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Der "Dresdner Fürstenzug" besteht aus 23.000 Fliesen, die aus Meißener Porzellan gefertigt sind. Das Bildwerk ziert die Seitenwand des Stallhofs der Dresdner Residenz. Es ist 102 Meter lang und mehr als 10 Meter hoch. Es zeigt alle 35 Markgrafen, Herzöge, Kurfürsten und Könige, die zwischen 1127 und 1873 in Sachsen regierten und dem Fürstenhaus Wettin angehörten. Das Bild wurde von Wilhelm Walther entworfen und zunächst in Sgraffito-Technik ausgeführt. Es hielt allerdings nicht der Witterung stand und wurde deshalb zwischen 1904 und 1907 in einem neu entwickelten Verfahren als Porzellanmalerei erneuert. Es gilt als das größte Porzellanbild der Welt.
The “Dresden Princely Procession” consists of 23,000 tiles made from Meissen porcelain. The work adorns the side wall of the stable yard of the Dresden Residenz. It is 102 meters long and more than 10 meters high. You can see all 35 margraves, dukes, electors and kings who ruled in Saxony between 1127 and 1873 and belonged to the Princely House of Wettin. The picture was designed by Wilhelm Walther and initially executed using the sgraffito technique. However, it did not withstand the weather and was therefore renovated as porcelain painting between 1904 and 1907 using a newly developed process. It is considered the largest porcelain picture in the world.
Art Deco villa
Created in Bing Dall-E AI Engine.
Art Deco villa in subdued colors with strange colorful creatures everywhere 3D, Sgraffito style, ultra-realistic hyper-realistic, ultra-fine detail, high-resolution.
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En cherchant le 12, rue Grandgagnage à Liège pour prendre quelques photos de l'Hôtel Verlaine, je suis tombé en chemin sur l'ancienne fabrique d'armes Sévart au n° 16/18 - qui valait bien une photo à son tour, non?
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While looking for rue Grandgagnage 12 in Liège to take some photos of the Hôtel Verlaine, I came across the old Sévart arms factory at no. 16/18 - which in turn was definitely worth a photo too, right?
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Terwijl ik op zoek was naar rue Grandgagnage 12 in Luik om wat foto's te maken van Hôtel Verlaine, kwam ik de oude wapenfabriek van Sévart tegen op nr. 16/18 - die op zijn beurt zeker ook een foto waard was, toch?
Architect Gaspard Devalck designed these two corner houses in 1900, at the peak of Art Nouveau.
One, at No.34, was intended for his mother, but he also occupied it by setting up his workshop there.
The magnificent woodwork and exceptional stained glass windows in perfect condition deserve our full attention.
The stained glass windows are attributed to Raphaël Evaldre, the great specialist of the time (Hôtel Tassel, Hôtel Solvay, etc.).
Architect Gaspard Devalck designed these two corner houses in 1900, at the peak of Art Nouveau.
One, at No.34, was intended for his mother, but he also occupied it by setting up his workshop there.
The magnificent woodwork and exceptional stained glass windows in perfect condition deserve our full attention.
The stained glass windows are attributed to Raphaël Evaldre, the great specialist of the time (Hôtel Tassel, Hôtel Solvay, etc.).
In Graubünden erlebte der Kratzputz seine grösste Blüte im 17. und 18. Jahrhundert. Er verleiht den Engadiner Dörfern ihren ganz besonderen Charme.
Diese Technik brachten italienische Baumeister im 15. Jh. aus Norditalien mit in den Alpenraum.
Eine Feste in Kralowitz wurde bereits 1388 erwähnt. Diese wurde 1592 umgebaut, wobei ein dreigeschossiger Turm entstand. Auf der Nordseite blieben Reste eines gotischen Fensters aus der Zeit um 1400 erhalten. Die Fassade weist außerdem Reste von Sgraffito-Verzierungen auf.
RUTA DE LOS PUEBLOS ROJOS
Estas pequeñas localidades, que estaban prácticamente deshabitadas hasta hace unos años, están recibiendo cada vez un mayor número de visitantes gracias al ‘boom’ del turismo rural, que ha permitido rehabilitar algunos de sus edificios más emblemáticos y crear posadas, hoteles y restaurantes donde pasar la noche o reponer fuerzas.
Los pueblos rojos reciben este nombre por el particular color que tiñe la mayor parte de sus construcciones, creando un bello efecto óptico. ¿Los responsables de esta tonalidad? Las piedras calizas, el adobe y los tejados de tejas castellanas con los que están hechas la mayoría de las casas. Además sus ventanales y balcones están revestidos de madera barnizada para completar el paisaje rojizo. Algunas de estas viviendas, las más ricas, incluyen una decoración típica de Castilla León realizada con la técnica del esgrafiado, con el que se consiguen bellos dibujos y filigranas en las fachadas.
La ruta por estos pueblos comienza en Alquite, una aldea de apenas cuatro calles cuyo mayor tesoro, además del particular tono rojizo de los edificios, es la iglesia de San Pedro que data del siglo XII. La siguiente parada en este recorrido es Villacorta, un encantador pueblecito que ha rehabilitado muchas de sus casas para convertirlas en posadas rurales o en segunda residencia de unos cuantos amantes de la vida campestre. ¿Qué se puede visitar aquí? La iglesia de Santa Catalina, que conserva un pórtico románico y un artesonado mudéjar, y el molino de la ferrería.
La siguiente parada y, probablemente, la más importante es Madriguera, una localidad que se convirtió en el principal eje comercial de la comarca durante el siglo XIX y que contaba con su propio ayuntamiento, con una escuela y hasta un casino. Tras unos años de declive, este pueblo ha experimentado su resurgir gracias al turismo rural. La iglesia de San Pedro es uno de sus mayores atractivos ya que cuenta con una valiosa pila bautismal y un suelo muy llamativo, lleno de lápidas de enterramiento. Además, también se puede dar un paseo por la Cuesta de San Gregorio, desde la que admirar las vistas de la sierra, así como por la fuente de abajo, de aguas ferruginosas.
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RED ROUTE OF THE PEOPLE
These small towns, which were virtually uninhabited until recently, are receiving an increasing number of visitors thanks to the boom in rural tourism, which has led to rehabilitate some of its most emblematic buildings and create inns, hotels and restaurants to spend night or regain strength.
The red people are named by the particular color that tinges most of the buildings, creating a beautiful optical effect. Do those responsible for this key? Limestone, adobe and tile roofs Castilian with those made most of the houses. Besides its large windows and balconies are covered with lacquered wood to complete the red landscape. Some of these homes, the richest, including a typical decoration of Castilla León made with the technique of sgraffito, in which beautiful designs are achieved and watermarks on the walls.
The route begins in Alquitara these villages, a village of just four blocks whose greatest treasure, as well as particular reddish hue of the buildings is the church of San Pedro dates back to the twelfth century. The next stop on this tour is Villacorta, a charming village that has restored many of its houses to turn them into inns or second home a few lovers of country life. What can you see here? The church of Santa Catalina, which preserves a Romanesque doorway and a coffered ceiling, and the mill of the forge.
The next stop, and probably the most important is Burrow, a town which became the main commercial hub of the region during the nineteenth century and had its own municipality, a school and even a casino. After years of decline, the town has experienced its revival thanks to rural tourism. The church of San Pedro is one of its most attractive because it has a valuable soil font and flashy, full of tombstones of burial. In addition, you can also stroll through the Cuesta de San Gregorio, from which to admire the views of the mountains, as well as the source below, ferruginous water.
Rollei SL66SE, Carl Zeiss Planar 80mm f/2.8, Kodak Ektachrome EPP100 (self-processed), 60mm transparency digitised by photographing on a light pad, digital processing in Lightroom.
Wikipedia: "Guarda ist als eines der am besten erhaltenen Engadiner Dörfer und dadurch sowohl architektonisch als auch geschichtlich interessant. Das Dorf besteht fast ausschliesslich aus den typischen Engadinerhäusern mit zahlreichen Sgraffiti."
Wikipedia: "In 1975 the Swiss Heritage Society awarded Guarda the Wakker Prize for the preservation of its architectural heritage. The award notes that it is one of the best preserved and characteristic villages of the Unterengadin. . . . Most of the population (as of 2000) speaks Rhaeto-Romance (62.5%), with German being second most common (30.6%) and French being third (2.8%). The majority of the population speaks the Vallader dialect of Romansh."
de.wikipedia.org/wiki/Guarda_GR
Piękny Zamek ,Pałac w Litomyślu obiekt jest czteroskrzydłowy i trzypiętrowy. Południowo-wschodni róg skrzydła wschodniego zawiera kaplicę zamkową. Zewnętrzne ściany i szczyty zdobi sgraffito. Główny dziedziniec przystrojony jest na trzech ścianach renesansowym krużgankiem z trzema kondygnacjami arkad. Czwartą ścianę pokrywają malowidła o treści batalistycznej (w tym m.in. kopia manierystycznego obrazu Giulia Romana z Watykanu
Many times in my summer trips to northern Europe, I've fallen in love with the beauty of its green valleys, full of huge trees, meadows, eternally green and clean. And most of all, their houses, so beautiful that all they look freshly painted. Many lavishly decorated sgraffito, reliefs, paintings, white net curtains in the windows, , their woodshed perfectly tidy with trunks aligned.
On one of my trips, I asked to a guide who accompanied us, how it was possible that their houses perished always prepared for an exhibition.
His answer was clear and to some extent logical. The climate. During the summer, they attend field work, work the soil, plant, cut firewood for the winter and all the chores of a house. But in winter, nothing of this is possible, so they use his time to clean up their houses and compete with each other to see who leaves her house more beautiful.
But lately, I've discovered that there is no need to go so far. When I discovered the Valley of Baztan, I thought someone had brought a piece of Tirol to Navarra.
This picture is just a sample of the incomparable beauty of this valley
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Muchas veces, en mis viajes veraniegos al norte de Europa, me he quedado prendado de la belleza de sus valles verdes, llenos de árboles enormes, sus prados limpios y cuidados, eternamente verdes y más que nada, sus casas rurales, tan bonitas que todas parecen recién pintadas. Muchas de ellas profusamente decoradas, esgrafiados, relieves, pinturas, ventanas con visillos blancos impolutos, tejados con tejas uniformes y sin chapuzas, sus leñeras perfectamente ordenadas con los troncos alineados.
En uno de mis viajes, pregunté a una guía que nos acompañada, que como era posible que sus casas rurales perecieran siempre preparadas para una exposición.
Su respuesta fue clara y hasta cierto punto, lógica. El clima. Durante el verano, atienden a las labores del campo, labran la tierrra, siembran, cortan leña para el invierno y todas los quehaceres de una casa rural. Pero en invierno, nada de esto es posible, por lo que se dedican a adecentar sus casas y compiten entre ellos a ver quien la deja mas bonita.
Pero últimamente, he descubierto que no hay necesidad de ir tan lejos. Cuando descubrí el Valle de Baztan, pensé que alguien se habia traido un pedazo del Tirol hasta Navarra.
Esta fotografia es solo una muestra de la belleza incomparable de este valle
Architect Gaspard Devalck designed these two corner houses in 1900, at the peak of Art Nouveau.
One, at No.34, was intended for his mother, but he also occupied it by setting up his workshop there.
The magnificent woodwork and exceptional stained glass windows in perfect condition deserve our full attention.
The stained glass windows are attributed to Raphaël Evaldre, the great specialist of the time (Hôtel Tassel, Hôtel Solvay, etc.).
Das Rathaus von Sankt Veit an der Glan ist ein dreigeschoßiger, im Kern gotischer Bau, der im 16. und 18. Jahrhundert signifikant verändert wurde. Der darin befindliche, dreigeschoßige Arkadenhof mit toskanischen Säulen und einer Sgraffitodekoration, die Balustersäulchen imitiert und die Bogenzwickel dekorativ füllt, wurde um 1540 geschaffen. Seit 1998 ist dieser hübsche Arkadenhof mit Glas überdacht und wird seiher für kulturelle Veranstaltungen genutzt.
The town hall of Sankt Veit an der Glan is a three-storey, essentially Gothic building that was significantly altered in the 16th and 18th centuries. The three-storey arcaded courtyard with Tuscan columns and sgraffito decoration, which imitates baluster columns and decoratively fills the arched spandrels, was created around 1540. Since 1998, this pretty arcaded courtyard has been covered with glass and is since then used for cultural events.
Some pictures for Stiletta's birthday
This one was on the side of a house in Sent, Engadine, Switzerland
The figures representing Work (Labour) and Science on the sgraffito facade of #s 9 and 11 Via Lorenzo Maitani.
Orvieto; March 2017
I took several shots of this scene and thought it would be nice to vizualize two different moments of time within the same image. After some experiments, this was the result I liked most.
2024
Fachwerkhaus auf Eichen gegründet
Rathaus Tübingen
Das Tübinger Rathaus wurde ab 1435 erbaut und in mehreren Phasen erweitert und renoviert.
Das Rathaus von 1435 war anfangs eine Markthalle für die Bäcker, Metzger und Salzhändler
Es diente ungefähr von 1471 bis 1805 als Sitz des Hofgerichts des Landes Württemberg.
Neben Gerechtigkeitsbildern, Friesen und Sgraffito-Bemalungen enthält die Fassade eine astronomische Uhr.
Das älteste Haus am Platz ist das Rathaus von 1435. Das einst zweistöckige Gebäude wurde 1508 um ein Stockwerk erweitert.
Aus dieser Erweiterungsphase stammt die 1511 erbaute astronomische Uhr des ersten Tübinger Mathematik- und Astronomie-Professors Johannes Stöffler.
Im Jahr 1499 sagte er voraus, dass am 20. Februar 1524 eine Sintflut über die Welt kommen würde.
The town hall from 1435 was initially a market hall for the bakers, butchers and salt merchants
From around 1471 to 1805, it served as the seat of the court of justice of the state of Württemberg.
In addition to images of justice, friezes and sgraffito paintings, the façade contains an astronomical clock.
Johannes Stöffler (also Stöfler, Stoffler, Stoeffler; 10 December 1452 – 16 February 1531) was a German mathematician, astronomer, astrologer, priest, maker of astronomical instruments and professor at the University of Tübingen.
After finishing his studies he obtained the parish of Justingen where he, besides his clerical obligations, concerned himself with astronomy, astrology and the making of astronomical instruments, clocks and celestial globes.
He conducted a lively correspondence with leading humanists - for example, Johannes Reuchlin, for whom he made an equatorium and wrote horoscopes.
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en.wikipedia.org/wiki/Johannes_St%C3%B6ffler
The lunar crater "Stöfler" (with one f) was named in his honour.
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In 1499 he predicted that a deluge would cover the world on 20 February 1524.
1493: A celestial globe for the Bishop of Konstanz.
1496: An astronomical clock for the Minster of Konstanz.
1498: A celestial globe for the Bishop of Worms.
Celestial globe by Johannes Stöffler, 1493; Württemberg State Museum, Stuttgart.
He quickly gained a reputation for his modern products.
1518: A proposal for a calendar revision (Calendarium romanum magnum) which formed a foundation for the Gregorian calendar.
A closer look at the sgraffito panel and figure representing 'Il Lavoro' (Work). Below it another inscription extols "Stvdio", Study.
Orvieto; March 2017
This building, #9 and 11 Via Lorenzo Maitani, had a beautiful Sgraffito panels on its upper façade.
Sgraffito is made by layering plaster of contrasting colours and 'scratching' on the result to form the image/pattern.
The four figures depicted here are identified as L'Aria, Il Lavoro, Scienza and L'Acqua (Air, Work, Science and Water).
Orvieto; March 2017.
Am östlichen Orts- und Gemeinderand der 110-Seelen-Dorfes Wielandsthal (GM Herzogenburg, PL) steht zwischen zwei riesigen Kastanienbäumen an der Kremserstrasse nach Herzogenburg dieser etwa 4m hohe ziegelgemauerte spätbarocke Kapellen-Bildstock. Er ruht in 230m SH genau auf den Gemeindegrenzen zwischen Herzogenburg und Wielandsthal auf einem rechteckigen Grundfundament auf dem der Bildstock aufgemauert ist. Er hat an seiner Vorderseite ein Rundbogennische die bis auf den Grund reicht. In der Nische eine schmale Mensa die unterhalb profiliert ist. An der Rückwand der Nische ein Sgraffito das die Ermordung des Seligen Tabernitius durch Weinbauern zeigt. Unter dem Sgrafitto ist zu lesen: "P. Joachim Tabernitius, Pfarrer in Inzersdorf 1617 hier ermordet". Vor der letzten Restaurierung hingen an Stelle des Sgraffito verschiedene Heiligenbilder an der Rückwand. Der Bildstock hat an der Vorderseite und an den vorderen Seitenwänden Pilaster, oberhalb ein breiter dreiseitiger profilierter Gurtgesims. Oberhalb ein Kranzgesims mit einem profilierte Dreiecksgiebel. geschützt wird der Bildstock durch ein ziegelgedecktes Satteldach. Am First ein kleines Postament das an seiner Vorderseite das Stiftungsdatum: 1752 eingraviert hat. Der Bildstock gedenkt der Ermordung des Benediktiner-Paters Joachim Tabernitius, Pfarrer im nahen Inzersdorf, im Jahre 1752. Pater Tabernitius stammt aus Böhmen und hiess mit bürgerlichen Namen Doberin. Er wurde im Kloster Klein-Mariazell im Wiener Wald Benedktinermönch und war in der inkorporierten Pfarre Inzersdorf Pfarrverweser. Während der Reformationszeit versuchte er mit Erfolg Protestanten wieder zum Katholischen Glauben zu bekehren. Bei einem seiner Rückwege von Herzogenburg zu seiner Heimatgemeinde Inzersdorf wurde er von protestantischen Weinhauern bei deren Bekehrungsversuch am 11.Mai.1752 erschlagen. Seine Mörder wurden vom protestantischen Richter frei gesprochen. Er wurde 1752 im Kloster Klein-Mariazell, im Wiener Wald, begraben. Heute gedenkt im Kloster noch eine Marmortafel an den Tod des Märtyrers. Er wurde schon nach kurzer Zeit selig-gesprochen. An der Stelle seiner Ermordung wurde zuerst ein Kreuz errichtet (Tabernitius-Kreuz), etwas später wurde dieser Bildstock errichtet.
Standort: GPS 48.298185, 15.688746
Denkmalschutz OID 73284 nach § 2a
This is a fascinating building, with a façade adorned with some amazing sgraffito sculptural details. It's located just next door to the Royal Albert Hall.
The Royal College of Organists moved out of the building in the early 1990s and it subsequently became the home for a billionaire property tycoon.
I've tried capturing this a few times before and was defeated by things like poor weather, vehicles parked in front of the building, or coaches parked the other side of the road making it impossible to stand far enough away to fit it into the frame! Fortunately the conditions were more conducive this morning ...
"La Caritat" (Joan Serra, 1879), Pati Maning, Barcelona.
Es un edificio de planta baja, dos pisos y cubierta de tejado a doble vertiente. La austera fachada, revestida de morteros y con las ventanas bien alineadas en ejes verticales, alberga el portal principal, acabado en piedra y consistente en un arco de medio punto enmarcado por dos pilastras toscanas que sostienen un entablamento y un frontón triangular con un escudo. Cruzando esta puerta y la crujía que la comprende se accede a un doble claustro barroco definido por cuatro galerías que le rodean. El claustro inferior presenta arcos escarzanos de gran luz que reposan sobre potentes columnas toscanas, mientras el superior está configurado por una delicada galería de arcos de medio punto sobre columnillas toscanas. Los muros de todas las galerías se presentan revestidos con arrimadores cerámicos de plástica neobarroca y con ricos esgrafiados a base de jarrones, volutas y hojas de acanto. También cabe destacar el trabajo decorativo que recogen los forjados de cada galería. Los dos claustros se comunican por medio de una gran escalera de piedra cubierta con bóvedas de pañuelo, en el ángulo septentrional del claustro. La galería occidental del claustro sirve de atrio a la iglesia de Santa Maria de Montalegre.
Cerca de la entrada hay una escultura de Joan Serra (1879), dedicada a la Caridad
It is a building with a ground floor, two upper floors, and a gabled roof. The austere façade, covered in mortar and with windows neatly aligned on vertical axes, houses the main entrance, finished in stone and consisting of a semicircular arch framed by two Tuscan pilasters supporting an entablature and a triangular pediment with a coat of arms. Passing through this doorway and the passageway it encompasses, one enters a double Baroque cloister defined by four surrounding galleries. The lower cloister features wide, segmental arches resting on robust Tuscan columns, while the upper one is configured by a delicate gallery of semicircular arches on slender Tuscan columns. The walls of all the galleries are covered with ceramic wainscoting in a Neo-Baroque style and rich sgraffito decoration featuring vases, volutes, and acanthus leaves. The decorative work on the floor slabs of each gallery is also noteworthy. The two cloisters are connected by a grand stone staircase covered with groin vaults, located in the northern corner of the cloister. The western gallery of the cloister serves as the atrium for the Church of Santa Maria de Montalegre.
Near the entrance is a sculpture by Joan Serra (1879), dedicated to Charity.
Sgraffito decorated house in Ardez are part of the past. This is in the canton of Graubünden in eastern Switzerland.
Ftan is a village of around 500 people, which lies on a mountainside ... the typical sgraffito decoration, inscriptions and beautiful doors are everywhere.
Sgraffito art can still be found in Engadin villages today. .«Sgraffito» is the name of the handicraft that adorns the Engadin houses and contributes to the unmistakable charm of the villages.
This richly decorated sgraffito façade on Carrer dels Banys Nous in Barcelona’s Barri Gòtic is no stage-set illusion, but a genuine remnant of late 19th- or early 20th-century urban craftsmanship. While the street itself dates back to the medieval period—its name referencing the old Jewish baths—the ornamental surface was likely applied during the Catalan Renaixença, a cultural revival from the 1830s to 1898 that celebrated regional identity through art, language, and architecture. Far from being a tourist fantasy or Disney-style pastiche, this building speaks to a time when historic districts like the Barri Gòtic were still fully inhabited and evolving neighborhoods—lived in, layered, and loved.
The village fraction of Fontana with the famous Tarasp castle in the background. Photo taken on August 29th, 2016.
Sgraffito Painted House Prague. Sgraffito is a technique of wall decor, produced by applying layers of plaster tinted in contrasting colours to a moistened surface.
Building on the left, Bihor County House of Savings was built in Art nouveau style (secession style) in 1910 and functioned as bank and dwelling till today.
On the right, Hotel Transylvania.
The Hotel Transilvania was built in 1903-1904 according to the project of the architect Guttman Jozsef.
The remarkable part of the building is the bas-relief located between the ground floor and the first floor, bordered by two balconies with wrought iron balustrades.
The decoration is also very refined between the 1st and 2nd floors, the sgraffito representing a succession of ribbons, flowers and angels.
The cornice, with its windows grouped two by two, is also decorated with bas-reliefs above the attic.