View allAll Photos Tagged two_themes
Taking for two themes ODC "lamp shade" as well as for Flickr Lounge theme "Edge". Ava is perched on the edge of the couch next to the lamp :)
The theme of the week, "Pick Two", Red flower...HMM! Au coeur de la fleur se dessine une petite grenouille ou un insecte aux gros yeux.
At the heart of the flower is a small frog or an insect with big eyes.
Cette façade mérite une observation attentive, tant l’organisation, la signification et la richesse des décors répond à une volonté évidente d’inspiration et d’explication. La symbolique du chiffre 3 est omniprésente: 3 portails, 3 niveaux, jusqu’aux triangles du haut du fronton.
l’ensemble dégage une grande harmonie. Les lignes verticales sont bien accentuées, mais les trois étages, classiques dans le style roman, ne forment pas de cloisonnement horizontal rigide.
Sa décoration sculpturale est extrêmement riche et figurative, occupant tous les espaces libres sans jamais donner l’impression de surcharge. Les deux thèmes, l’Église et l’humanité se rejoignent au fronton dans l’apothéose d’un jugement dernier empreint d’espoir.
Une trentaine de petits personnages de toutes origines sociales, représentant le peuple de Dieu, s’avance vers la Vierge Marie, représentée ici dans des vêtements du XII e siècle. De par sa situation, elle est ici en position de médiatrice vers le Christ, qui la domine entouré de deux anges.
This facade deserves careful observation, as the organization, the meaning and the richness of the decorations respond to an obvious desire for inspiration and explanation. The symbolism of the number 3 is omnipresent: 3 portals, 3 levels, up to the triangles of the top of the pediment.
the whole exudes a great harmony. The vertical lines are well accented, but the three floors, classic in the Romanesque style, do not form rigid horizontal partitioning.
Its sculptural decoration is extremely rich and figurative, occupying all the open spaces without ever giving the impression of overload. The two themes, the Church and humanity meet at the pediment in the apotheosis of a last judgment full of hope.
Thirty little characters of all social origins, representing the people of God, advance towards the Virgin Mary, represented here in clothes of the twelfth century. Because of her situation, she is here in the position of mediator to Christ, who dominates her surrounded by two angels.
Week No: 21
Theme: From where I am
Category: Creative
I have the house to myself for the first time in a very long time. My wife, first born, and our exchange student are all in N.Y. city on a school trip. The youngest is off to the lake with his girlfriends family. As I was pondering this week's topic, puttering in the garden, some friends popped around for a garden tour. As always, wee Flea was shadowing my every move. That's when it hit me. Week 21 accomplished. Now I am just two themes behind...
I am also adding this to ODC - Picture that tells a story. I've had dogs in my life since I was born. This little one is turning out to be the smartest and most important one I have ever had and I think the feeling is mutual.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Taken in the small but fascinating Schau- und Sichtungsgarten Hermannshof.
The Schau- und Sichtungsgarten Hermannshof (2.2 hectares), also known as the Hermannshof Weinheim, is a botanical garden in Weinheim, Baden-Württemberg, Germany. It is open daily in the summer and weekdays in the winter, and admission is free.
Today's garden was first established as a private garden over 200 years ago. It was acquired by the Freudenberg industrialist family in 1888, and in the 1920s, it was redesigned by landscape architect Heinrich Friedrich Wiepking-Jürgenmann. In 1981 to 1983, it was again redesigned as a public garden by landscape architect Hans Luz of Stuttgart. It is now a scientific institution jointly owned by the Freudenberg Company and the town of Weinheim.
The garden cultivates about 2500 taxa arranged in naturalistic plantings, including two theme gardens: a peony collection (created 1998) and North American prairie garden (2001, 1500 m²) containing over 350 plants. It also contains a number of notable trees, including specimens of Platanus orientalis and Platanus × hispanica that are over 230 years old, as well as Cedrus atlantica, Ginkgo biloba, Magnolia denudata, Magnolia × soulangeana, Myrtus communis, and Sequoia dating from the late 19th century. [From Wikipedia, the free encyclopedia]
Taken in the small but fascinating Schau- und Sichtungsgarten Hermannshof.
The Schau- und Sichtungsgarten Hermannshof (2.2 hectares), also known as the Hermannshof Weinheim, is a botanical garden in Weinheim, Baden-Württemberg, Germany. It is open daily in the summer and weekdays in the winter, and admission is free.
Today's garden was first established as a private garden over 200 years ago. It was acquired by the Freudenberg industrialist family in 1888, and in the 1920s, it was redesigned by landscape architect Heinrich Friedrich Wiepking-Jürgenmann. In 1981 to 1983, it was again redesigned as a public garden by landscape architect Hans Luz of Stuttgart. It is now a scientific institution jointly owned by the Freudenberg Company and the town of Weinheim.
The garden cultivates about 2500 taxa arranged in naturalistic plantings, including two theme gardens: a peony collection (created 1998) and North American prairie garden (2001, 1500 m²) containing over 350 plants. It also contains a number of notable trees, including specimens of Platanus orientalis and Platanus × hispanica that are over 230 years old, as well as Cedrus atlantica, Ginkgo biloba, Magnolia denudata, Magnolia × soulangeana, Myrtus communis, and Sequoia dating from the late 19th century. [From Wikipedia, the free encyclopedia]
Macro Mondays theme: Redux 2021
The two themes selected are Matchstick and Smoke
Thanks to everyone who took the time to view, comment, and fave my photo. It’s really appreciated.
Happy New Year 😊
to do the things you want to do!
_________________________________________________
Monday, January 1: Redux 2017--My Favorite Theme of the Year
I tried a few things (so many choices) For this photo I was inspired by these two themes.
January 9: Member's Choice--Inspired by a Song and
January 16: Just White Paper (the white paper in the bottle and parchment paper, cut with pinking sheers in the background)
Wishing everyone a most Happy Holiday and a healthy, happy and peaceful New Year.
This photo revives two themes from the past year:
December 19 - Festive Season
September 12 - Low Key
I think this qualifies for at least two themes of the past twelve months. Monochrome (February 5th) and Vowel (December 10th). I've also been reminded (thanks Eiona) that this would also probably qualify for Circles (April 9th).
Many thanks for all of your faves and comments on my weekly efforts. They are very much appreciated.
A very Happy New Year to you all!
Macro Mondays 'pick two' theme. This little jug represents 'metallic' and 'pottery'.
This shot was removed for not meeting the restrictions, the next shot in my stream is now my submission.
The jug measures 2.25" at the widest part
ANSH 111 (6) made of metal
Explore 51
Macro Mondays Theme: Cold
Flickr Friday Theme: Through
Happened to combine two themes in one for the shot. Had great fun doing this theme, freezing different foods and eating them afterwards or whilst still slightly frozen! I'd recommend trying frozen grapes, it's like eating mini sorbets.
Many thanks as always for your favourites, comments and views, I always appreciate them. HMM too!
Skyline, passion, Union City blue.
In 1980-1981 I had two themes for posters on my bedroom wall.
One was an A3 poster of 56045 taken on Toton depot in June 1978 by Barry J Nicolle with D2138 in the background.
The grid looked almost exactly like this, it was even this way round, though without the cut out sections at the bottom of the cab. It was taken under an azure blue sky.
D2138 used to work under its own power from NCB Pye Hill colliery to Toton for tyre turning and maintenance, hence why it was in the background wearing BR green, while 56045 was brand new.
The others were largely posters of Debbie Harry.
Oh power, passion plays a double hand.
Passions re-kindled on Saturday evening at Derby.
1866. 12/9 "Ritual"
I was just complaining about not having enough time these days. Went out for 10 minutes to take pictures, and got two themes. Yea! This black dog has the thickest fur. He is HOT all the time, so when there's snow, he's rolling in it. Especially if there's just a little patch of it while we are hiking.
Done for the group: looking close on friday.
subject: 2
My old Ray-Ban with self darkening green B&L glasses.
imho sometimes things must not been done to complicated to come to the requested result..
Orange and Geometric Shapes are the two themes I picked for this Redux image.
HMM and best wishes everyone for a very safe and healthy 2022 everyone.
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Disneyland Paris, originally Euro Disney Resort, is an entertainment resort in Marne-la-Vallée, a new town located 32 km east of the center of Paris and is the most visited attraction in all of France and Europe.
The resort covers 4,800 acres and encompasses two theme parks, several resort hotels, a shopping, dining, and entertainment complex, and a golf course, in addition to several additional recreational and entertainment venues. Disneyland Park is the original theme park of the complex, opening with the resort on April 12, 1992. A second theme park, Walt Disney Studios Park opened in 2002.
The resort is the second Disney park to open outside the United States, following Tokyo Disney Resort, and the first to be owned and operated by Disney. The resort was designed specifically to follow the model established by Walt Disney World in Florida. Park attendance, hotel occupancy and revenues initially fell below projections, but in July 1995 the company saw its first quarterly profit. However, the resort still struggles to be profitable even to this day because of its large debt.
for 7DoS: I'm off on holiday for a while and as the theme will be Barrier by the time I get back, I thought I'd combine the two themes for my last shot :)
Fantastic Beasts And Where To Find Them (2016)
This 'Purist Minifigure' has been sitting on my desk for while, today was the perfect day to showcase it due to the LEGO Dimensions announcement regarding Harry Potter and Fantastic Beasts packs coming later this year.
If you know me I don't own any LEGO Dimensions products so it's been hard to swallow the prices (I don't play video games) however I may fall for those two themes if any exclusive Minifigures surface.
I just hope they eventually produce Fantastic Beasts sets and Harry Potter sets to complement them much like LEGO The Hobbit and LEGO The Lord Of The Rings.
My take on “Pick Two” theme for “Macro Mondays” - Broken - Glass
A blown oven light bulb.
Thanks in advance for all your faves, comments and just for taking time to look.
HMM :)
Sorry it's late!
I wanted to give my picture sort of an old fashion look, and I hope it actually looks like that xD
Anyways I hope you all like it :)
BOTTIGLIA, BICCHIERE ED OLIVA.
Per il tema "Macro Mondays" di oggi devo presentare almeno due temi affrontati nell'anno 2021.
Ho scelto due elementi che ben si sposano tra loro, il vetro e la bottiglia....forse in questo caso la bottiglia è troppo mignon ma risponde perfettamente ai requisiti di MM....l'oliva è stata inserita per testimoniare la corretezza delle dimensioni macro....poi me la sono anche mangiata !!!!
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BOTTLE, GLASS AND OLIVE.
For today's "Macro Mondays" theme I have to present at least two themes addressed in the year 2021.
I have chosen two elements that blend well with each other, the glass and the bottle .... perhaps in this case the bottle is too mignon but perfectly meets MM's requirements .... the olive has been inserted to testify to the correctness macro size .... then I also ate the olive !!
CANON EOS 6D Mark II con ob. CANON EF 100 mm f./2,8 L Macro IS USM
This Yellow Flower Macro is for Macro Mondays Pick Two theme. The flower is 2.25 inches in diameter.
I bought the plant two years ago at Desert Survivors Nursery in Tucson. They employ disadvantaged or disabled people. Last autumn I put it into this pot and in the fall it will need a bigger pot.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
hi lovelies!
I made some little valentines themed items for this years round of Cupid Inc! I hope you enjoy <3 More info about the event below!
Cupid Inc has a super unique gifting system & also mystery boxes!
Upon spending 800L at the event, you will get the choice to unlock one of two themed mystery boxes filled with items from all participating stores! You can also unlock both mystery boxes after spending 1500L <3
Excerpt from thestar.com:
Destination Danforth murals reflect themes of gratitude, resilience, hope and fight against racism by Ali Raza, Local Journalism Initiative ReporterBeach Metro News, Thu., Oct. 15, 2020:
Residents will see themselves and their communities in a series of murals painted across Danforth Avenue as part of the Destination Danforth pilot project.
The pilot brought a fast-tracked installation of cycling infrastructure on Danforth Avenue between Broadview Avenue and Dawes Road. In addition to patio extensions and pickup lanes, the pilot also included creative elements such as curb extensions, painted signal boxes, and five signature murals.
The artistic side of the pilot was led by a collaborative effort between the city’s StreetART Toronto and East End Arts.
In cooperation with local BIAs Broadview Danforth BIA, GreekTown on the Danforth, and Danforth Mosaic BIA, East End Arts recruited artists to paint the murals across the Danforth.
The art depicts two themes: gratitude, resilience, and hope, and #EastEnd Love, which is the group’s current project promoting inclusion, diversity, and fighting against racism.
The murals were painted in September and October, with three now complete. The remaining murals will be completed in November, and next spring.
The mural sites and the artists involved are as follows, with Instragram handles for artists included:
270 Danforth Ave. in the Broadview-Danforth BIA, a mural by Monica Wickeler (@monicaonthemoon) 628 Danforth Ave. in the GreekTown on the Danforth BIA, a mural by Poser (@poserabm) 975 Danforth Ave. at the 7-Eleven building, a mural by Elicser Elliot (@elicserelliot) in collaboration with four artists.
The upcoming sites include a mural painted by Kizmet (@kizmet32) and an art installation by Lara Lucretia, Caitlin Taguibao, and Xuan-Yen Cao, both in the Danforth Mosaic BIA zone, east of Coxwell Avenue.
There were two themes at London Canal Museum.
London's canals have a fascinating past and this little museum not only shows how they came to be built but about the lives of the workers, the cargoes, horses and how canals work.
It is a waterways museum first and foremost, but also an industrial museum telling the story of the ice industry in London.
It is the only London museum of inland waterways and is situated at King's Cross, an accessible central location.
Week 2: Leading lines. Well, I could try to be a little more cool and say that this is the second pic of my mini series called "blinds" I could also say that I have tried to show how it is possible to use blinds with different purposes... :)) but the truth is that I joined "in extremis" the challenge and mini challenge myself to get two photos for two themes of the challenge in an hour to be able to upload them.
Miguel loved traveling with his favorite van through the luminous highway.
Have a nice luminous weekend too! ;)
for Macro Mondays "Redux 2022". I didn't do the two themes represented by this little VW bus, namely "pink" and "transportation". HMM folks and Happy New Year. May your macro lens always be handy.
IDBX7548
Cette façade mérite une observation attentive, tant l’organisation, la signification et la richesse des décors répond à une volonté évidente d’inspiration et d’explication. La symbolique du chiffre 3 est omniprésente: 3 portails, 3 niveaux, jusqu’aux triangles du haut du fronton.
l’ensemble dégage une grande harmonie. Les lignes verticales sont bien accentuées, mais les trois étages, classiques dans le style roman, ne forment pas de cloisonnement horizontal rigide.
Sa décoration sculpturale est extrêmement riche et figurative, occupant tous les espaces libres sans jamais donner l’impression de surcharge. Les deux thèmes, l’Église et l’humanité se rejoignent au fronton dans l’apothéose d’un jugement dernier empreint d’espoir.
Une trentaine de petits personnages de toutes origines sociales, représentant le peuple de Dieu, s’avance vers la Vierge Marie, représentée ici dans des vêtements du XII e siècle. De par sa situation, elle est ici en position de médiatrice vers le Christ, qui la domine entouré de deux anges.
This facade deserves careful observation, as the organization, the meaning and the richness of the decorations respond to an obvious desire for inspiration and explanation. The symbolism of the number 3 is omnipresent: 3 portals, 3 levels, up to the triangles of the top of the pediment.
the whole exudes a great harmony. The vertical lines are well accented, but the three floors, classic in the Romanesque style, do not form rigid horizontal partitioning.
Its sculptural decoration is extremely rich and figurative, occupying all the open spaces without ever giving the impression of overload. The two themes, the Church and humanity meet at the pediment in the apotheosis of a last judgment full of hope.
Thirty little characters of all social origins, representing the people of God, advance towards the Virgin Mary, represented here in clothes of the twelfth century. Because of her situation, she is here in the position of mediator to Christ, who dominates her surrounded by two angels.
Built for Rebellug's Vignweek Day 6: Star Wars+Theme.
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I completed a large portion of this MOC before the deadline a few weeks ago (see older post) but wasn't able to finish in time. I decided I couldn't not finish a build I had gotten so excited about, so here is the final properly photographed and edited product only a few weeks late!
The challenge was to combine Star Wars with another theme as organically as possible, and since I enjoy military builds and have a lot of neat minifigure parts for it, I decided to combine Star Wars with World War II. Specifically, I mashed an urban conflict between Imperials and Rebels with the siege of Bastogne during the Battle of the Bulge in the final days of WWII fought between Americans and Germans.
The minifigures are all combinations of parts from Star Wars and military, but the two buildings represent the two themes independently; Art Nouveau-ish architecture on the left with a cobblestone road common to Europe and generic Star Wars-y architecture on the left using more bold colors and with a more futuristic road as well as communication equipment and crates on the roof.
It was fun to try and organically blend the two styles together into an aesthetically pleasing build that doesn't look too jarring but yet still highlights the fact that two unique themes are present. Hopefully, that is the way that it looks to you ;)
Thanks for checking this build out!
Maranatha!
This photo actually fits two themes: Apr 9 - Circles and Jul 16 - Erasers. But since I didn't care for my circle photo and I loved my eraser photo, my redux is circles. Happy New Year!
taken at the theme park in Wuhu city of China
they have two theme parks in the city under the same management, after registering fingerprint, visitor can enter both with the same set of ticket in the same day
Another, particularly abstract example of what can be revealed in the rotation of a hub-cap when combined with ICM.
The title is, of course, a play on words reflecting the (visual) interweaving of repetitive elements.
Fugue: a musical composition in which one or two themes are repeated or imitated by successively entering voices and contrapuntally developed in a continuous interweaving of the voice parts.
Excerpt from thestar.com:
Destination Danforth murals reflect themes of gratitude, resilience, hope and fight against racism by Ali Raza, Local Journalism Initiative ReporterBeach Metro News, Thu., Oct. 15, 2020:
Residents will see themselves and their communities in a series of murals painted across Danforth Avenue as part of the Destination Danforth pilot project.
The pilot brought a fast-tracked installation of cycling infrastructure on Danforth Avenue between Broadview Avenue and Dawes Road. In addition to patio extensions and pickup lanes, the pilot also included creative elements such as curb extensions, painted signal boxes, and five signature murals.
The artistic side of the pilot was led by a collaborative effort between the city’s StreetART Toronto and East End Arts.
In cooperation with local BIAs Broadview Danforth BIA, GreekTown on the Danforth, and Danforth Mosaic BIA, East End Arts recruited artists to paint the murals across the Danforth.
The art depicts two themes: gratitude, resilience, and hope, and #EastEnd Love, which is the group’s current project promoting inclusion, diversity, and fighting against racism.
The murals were painted in September and October, with three now complete. The remaining murals will be completed in November, and next spring.
The mural sites and the artists involved are as follows, with Instragram handles for artists included:
270 Danforth Ave. in the Broadview-Danforth BIA, a mural by Monica Wickeler (@monicaonthemoon) 628 Danforth Ave. in the GreekTown on the Danforth BIA, a mural by Poser (@poserabm) 975 Danforth Ave. at the 7-Eleven building, a mural by Elicser Elliot (@elicserelliot) in collaboration with four artists.
The upcoming sites include a mural painted by Kizmet (@kizmet32) and an art installation by Lara Lucretia, Caitlin Taguibao, and Xuan-Yen Cao, both in the Danforth Mosaic BIA zone, east of Coxwell Avenue.
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.
Today's Macro Mondays theme is Hearts. And today's letter of the alphabet is M. Nice of the two themes to mesh like that :-)
Hey, wow! I haven't participated in a good few weeks (months?), but when I saw that they went ahead with the suggestion I made last year to combine two themes in the year-end redux, I had to put one together. I hope everyone enjoyed this challenge. I combined "Knots" and "Leading Lines," but hedged my bets in case those lines weren't leading enough by sidelighting it as well. HMM, and happy new year!
Main Street, U.S.A.
Disneyland Park, originally Disneyland, is the first of two theme parks built at the Disneyland Resort in Anaheim, California, opened on July 17, 1955. It is the only theme park designed and built under the direct supervision of Walt Disney. It was originally the only attraction on the property; its name was changed to Disneyland Park to distinguish it from the expanding complex in the 1990s.
Walt Disney came up with the concept of Disneyland after visiting various amusement parks with his daughters in the 1930s and 1940s. He initially envisioned building a tourist attraction adjacent to his studios in Burbank to entertain fans who wished to visit; however, he soon realized that the proposed site was too small. After hiring a consultant to help him determine an appropriate site for his project, Disney bought a 160-acre (65 ha) site near Anaheim in 1953. Construction began in 1954 and the park was unveiled during a special televised press event on the ABC Television Network on July 17, 1955.
Since its opening, Disneyland has undergone a number of expansions and major renovations, including the addition of New Orleans Square in 1966, Bear Country (now Critter Country) in 1972, Mickey's Toontown in 1993, and the forthcoming Star Wars Land in 2019. Opened in 2001, Disney California Adventure Park was built on the site of Disneyland's original parking lot.
Disneyland has a larger cumulative attendance than any other theme park in the world, with over 650 million guests since it opened. In 2013, the park hosted approximately 16.2 million guests, making it the third most visited park in the world that calendar year. According to a March 2005 Disney report, 65,700 jobs are supported by the Disneyland Resort, including about 20,000 direct Disney employees and 3,800 third-party employees (independent contractors or their employees).
(Wikipedia)
Das Disneyland Resort in Anaheim ist einer der am meisten besuchten Freizeitkomplexe der Welt und besteht aus den beiden Parks Disneyland und Disney California Adventure Park sowie mehreren Hotels und einem Einkaufs- und Restaurantkomplex. Das Resort gehört zur Abteilung Walt Disney Parks and Resorts der Walt Disney Company.
Mit schätzungsweise 16,8 Millionen Besuchern war der Vergnügungspark Disneyland im Jahr 2014 hinter Magic Kingdom der am zweithäufigsten besuchte Park weltweit. Disneyland wurde von Walt Disney gegründet und öffnete am 17. Juli 1955. Disneys Ziel war es dabei, einen Ort zu schaffen, an dem Kinder und Erwachsene zusammen Spaß haben können.
Um Geld für das Projekt zu bekommen, erfand Disney in den 1950er Jahren eine Fernsehsendung Disneyland, die vom Sender ABC ausgestrahlt wurde. Heute gehört dieser Sender ebenfalls zum Disney-Konzern.
Schon in der Planungsphase nach dem Zweiten Weltkrieg wurde deutlich, dass für den Park mehr Land benötigt werden würde, als auf dem Gelände neben den Disney-Studios in Burbank, das ursprünglich als Ort für Disneyland vorgesehen war.
Nach Untersuchungen von Wissenschaftlern der Stanford University wurde das Gelände in Anaheim ausgewählt, auf dem damals noch Walnüsse und Orangen angebaut wurden. Durch einen neuen Autobahnanschluss nach Los Angeles war die gute Erreichbarkeit des Parks sichergestellt und am 21. Juli 1954 konnte mit dem Bau begonnen werden.
Nach fast genau einem Jahr und Investitionen in Höhe von 17 Millionen Dollar wurde der Disney-Park am 17. Juli 1955 durch den damaligen Gouverneur von Kalifornien Goodwin Knight eröffnet. Zu den ersten Attraktionen zählen Jungle Cruise und das Mark Twain Riverboat auf den Rivers of America. Der Themenpark wurde untergliedert in fünf „Länder“: Main Street USA, Adventureland, Frontierland, Fantasyland und Tomorrowland. Der Zentralteil, Main Street, USA, stellt das Zentrum eines amerikanischen Provinzstädtchens um 1910 dar und hat sein Vorbild in Walt Disneys Heimatstadt Marceline (Missouri) und im damaligen Fort Collins. Diese Imitation nostalgischer Kleinstadtarchitektur (in leicht reduziertem Maßstab) und ihr enormer Erfolg beim Publikum gaben später den Anlass zur teilweise kritischen Verwendung des Begriffs „Disneyland“ in der Architekturkritik, etwa im Zusammenhang mit dem vom Disneykonzern mit geprägten New Urbanism oder dem Problembereich Rekonstruktion (Architektur).
(Wikipedia)
Palacio del Marqués de Santa Cruz, Viso del Marqués, Ciudad Real, Castilla-La Mancha, España.
El palacio del Marqués de Santa Cruz es un edificio situado en el municipio de Viso del Marqués (Ciudad Real), en la Comunidad autónoma de Castilla-La Mancha, en España. Fue construido a finales del siglo XVI por Álvaro de Bazán, primer marqués de Santa Cruz. Actualmente es la sede del Archivo General de la Marina.
Fue construido entre 1564 y 1586 con modificaciones posteriores, y se trata de un edificio de planta cuadrada y estilo renacentista articulado en torno a un atrio renacentista con una tumba yacente. Los muros y techos se hallan cubiertos de frescos de doble temática: por un lado, escenas mitológicas y, por otro, batallas navales y ciudades italianas relacionadas con la trayectoria militar del marqués y de sus familiares. Los frescos se deben a unos pintores manieristas italianos, los Péroli. Al verlos, Felipe II les encargaría trabajos para El Escorial y el Alcázar de Toledo.
Para levantarlo, el marqués contrató a un equipo de arquitectos, pintores y decoradores que trabajaron en la obra desde 1564 hasta 1586. Para algunos, el diseño del edificio se debió al italiano Giovanni Battista Castello, conocido como el Bergamasco, que más tarde trabajó en El Escorial; para otros lo trazó, al menos en su plan original, Enrique Egas el Mozo.
La arquitectura se percibe como típica española, sin las arquerías italianas, con paramentos lisos y torres cuadradas en las esquinas, influidos por la austeridad de El Escorial y el Alcázar de Toledo, dentro de las relaciones armónicas características del Renacimiento. El espacio central está ocupado por un patio porticado que junto con la escalera forma un conjunto típicamente manierista entendido como estilo elegante y cortesano que desborda el marco meramente arquitectónico. Contaba con cuatro torres que, al parecer, se derrumbaron a consecuencia del Terremoto de Lisboa de 1755.
Las paredes están decoradas con 8.000 metros cuadrados de frescos manieristas elaborados por Giovanni Battista Peroli con Esteban Peroli y César de Bellis. Todos trabajaron para crear un espacio erigido a la mayor gloria de su dueño: por un lado, había que exaltar sus virtudes militares, y por el otro, enaltecer su linaje. Para lo primero, se pintaron en las paredes, las bóvedas y los techos del palacio vistas de ciudades y de puertos, así como los baluartes y las batallas en los que había conquistado su inmenso prestigio. A ambos lados de la escalera se ubicaron dos estatuas en las que aparecía representado como Neptuno (dios de los mares, con su tridente) y como Marte (dios de la guerra), y sobre las puertas del piso superior se colocaron los fanales de popa de las naves capitanas vencidas en las batallas, que eran los trofeos de los marinos. Para elogiar su linaje, y siguiendo la misma tradición renacentista de representar a hombres como dioses o semidioses de la antigüedad, se pintó a los antepasados del marqués y a sus esposas (tuvo dos) e hijos.
Estos dos grupos de representaciones se aderezaron con trampantojos, pinturas que simulaban puertas, columnas y otros elementos decorativos y arquitectónicos; y también con motivos grutescos que incluían animales mitológicos, sabandijas y follajes. Conforme una temática muy variada que se puede interpretar como defensa del catolicismo defendido en Trento.
Las estatuas sepulcrales de Alonso de Bazán (hermano de don Álvaro) y su esposa María de Figueroa, son el único ejemplo de escultura funeraria perteneciente al primer tercio del siglo XVII. Fueron ejecutados para el Monasterio de la Concepción que ocupaba la Comunidad de Religiosas Franciscas de El Viso del Marqués, ubicándose a día de hoy en el muro del Palacio más cercano a los jardines. Su creador fue Antonio de Riera, escultor relacionado con la corte de origen catalán. En ellas, aparecen los marqueses en actitud de orante, arrodillados en un reclinatorio, todo ello en mármol blanco que resalta sobre el mármol negro de los nichos. Se advierte en ellos cierta similitud con la elegancia y el clasicismo de los Leoni, a pesar de cierta rigidez formal, siendo de especial relevancia la forma en la que están ejecutadas las telas y el detalle de los vestidos.
The Palace of the Marquis of Santa Cruz is a building located in the municipality of Viso del Marqués (Ciudad Real), in the autonomous community of Castilla-La Mancha, Spain. It was built in the late 16th century by Álvaro de Bazán, the first Marquis of Santa Cruz. It currently houses the General Archive of the Navy.
Built between 1564 and 1586, with subsequent modifications, it is a square, Renaissance-style building centered around a Renaissance atrium with a recumbent tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes, and naval battles and Italian cities related to the military career of the Marquis and his family. The frescoes are by Italian Mannerist painters, the Pérolis. Upon seeing them, Philip II commissioned works from them for El Escorial and the Alcázar of Toledo.
To build it, the Marquis hired a team of architects, painters, and decorators who worked on the project from 1564 to 1586. Some believe the building was designed by the Italian Giovanni Battista Castello, known as El Bergamasco, who later worked at El Escorial; others believe it was designed, at least in its original plan, by Enrique Egas the Younger.
The architecture is perceived as typically Spanish, lacking the Italian arches, with smooth walls and square towers at the corners, influenced by the austerity of El Escorial and the Alcázar of Toledo, within the harmonious relationships characteristic of the Renaissance. The central space is occupied by a porticoed courtyard that, together with the staircase, forms a typically Mannerist ensemble, understood as an elegant and courtly style that transcends the purely architectural framework. It had four towers that apparently collapsed as a result of the Lisbon Earthquake of 1755.
The walls are decorated with 8,000 square meters of Mannerist frescoes created by Giovanni Battista Peroli with Esteban Peroli and César de Bellis. They all worked to create a space built to the greatest glory of its owner: on the one hand, to exalt his military virtues, and on the other, to honor his lineage. To this end, views of cities and ports, as well as the bastions and battles in which he had earned his immense prestige, were painted on the walls, vaults, and ceilings of the palace. On either side of the staircase were two statues depicting him as Neptune (god of the seas, with his trident) and Mars (god of war). Above the doors on the upper floor were the stern lanterns of defeated flagships, trophies of the sailors. To praise his lineage, and following the same Renaissance tradition of depicting men as gods or demigods of antiquity, the marquis's ancestors, his wives (he had two) and children were painted.
These two groups of representations were embellished with trompe l'oeil paintings simulating doors, columns, and other decorative and architectural elements; as well as grotesque motifs that included mythological animals, vermin, and foliage. This varied theme can be interpreted as a defense of the Catholicism championed in Trent.
The sepulchral statues of Alonso de Bazán (Don Álvaro's brother) and his wife María de Figueroa are the only examples of funerary sculpture dating from the first third of the 17th century. They were executed for the Monastery of the Concepción, which was occupied by the Community of Franciscan Nuns of El Viso del Marqués, and are now located on the wall of the Palace closest to the gardens. Their creator was Antonio de Riera, a sculptor of Catalan origin associated with the court. They depict the marquises in a prayerful attitude, kneeling on a prie-dieu. All in white marble, which stands out against the black marble of the niches. There is a certain similarity to the elegance and classicism of the Leoni family, despite their formal rigidity, with the execution of the fabrics and the detail of the dresses being particularly noteworthy.