleaming, green ground with flowers and tendrils paintings they show the plants which are populated by exotic birds and in Chinese inspired scenes with women and children. Findings point to the fact that the strings come from the big baroque hall, because they well fitted to the green wooden version at that time of the space. Later the wall disguising was transferred in a smaller cabinet which was converted in the course of the time into a kitchen, so that the canvases disappeared, besides, under a wallpaper from the early days.

The Gartroper chinoiseries are especially valuable in her form and quality and incredibly in the space from the Lower Rhine. Merely in Potsdam teahouse Of Friedrich II. comparable is found. Models for the wall strings very much popular in the 18th century in the Chinese style are rococo paintings as for example from Antoine Watteau and François Boucher.

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St Augustine's Roman Catholic Church was dedicated in 1840. It was the first newly built Roman Catholic church in Utrecht after the Reformation. The building was designed by K.G. Zocher. Its style is Classic Revival, which was favoured by the Department of Waterways. At that time the Department was officially responsible for the construction and architecture of newly built churches.

The interior of St Augustine's shows a large undivided Neo-Baroque space, a richly stuccoed barrel vault and classical capitals on top of columns and pilasters.

(source: www.kerkenkijken.nl/english/churches/augustinuskerk)

The paintings around on the walls, the fourteen Stations of the Cross, probably date from 1865.

Submitted: 19/11/2025

Accepted: 21/11/2025

Grade II* listed bridge over River Severn. 1769, rebuilt 1926.

Original design by John Gwynn. Ashlar. 7-arch span, with pilasters and cutwaters between the arches.

Rusticated voussoirs to shallow segmental arches, and stressed keystones with shell motifs.

Central arch emphasised with dolphins carved on the cutwaters, and a head of Neptune on the keystone.

Balustraded parapet with solid panels over each pilaster carrying ball finials, and over the centres of the arches, carrying cast-iron lamp standards.

Central panel has pediment, with date and Salop arms on outer face, inscribed with details of construction and reconstruction on inner face. Curved flight of steps to north west leads from road to river level.

For more photographs of Shrewsbury please click here: www.jhluxton.com/England/Shropshire/Shrewsbury/

The River Severn at English Bridge viewed from MV SABRINA.

Grade II* listed bridge over River Severn. 1769, rebuilt 1926.

Original design by John Gwynn. Ashlar. 7-arch span, with pilasters and cutwaters between the arches.

Rusticated voussoirs to shallow segmental arches, and stressed keystones with shell motifs.

Central arch emphasised with dolphins carved on the cutwaters, and a head of Neptune on the keystone.

Balustraded parapet with solid panels over each pilaster carrying ball finials, and over the centres of the arches, carrying cast-iron lamp standards.

Central panel has pediment, with date and Salop arms on outer face, inscribed with details of construction and reconstruction on inner face. Curved flight of steps to north west leads from road to river level.

For more photographs of Shrewsbury please click here: www.jhluxton.com/England/Shropshire/Shrewsbury/

The chapel of the Madonna di Vitaleta is located on a dirt road that leads from Pienza to San Quirico d'Orcia and is protected by UNESCO.

The side facades are covered in stone, as is the rear part of the religious building at the top of which rises a bell gable with two contiguous round arched bell cells.

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Das mit rotem Sandstein verblendete Verwaltungsgebäude erzielt seine monumentale Wirkung aus der Kombination von Material, Masse, Struktur und Symbolik: Die Fassade erhält durch langgestreckte Pilaster eine vertikale Akzentuierung und wirkt durch sie wie ein zu einem „stabilen Gitter“ geformtes Mauerwerk. Das betont die Schwere des Baukörpers. Das Dachgeschoss ist hoch ausgebaut und reich mit bauplastischem Schmuck ausgestattet worden. So stellen zahlreiche Skulpturen allegorisch die Industrie und den Handel dar.

Der Stahlhof an der Bastionstraße in Düsseldorf ist heute der Sitz des Verwaltungsgerichts Düsseldorf.

The administration building, clad in red sandstone, achieves its monumental effect through the combination of material, mass, structure and symbolism: the facade is given a vertical accentuation by elongated pilasters and looks like masonry formed into a "stable grid". This emphasises the weight of the building. The attic is high and richly decorated with sculptural ornaments. Numerous sculptures allegorically represent industry and trade.

The Stahlhof on Bastionstrasse in Düsseldorf is now the seat of the Düsseldorf Administrative Court.

Миха́йловский собо́р, храм во и́мя Архистрати́га Михаи́ла — одна из древнейших построек и памятник архитектуры XI—XVIII веков в ансамбле Выдубицкого монастыря. Собор был сооружён в 1070—1088 годах Всеволодом Ярославичем, сыном Ярослава Мудрого.

Церковь основана в 1071 г. Построенная на утесе вблизи днепровского берега, она, по преданию, в 1181 г. обрушилась, но была в скором времени восстановлена. Сохранились прекрасно стены древней кладки. В середине XVII века обновлена и украшена митрополитом Петром Могилой. Храм каменный, двухэтажный; в первом этаже – церковь чуда архистратига Михаила; во втором – Благовещения пресвятой богородицы.

Лестница на второй этаж древняя, каменная, винтовая, византийско-романского типа; снаружи храм оштукатурен и обелен известью; с северной стороны, по древней штукатурке, надпись весьма слабого рельефа, неразборчивая.

Иконостасы и царские врата как в первом, так и во втором этаже – деревянные, резные, золоченые.

«В 1070-1088 pp. у Видубичах син Ярослава Мудрого - Всеволод збудував Михайлівську церкву - величезну восьмистовпову тринефну будівлю з каплицями-усипальницями по боках. Мальовничого вигляду надавало храму те, що стіни були декоровані різними за розмірами нішками. Води Дніпра підмили берег, і він обвалився, при цьому була зруйнована вся східна частина храму.» /Український мистецтвознавець і архітектор Григорій Никонович Логвин/

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The Church and Convent of São Domingos comprises a rectangular church with addorsed chapel (on the south), surrounded by various rectangular dependencies associated with the convent (in the north and east) and belltower (in the north). The principal facade with gable is topped by windings, includes two rectangular spans and 3 arches with access to the galilee, covered by vaults ceiling over corbels. In the southern lateral facade is a counter-curved doorway. The ruined door to the convent along the presbytery is distinguished by a coat-of-arms carved into the tympanum.

The unique nave is covered in tile with a high-choir over the galilee and part of the nave. On the epistle side is a lateral chapel with a Manueline tomb that hosts the two brothers, Pedro and Álvaro Rodrigues, the two alleged strategists that conquered the village in 1166. The main altar is covered with a vaulted ceiling open to the nave by rounded triumphal arch over pilasters.

🇫🇷 Le décor intérieur a été en grande partie refait au XIXe siècle. Il était autrefois de style baroque.

C'est en 1806 et 1807 que l'on décide de restaurer et d'enrichir le décor du choeur. C'est le peintre toscan Fausto Rossi puis Luidi Giordani qui sont chargés des travaux de peinture et de dorure des pilastres, de la grande corniche et de la voûte. Le peintre génois Giovan Battista Vicini est chargé des dorures. .

En 1867, on fait restaurer la voûte et on refait entièrement son décor

🇬🇧 The interior decoration was largely redone in the 19th century. It was once in the Baroque style.

It was in 1806 and 1807 that the choir was restored and enriched. The Tuscan painter Fausto Rossi and then Luidi Giordani are responsible for painting and gilding pilasters, the large cornice and the vault. Genoese painter Giovan Battista Vicini is in charge of gilding. .

In 1867, the vault was restored and its entire decor

🇩🇪 Die Inneneinrichtung wurde im 19. Jahrhundert weitgehend erneuert. Es war früher im Barockstil.

In den Jahren 1806 und 1807 beschloss man, das Chorbild zu restaurieren und zu bereichern. Der toskanische Maler Fausto Rossi und später Luidi Giordani waren für die Malerei und Vergoldung der Pilaster, des großen Gesimses und des Gewölbes verantwortlich. Für die Vergoldung ist der genuesische Maler Giovan Battista Vicini zuständig.

1867 wurde das Gewölbe restauriert und die Einrichtung komplett erneuert

🇮🇹 L'arredamento interno è stato in gran parte rifatto nel XIX secolo. Un tempo era in stile barocco.

Fu nel 1806 e nel 1807 che si decise di restaurare e arricchire la scenografia del coro. Fu il pittore toscano Fausto Rossi e poi Luidi Giordani che furono incaricati dei lavori di pittura e doratura dei pilastri, della grande cornice e della volta. Il pittore genovese Giovan Battista Vicini è incaricato delle dorature. .

Nel 1867 la volta fu restaurata e il suo arredamento fu completamente rifatto

L'arredamento interno è stato in gran parte rifatto nel XIX secolo. Un tempo era in stile barocco.

Fu nel 1806 e nel 1807 che si decise di restaurare e arricchire la scenografia del coro. Fu il pittore toscano Fausto Rossi e poi Luidi Giordani che furono incaricati dei lavori di pittura e doratura dei pilastri, della grande cornice e della volta. Il pittore genovese Giovan Battista Vicini è incaricato delle dorature. .

🇪🇸 Nel 1867 la volta fu restaurata e il suo arredamento fu completamente rifatto

Покровская церковь — православный каменный храм, сооружённый в Киеве на Подоле в 1772 году по проекту архитектора И. Г. Григоровича-Барского на месте старой деревянной церкви.

Купола зелёного цвета венчают храмы, посвящённые Святой Троице, потому что зелёный в православной традиции — цвет Святого Духа. Также зелёные купола могут свидетельствовать о том, что церковь посвящена какому-то святому. Кроме того, купола храма, посвящённые святому, могут быть ещё серого либо серебряного цвета.

Свято-Покровська Подільська церква – це пам’ятка архітектури національного значення споруджена в 1766-1772 роках у стилі українського бароко. Автор роботи – видатний український архітектор Іван Григорович Григорович-Барський.

Сучасна Покровське церква була збудована на заміну старої дерев’яної Покровської церкви, котру в 1685 році звели на кошти грецького купця Миколи Тернавіота. Зі свого боку та дерев’яна церква була збудована на фундаменті дерев’яної вірменської церкви Різдва Пресвятої Богородиці, яка згоріла в 1651 році. Дослідники припускають, що остання могла насправді бути мурованою, а не дерев’яною, або, що й вона збудована на фундаменті ще старішого мурованого храму.

Наприкінці 18 століття (за іншою версією в перші роки 19 століття) поруч із церквою збудували двоповерхову дзвіницю. Перший її поверх був мурованим, а другий дерев’яним.

Під час великої пожежі на Подолі 1811 року церква разом із дзвіницею сильно постраждали, тому частина оригінальних елементів були втрачені. У 1824 році до західного фасаду церкви прибудували теплу церкву Іоана Воїна. У 1830 році надбудували другий мурований поверх дзвіниці, замість згорілого дерев’яного.

У середині 19 століття встановили іконостас виконаний за проєктом І. Штрома та здійснили внутрішній розпис храму.

У 1930-х роках за наказом радянської влади розібрали оригінальний іконостас і закрили храм, переобладнавши його під архів. За часів німецької окупації богослужіння поновилися, завдяки чому тодішній настоятель храму Олексій Глаголєв зміг переховувати там єврейські сім’ї. Далі радянська влада знову закрила храм.

Нині Свято-Покровська Подільська церква знову відкрита для вірян. Всередині храму можна побачити частину збережених фресок 19 століття та сучасний іконостас встановлений у 1999 році.

Some of the grand Columns in St.Peter's Square. There are 284 columns and 88 pilasters that flank the square in a colonnade of four rows. Above the columns there are 140 statues of saints created in 1670 by the disciples of Bernini.

Many thanks to all those who view, fav or comment my pictures. It is much appreciated.

Situated in the historic centre of Alcoy in the Plaza de España, the Parish Church of Santa María de Alcoy is neoclassical in style. Built in the 18th century, its origins date back to the 13th century. Its imposing main façade features columns and pilasters, with two symmetrical bell towers. A large central rose window allows natural light to enter, as well as a central dome over the transept. The church has side chapels between the buttresses and a high altarpiece dedicated to the Assumption of the Blessed Virgin Mary. The church suffered major damage during the Spanish Civil War and had to be partially rebuilt. It is one of the most significant religious buildings in Alcoy and is still the centre of many religious and cultural celebrations in the city, including the famous Moors and Christians festivities.

In 1763-1768, Stepan Kovnir, a former mason and subordinate of the Lavra, a “master of stone construction” (the best works are the “Kovnir Building”, the bell towers in the Near and Far Caves, the Klovsky Palace and other landmarks of the Ukrainian Baroque), built the Holy Trinity Church in the Ukrainian Baroque style.

Свято-Троїцька церква — чинна церква Китаївської пустині у Києві, пам'ятка архітектури XVIII ст. в стилі українського бароко.

Троїцька церква збудована протягом 1763—1767 років лаврським майстром Степаном Ковніром за проектом архітектора Петра Неєлова. З тих пір Китаївська пустинь стала називатися Свято-Троїцькою. Церква належить до типу п'ятикамерних українських церков.

Впродовж своїх років церква зазнавала перебудов.

“Спочатку у 1854 році дві чисто барокові бані над навою і вівтарем замінили п’ятьма куполами не зовсім визначеної генези. Цікаво, що ці куполи дуже схожі на схематичні церковні бані де Ля Фліза, які бачимо у його ілюстраціях до опису Київського намісництва. Благо, що їх поставили по-українськи, на умовних раменах хреста. Потім, вже наприкінці ХІХ ст., весь західний фасад церкви закрили прямокутною прибудовою із недоречною «закомарою» над входом. На щастя, ковнірівська ліпнина порталів та інший бароковий декор старої частини церкви при цьому не постраждали.”

parafia.org.ua/UCA/church/trojitska-tserkva-kytajivskoji-...

1716 в Китаєві було споруджено (на кошти князя Дмитра Голіцина) дерев'яну церкву в ім'я преподобного Сергія Радонезького (пізніше її замінено мурованою Свято-Троїцькою церквою з бічними вівтарями на честь преподобних Сергія Радонезького та Димитрія Ростовського).

Голіцин Дмитро Михайлович (1665–25(14).04.1737) – російський державний діяч, дипломат, князь, брат Михайла Голіцина. 1708, під час Північної війни 1700–1721, російські війська під головуванням Голіцина охороняли Київ і Правобережну Україну на шляху можливого маневру армії Станіслава Лещинського та генерала Крассау, які йшли на підтримку армії шведського короля Карла XII. Після виконання цієї місії призначений Київським генерал-губернатором (1711–18). У Києві навколо Голіцина згуртувалися студенти Києво-Могилянської академії, які переймалися питаннями політичного та історико-культурного характеру і займалися перекладами зарубіжних політичних та історичних праць.

Cette église coloniale blanchie à la chaux, construite par les franciscains en 1732, se trouve à côté du célèbre cimetière de Recoleta de la ville(photos à partir de demain). L'élite de Buenos Aires organise souvent des mariages ici, et les touristes viennent voir les six autels baroques de l'église, dont un recouvert d'ornements incas et d'argent gravé du Pérou.

Le bâtiment est de construction simple et austère. La couverture est une voûte en berceau dont la poussée latérale est maintenue par de grands contreforts, l'espace entre eux étant occupé par les autels latéraux, qui sont généralement des chapelles, dans les églises jésuites classiques, mais qui, ici, sont plutôt considérés comme des niches par leur faible profondeur Au-dessus de ces niches, d'autres voûtes en berceau complètent la structure principale. La coupole est de faible élévation, La voûte prend naissance à l'arrière de la corniche, de la même façon qu'à Gesù de Rome.

Pour les connaisseurs

L'église est entourée sur trois côtés. La façade principale comprend plusieurs éléments courbes : le tambour, la coupole en cloche de la tour et l'archivolte entre l'architrave et la fenêtre centrale. La rupture entre le fronton et des jeux de pilastres lui confère un certain style baroque, mais sans commune mesure avec l'abondance de colonnes et pilastres des façades de nombreuses églises italiennes ou espagnoles.

On espère avoir le temps de venir visiter l'intérieur un autre jour

Détails du petit campanile horloge et cloches sur cliché suivant

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This whitewashed colonial church, built by the Franciscans in 1732, sits next to the town's famous Recoleta cemetery (photos from tomorrow). Buenos Aires' elite often host weddings here, and tourists come to see the church's six Baroque altars, including one covered in Inca ornaments and engraved silver from Peru.

The building is of simple and austere construction. The covering is a barrel vault, the lateral thrust of which is maintained by large buttresses, the space between them being occupied by the side altars, which are usually chapels, in classical Jesuit churches, but which, here, are rather considered like niches by their shallow depth Above these niches, other barrel vaults complete the main structure. The dome is low in height. The vault begins at the back of the cornice, in the same way as in Gesù in Rome.

For the experts

The church is surrounded on three sides. The main facade includes several curved elements: the drum, the bell-shaped dome of the tower and the archivolt between the architrave and the central window. The break between the pediment and the sets of pilasters gives it a certain baroque style, but without comparison with the abundance of columns and pilasters on the facades of many Italian and Spanish churches.

We hope to have time to come and visit the interior another day

The Virgin of the Pillar (lit. of the pillar) would be an apparition of Mary standing on a pillar (or a column), reported by Catholic tradition. Under this title, Mary is the patron saint of Hispanicism, venerated in the homonymous basilica of Zaragoza in Spain. One of the benefactors of the basilica of Nuenos aires, fervent devotee (ex inhabitant of Zaragoza ....?!) Wished that the basilica was consecrated to him.

The 'courtyard of offerings' is surrounded on three sides by 32 columns, each with distinct floral trim.

***

Descending the mythical Nile River from Luxor towards Aswan, all cruises make a more than deserved stop at the Temple of Edfu. The impressive building, whose vision of the gigantic facade will pay its passage to Egypt in five seconds, is dedicated to the god Horus Hawk. Its statues still guard the two portals of the temple. Considered a building of Late Ancient Egypt, it features influences from Greco-Roman architecture, such as pilasters topped with flowers and leaves.

House from outside:

flic.kr/p/2mLDkrz

canmore.org.uk/site/92391/culross-the-cross-the-study

The building known as 'The Study', stands in a picturesque corner of the town beside the Market Cross. On plan it is L-shaped and consists of a main block of two storeys and attics, with crow-stepped gables, while a stair-wing projecting from the southern wall, in alignment with the west gable, is carried up a storey higher and has a crow-stepped gabled roof free from the main roof. Only part of the house is occupied, the rest being bare and dilapidated. In the re-entrant angle is a door with roll-and-hollow moulded jambs and lintel, which has now no discoverable connection with the ground floor of the main block, but which leads to a turnpike, giving access to the floors above. The doorway on the first floor has an edge-roll, and that on the second floor has rounded arrises like those on the windows. At the head of the stair, a small turret-stair is corbelled out on the western wall and leads to a chamber on the top of the wing. This apartment is traditionally called "The Study," in the old sense of a small private room, and from it the whole house takes its name.

The room off the stair on the first floor was handsomely panelled in oak. The panelling is now stripped from the walls, but a portion of it, preserved in the Royal Scottish Museum, Edinburgh, consists of three bays in three horizontal divisions. The lowest division, probably of later date, is a range of lockers with lids forming a bench. The middle division is arcaded, the semi-circular arched heads having scalloped inner edges, and being separated from one another by fluted Renaissance pilasters above which is a rail, inlaid with holly wood and bog oak, bearing the letters I.A. and A.P. in monogram, with the date 1633, both inlaid in holly wood. The uppermost division is a plain panelled frieze, separated also by fluted pilasters. On the upper panels of a door in this chamber were carved the initials I.A. and A.P., and the date as above (cf. Details of Scottish Domestic Architecture, ed. James Gillespie, p. 17 and PI. .66).

The building itself is probably somewhat earlier than the panelling, being of a type common about the end of the 16th century and the beginning of the 17th. In the south wall at street level, a door, which may be an insertion, bears the date 1633 between the initials I.A. and A.P. worked in cement on the cemented lintel. None of the dormer windows are now pedimented, nor are any of the floors vaulted. The masonry is rubble, probably once harled, but now cemented.

RCAHMS 1933, visited March 1928.

The Royal Commission on the Ancient and Historical Monuments and Constructions of Scotland.

Capped by green-and-gold domes, La Compañía de Jesús is Quito’s most ornate church and a standout among the baroque splendors of the Old Town.

Free guided tours in English or Spanish highlight the church’s unique features, including its Moorish elements, perfect symmetry (right down to the trompe l’oeil staircase at the rear), symbolic elements (bright-red walls are a reminder of Christ’s blood) and its syncretism (Ecuadorian plants and indigenous faces are hidden along the pillars).

Construction on this marvelously gilded Jesuit church began in 1605 but wasn't completed for another 160 years; the main altarpiece alone took 20 years (former president Gabriel García Moreno is buried here). The made-in-the-USA organ is circa 1889. Check out the chiaroscuro-style series of paintings called the 16 Prophets by Nicolás Javier de Goríbar and the large canvas Hell and Final Judgement from 1879 – it's still a mystery what happened to the original, painted by Hermano Hernando de la Cruz in 1620. Quiteños proudly call it the most beautiful church in the country, and it’s easy to see why.

***

Over the 160 years of its construction, the architects of La Compañía incorporated elements of four architectural styles, although the Baroque is the most prominent. Mudejar (Moorish) influence is seen in the geometrical figures on the pillars; the Churrigueresque characterizes much of the ornate decoration, especially in the interior walls; finally the Neoclassical style adorns the Chapel of Saint Mariana de Jesús (in early years a winery).

The floorplan of La Compañía makes a Latin Cross, with central, northern and southern arms; it has the conventional nave, transept, crossing, presbytery, antechamber to the sacristy, sacristy, and chapel. The central nave is topped by a 26-meter high barrel vault constructed of pumice and brick. This vault is decorated with plaster, polychrome and Mudéjar figures in gold leaf. The skyline is capped by two green and gold domes.

The carvings of La Compañía’s main façade were executed entirely of Ecuadorian andesite stone. (Begun in 1722 by Father Leonardo Deubler, work was suspended in 1725 and taken up again in 1760 by Brother Venancio Gandolfi who finished it in 1765.) According to José María Vargas: “A simple comparison of dates explains the difference in styles between the body of the Church and the façade. While the structure of the Church reveals the Renaissance influence (that of Italy brought to Quito by Brother Marcos Guerra), that of the façade reflects the dynamism of the 18th century Baroque, instigated by Bernini’s solomonic columns of the Baldachin of the Basilica of Saint Peter in Rome”. La Compañía’s columns, statues and larger details were executed in the quarry which the Jesuits had in the Hacienda de Yurac (in the nearby parish of Pintag). The rest of the material was brought from a quarry on the western slopes of El Panecillo, adjacent to the city. That façade, as it has come down to us, has more of the Italian Baroque than of the Spanish Plateresque and, with its high pilasters, a certain accent of the French Baroque.

Design elements include a near symmetrical facade, Moorish influence in the nave, and artwork by artists of the Quito School. A sarcophagus with the remains of Ecuador's patron saint, Mariana de Jesús de Paredes, is located in the base of the central altar.

The interior of La Compañía strongly resembles that of the Church of San Ignacio in Bogotá. This similarity, particularly evident in the design of the stuccos, baseboards, molding and vaults, represents an enhancement of the scheme first employed in the older Bogotá church.

***

When I entered the main nave, I had to ask my guide for some time alone, before his explanations, to appreciate the stunning detail of this Baroque Jesuit church.

It's impressive.

Too bad I couldn't photograph it. I did, but no time to focus on it. I don't understand these dumb rules.

This is an HDR upward shot of the symmetrical façade of the Courthouse in Patras, Greece. Corinthian order capitals (aka chapiters) crown both pillars and pilasters of the grandiose main entrance.

The neoclassical edifice was erected in 1926–31 (ar1chitect: Panos D. Karathanassopoulos). In June 2008 an earthquake had damaged the building which stands now restored thanks to major repairs and maintenance works carried out in 2011–8. It is defined by its large size and neoclassical elements such as symmetry, gables, pillars and pilasters crowned by capitals (chapiters) belonging to Corinthian and Ionic order.

Canon EOS R5

Canon RF24-105mm F4 L IS USM @ 24 mm

ISO 100 – f/11 – [ 1/50 & 1/20 sec ] HDR

La chiesa di Santa Maria della Rocca si trova fuori dell'abitato di Offida nella sua parte occidentale in mezzo a dirupi e calanchi sulla vallata sottostante. La chiesa è una costruzione in laterizio in stile romanico-gotico eretta dal Maestro Albertino nel 1330 su una preesistente chiesa benedettina. La sua facciata è rivolta verso l'esterno dell'abitato è composta da lesene avendo sul lato opposto tre absidi poligonali e monofore su archetti gotici.

Sull'abside centrale è ubicato un portale romanico-gotico che immette nella cripta larga quanto la chiesa superiore affrescata dal Maestro di Offida. La chiesa superiore, ad unica navata secondo l'uso degli ordini mendicanti, conserva affreschi con stile vicino a Giotto, sempre attribuiti al Maestro di Offida e che portano la datazione scritta del 1367, oltre ad altri del secolo XV attribuiti a Giacomo da Campli.

Negli altari laterali si distingue quello dedicato a Sant'Andrea del secolo XV con pala affrescata su muro da Vincenzo Pagani.

Durante l'avanzata delle truppe alleate, tra il 16 e il 18 giugno 1944, i militari tedeschi avevano completamente minato la chiesa con lo scopo che le rovine avessero dato intralcio alle forze alleate, ma nessuna delle trenta mine esplose, così che gli abitanti attribuirono l'episodio ad un miracolo della Vergine Maria.

The church of Santa Maria della Rocca is located outside the town of Offida in its western part in the middle of cliffs and gullies in the valley below. The church is a Romanesque-Gothic brick construction built by Maestro Albertino in 1330 on a pre-existing Benedictine church. Its facade faces the outside of the built-up area and is made up of pilasters having on the opposite side three polygonal apses and single-lancet windows on Gothic arches.

On the central apse there is a Romanesque-Gothic portal which leads into the crypt as wide as the upper church frescoed by the Master of Offida. The upper church, with a single nave according to the custom of the mendicant orders, preserves frescoes with a style close to Giotto, always attributed to the Master of Offida and which bear the written date of 1367, as well as others of the fifteenth century attributed to Giacomo da Campli.

In the side altars stands the one dedicated to Sant'Andrea from the 15th century with an altarpiece frescoed on the wall by Vincenzo Pagani.

During the advance of the allied troops, between 16 and 18 June 1944, the German military had completely undermined the church with the aim that the ruins would have hampered the allied forces, but none of the thirty mines exploded, so that the inhabitants attributed the episode to a miracle of the Virgin Mary.

© Riccardo Senis, All Rights Reserved

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Copyright ©Zino2009 (bob van den berg) . All my images are protected under international authors copyright laws and may not be downloaded, reproduced, kopie, transmitted or manipulated without my written explicit permission.

The Van Wert County Courthouse is a historic governmental building in downtown Van Wert, Ohio, United States. Located at 121 E. Main Street, the courthouse is a Second Empire structure built in 1876.[1] It is Van Wert County's third courthouse: when the county was established, the village of Willshire was designated the county seat; Van Wert was made the seat in 1838,[2] and a courthouse-and-jail complex was built in that community in the following year.

Designed by T.J. Tolan,[1] an architect from Fort Wayne, Indiana, the courthouse is a square structure with towers on all four corners. Its architecture combines copious amounts of brick and stone: the foundation and the walls of the first floor are stone, along with the pilasters, columns, and quoins on the upper parts of the exterior, while the walls of the remaining stories and of the tower are built of brick.[4] Tolan employed multiple groundbreaking construction techniques throughout the structure, such as pressed steel; his success in using these innovations earned recognition for both him and the courthouse in a national trade journal.[5] Rising above the front of the courthouse is a clock tower with a statue of Justice placed in a niche. Made of zinc, the statue is 8 feet (2.4 m) tall; before its installation at the courthouse, it was awarded first place in a Philadelphia sculpture competition