View allAll Photos Tagged renassaince
Head LELUTKA Kaya Head 3.1 EvoX
Body :LEGACY classic 1.6
Hair: STEALTHIC - Renassaince (Blonde) Full pack @ACCESS
Skin : Glam Affair - Kat skin (Tone Ivory) @Uber
Ad-don face : LOWEN - Sydney Outfit @DUBAI event
Acessories Jewels: RAWR! - Music necklace @mainstore
Acessories Jewels: RAWR! - Music Bracelets @mainstore
Acessories Jewels: RAWR! - Music Armlets @mainstore
Acessories Jewels: RAWR! - Music Bellychain @mainstore
Acessories Jewels: RAWR! - Music Rings @mainstore
Head LELUTKA Kaya Head 3.1 EvoX
Body :LEGACY classic 1.6
Hair: STEALTHIC - Renassaince (Blonde) Full pack @ACCESS
Skin : Glam Affair - Emery skin (Tone Ivory) @COLLABOR88
Outfit: MUG - Annabelle Outfit @kustom9
Shoes: TENTACIO - Kenzy boots @mainstore
Acessories: HANGRY - Lucky treat (Rezz&hold) @Equal10
Acessories: HANGRY - Hangry halos @kustom9
Decor:
Decor: INSURREKTION - Grandma kitchen baking set @mainstore
Decor: INSURREKTION - My sweet valentine @mainstore
Ponte Vecchio.
Florencia. Italia.
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lorenzo orikain © 2019
Ponte Vecchio.
Florencia. Italia.
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lorenzo orikain © 2020
Alejandro VII, Basílica de San Pedro. Vaticano. Roma. Bernini.
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Tina Lenert is an American magician, mime and harpist. She has performed worldwide and is known for combining elements of pantomime and magic. Early in her career she performed at the Renaissance Faire.
Budapest, Terézváros
Andrássy út
Brüll Palace
Built in 1883 for Brüll Ármin
Architect: Kallina Mór (Moritz Kallina) mek.oszk.hu/04000/04093/html/szocikk/12423.htm
Santa María del Fiore.
Brunelleschi, Arnolfo di Cambio.
Florencia.
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lorenzo orikain © 2019
Duomo de Florencia.
Florencia. Italia.
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lorenzo orikain © 2019
Puente de los Suspiros. Venecia. Italia.
The Bridge of Sighs.
The last look at freedom.
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lorenzo orikain © 2018
Plaza de San Marcos. Venecia. Italia.
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lorenzo orikain © 2018
Palacio Ducal a San Giorgio Maggiore.
Venecia. Italia.
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lorenzo orikain © 2019
Duomo de Florencia.
Florencia. Italia.
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lorenzo orikain © 2019
Cupula Santa María del Fiore. Brunelleschi.
Museo dell'Opera del Duomo. Florencia. Italia.
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lorenzo orikain © 2019
via della conciliacione
Vaticano, Roma
Visit Roma: ENTER
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lorenzo orikain © 2018
Basilica de San Marcos.
Venecia.
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lorenzo orikain © 2019
Slovakia, Highland; former historical Hungary /Felvidék. A nicely decorated renessaince building.
en.wikipedia.org/wiki/Felvid%c3%a9k
It is a completely preserved medieval mining town. The fate of Selmecbánya/Banská Štiavnica has been closely linked to the exploitation of its abundant resources of silver ore. In the High and Late Middle Ages, the town was the main producer of silver and gold in the Kingdom of Hungary. The town was called “terra banensium” (the land of miners) as early as in 1156. The original Hungarian population was joined by skilled German settlers who started arriving in the 13th century. Selmecbánya/Banská Štiavnica gained the status of a royal town in 1238, as one of the first towns in the Kingdom of Hungary. During the Ottoman Wars, the Turks made concerted efforts to conquer rich mining towns in Upper Hungary. This new threat led Selmecbánya/Banská Štiavnica to build powerful fortifications, including two castles, in the 16th century. As one of the most important centers of Protestant Reformation in the country, the town belonged to the Protestant "League of Seven Mining Towns". The town was also a foremost center of innovation in mining industry. In 1627, gun powder was used here for the first time in the world in a mine. In 1735, the first mining school in the Kingdom of Hungary was founded here. In the years 1762-1770, the Hofkammer in Vienna, with support from Queen Maria Theresa, transformed the school into the famous Mining Academy, creating the first technical university in the world. In 1919, after the creation of Czechoslovakia, the Academy was moved to Sopron in Hungary. In 1782, Selmecbánya /Banská Štiavnica was the third biggest town in the Kingdom of Hungary (with 23,192 or incl. suburbs 40,000 inhabitants), after Pozsony (today Bratislava) and Debrecen. But the town’s development was too closely linked to the mining activity which had been progressively declining since the second half of the 19th century.
Fachada Duomo de Florencia. Santa María del Fiore. Arnolfo di Cambio.
Museo dell'Opera del Duomo. Florencia. Italia.
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lorenzo orikain © 2019
Ducal Palace, Venecia, Italia.
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lorenzo orikain © 2018
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
Vaticano. Roma.
Maderno, Bramante, Miguel Ángel, Bernini, Rafael, ...
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Fachada del Duomo de Arnolfo di Cambio.
Museo dell'Opera del Duomo. Florencia.
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lorenzo orikain © 2021
Uffizi Gallery. Florencia. Italia.
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Puertas del Paraíso. Lorenzo Giberti.
Museo dell'Opera del Duomo. Florencia.
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lorenzo orikain © 2021
Basílica de San Marcos. Venecia.
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lorenzo orikain © 2018
Tura, Schossberger Mansion
Design: probably Ybl Miklós.
French Neo-Renaissance style, 1883.
Hungary
www.flickr.com/photos/37578663@N02/sets/72157634430158621...
Galería Uffizi.
Giorgio Vasari.
Florencia Italia.
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lorenzo orikain © 2019
Palacio Real de Aranjuez. Madrid.
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lorenzo orikain © 2023
David. Miguel Ángel Buonarroti.
Galería de la Academia. Florencia. Italia.
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lorenzo orikain © 2019
Santa María del Fiore.
Piazza del Duomo. Florencia. Italia.
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lorenzo orikain © 2019
Plaza de San Marcos. Venecia, Italia.
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lorenzo orikain © 2018
Plaza de San Marcos. Venecia. Italia.
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lorenzo orikain © 2018
Side door of St Stephen's basilica. Door-handle with fish motifs
La Piedad florentina. Miguel Ángel.
Museo dell'Opera del Duomo. Florencia. Italia.
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lorenzo orikain © 2019
This actually is not a church in a baroque style. It is a Protestant Cathedral in New High Renassaince style located in Berlin, Germany. The locals call it "BerlinerDom"
Budapest, inner city
Inner courtyard
Rebuilt in 1896 for Wagner János
Eclectic, Neo-Renaissance style
Designed by his brothers, Wagner Gyula, Lajos, Ödön, and Ferenc architects
urbface.com/budapest/a-wagner-udvar
Auguszt-cukrászda "kerthelyisége"
Budapest, inner city
Inner courtyard
Rebuilt in 1896 for Wagner János
Eclectic, Neo-Renaissance style
Designed by his brothers, Wagner Gyula, Lajos, Ödön, Ferenc architects
urbface.com/budapest/a-wagner-udvar
Auguszt-cukrászda "kerthelyisége"
About World Photography Day: worldphotoday.com/about
maimanohaz.blog.hu/2012/08/19/a_fenykepeszet_szuletese_18...
Budapest, Terézváros.
The notable Hungarian photographer, Mai Mano's former home and studio, now The Hungarian House of Photography, exhibition hall, bookshop and café.
Architects: Nay & Strausz, 1894. Eclectic Neo-renaissance style.
Note the cast iron windows of the Sunlight studio and the frescos around it, with the attributes of painting, photography and chemistry (aka muses of photography).
Sculptor: Róna józsef
www.flickr.com/photos/nora-meszoly/sets/72157645682699802
www.flickr.com/photos/nora-meszoly/sets/72157647652442301
Mai Manó House, The Hungarian House of Photography operates in a studio-house built for the commission of Mai Manó (1855-1917), Imperial and Royal Court Photographer. His eight-story studio-house and home was built in fourteen months, in 1893-94.
This special, eight-story neo-renaissance monument is unique in world architecture: we have no knowledge of any other intact turn-of-the-century studiohouse. In addition, it serves its original goal, the case of photography again.
Mai Manó was a professional photographer and specialist, in his time he was one of the best specialists of child portraits. His status in the professional community of that time is uncontested. He was also the founder and editor of the periodical called A Fény (The Light, launched in 1906)
The building's richly decorated neo-renaissance façade clearly served ideological purposes: Mai Manó wanted to lend a past to the young trade, hardly considered to be a form of art by anyone at that time. Take the majolica putti between the ground floor and the mezzanine or the façade paintings on the third floor showing the "six muses of photography".
Actual photographing took place in the Sunlight-studio on the second floor, we restored in 1996-97. During the restoration, we found the original frescoes hiding bethind the white wallpaper for decades. These used to serve as background for Mai's portraits. His studio worked in the house for four decades, until 1931. It was followed by a luxury-bar, Arizona, which was closed in 1944.
After the Second World War, a number of institutions and companies moved into the house and a few private apartments were separated as well. In spite of all the vicissitudes, the house kept its original character. It was declared a piece of national heritage in 1996 considering its special architecture, ornaments and industry-historical significance.
www.maimano.hu/maimanohaz_en.html
www.maimano.hu/maimanohaz_02_en.html
Galería de la Academia. Florencia.
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lorenzo orikain © 2019
Budapest, inner city
Inner courtyard
Rebuilt in 1896 for Wagner János
Eclectic, Neo-Renaissance style
Designed by his brothers, Wagner Gyula, Lajos, Ödön, Ferenc architects
urbface.com/budapest/a-wagner-udvar
Auguszt-cukrászda "kerthelyisége"
Tura, Schossberger Mansion, 1883.
Hungary
www.flickr.com/photos/37578663@N02/sets/72157634430158621...