Interiors decoration comprises pillars, friezes, stuccoes, vault arches and a large examination hall.
|
|
This design is a choice undertaken by Fritz Weidner: to part from stuccoes for decorative arrangement as architectural elements. Interiors have noteworthy elements, especially the ceiling in hallway and entrance adorned with flower stuccoes. The building shows similarity with a neighbouring one, at N°79, also designed by Fritz Weidner.
|
|
The interiors were refurbished with Baroque-style stuccoes in 1683, in celebration of the defeat of the Ottomans during the Battle of Vienna.Comune of Staffolo, entry on church.
|
|
This salon has stuccoes by Ciro Sannino and Vincenzo Belligiono. In the first floor is a statue by Giuseppe del Fico.Napoligrafia website, entry on Palace.Beni Culturali of Italy.
|
|
Being inside the Cathedral the visitor is fascinated by the golden, pink and white colours. The ceiling is decorated with stuccoes. This is one of the most beautiful decorations in Hungary.
|
|
Mohammad ebn-e Bakran's grave is located behind the courtyard. On the northern side of it, there's a small closed room, which was probably his teaching place. The mausoleum is decorated with stuccoes and tiles.
|
|
The ballroom was redecorated with marbles and stuccoes. After 1853 stately rooms were designed in a French Rococo style, with white-gold stuccoes and furniture from the Hofburg. The palace was already too small for the needs of the royal court, so the kitchens and service rooms were housed in the neighbouring Zeughaus. The palace was connected with the Zeughaus by a glassed passageway. On the western side of the cour d'honneur two smaller buildings were erected, using plans by Weiss and Neuwirth in 1854.
|
|
The interior decoration is also attributed to Vittoria, with stuccoes and frescoes still well-preserved in the portego of the first floor. The palace was once accompanied by a garden; that area is today built up.
|
|
Some were damaged over the course of time. The harmoniously proportioned columns, at one time smooth, and untouched, were at the same time richly decorated with gilt stuccoes. The barrel vaults are furnished with grotesque decorations.
|
|
K. A. Berney and Trudy Ring, International dictionary of historic places: Middle East and Africa, Volume 4. Taylor & Francis. 1996. p. 391 The sepulchre place is accessed from a cloister-like court with richly decorated ceramics and stuccoes.
|
|
The plan of the church is a Greek cross, with a hemispherical dome; pendentives are decorated with stuccoes of the Four Evangelists, while the four arches supporting the dome are decorated with stuccoes of angels and allegories of the Passion, Hope and Faith. Above the main altar, a fresco of Antonio Bicchi depicts the Lord blessing. On the left side chapel is the polychrome marble urn, work of Corrado Mezzana, containing the relics of Peter Julian Eymard, founder of the Congregation of the Blessed Sacrament. The altar is decorated with a painting by Placido Costanzi which depicts a vision of St. Charles Borromeo (1731).
|
|
The design of the new church was commissioned to Ascanio Vitozzi. Amedeo di Castellamonte collaborated in the designing of the façade. Works began in 1607. In 1753 king Charles Emmanuel III of Savoy commissioned Benedetto Alfieri to restore the interior decoration and to ornament it with stuccoes.
|
|
On the eastern side of the Buffet Hall a long row of windows opened towards the Danube and a pillared terrace. The Buffet Hall was divided into three sections with free-standing Ionic columns, holding trabeations. The vaulted ceiling was lavishly decorated with frescoes and stuccoes.
|
|
The interior is rich in scagliola and frescoes. The balcony beside the organ and has some stuccoes depicting musical instruments. The lateral altars have 19th- century canvases depicting St Augustine, St Michael Archangel, and an Adoration of the Magi. The fourth altar has a 15th-century crucifix.
|
|
Dinner of Herod Antipas with dancing Salome During the 20th- century restoration works, some Romanesque frescoes from the 1160s were discovered here. Other murals are dated to Charlemagne's reign. The UNESCO recognized these as "Switzerland's greatest series of figurative murals, painted c. A.D. 800, along with Romanesque frescoes and stuccoes".
|
|
Karl Bergner was born on March 9, 1864. He has been active in Bromberg as an architect from the 1880s to the First Worl War. He was one of the most prolific architects of his time in the city. His designs usually included Eclecticism style with Neo-Renaissance and Neo-baroque decoration stuccoes.
|
|
It was sold to the state in 1959. The palace is notable because two rooms in the main floor retain the late Renaissance decoration (1573), including stuccoes by Marcello Sparti and frescoes by Bernard van Rantwyck.Documenti per la storia dell'arte senese by Gaetano Milanesi, page 240. The ceilings depict biblical episodes from the old testament.
|
|
The roof is also adorned with a decorative frieze at the eaves. Until today, facades have kept tonda with putti reliefs. Inside, rich neo-rococo furnishings can be found: stoves, fireplaces, stuccoes, stained glasses, oak panelling and a wooden coffered ceiling in the office. The building has been put on the Kuyavian-Pomeranian Voivodeship Heritage List, N°601416 Reg.
|
|
The Lucy is attributed to Giacomo Cozzarelli, while the Niccolo is from the school of Giovanni di Stefano. On the left wall, is a Crucifixion by the son of Ventura Salimbeni, Simondio Salimbeni. One of the side altars has stuccoes by Giuseppe Silini, with formerly a fresco by Simone Martini taken from Porta Camollia.Scoprire Siena website.
|
|
Frescoes, stuccoes and mosaics, including those from the villa of Livia, wife of Augustus, at Prima Porta on the Via Flaminia. It begins with the summer triclinium of Livia's Villa ad Gallinas Albas. The frescoes, discovered in 1863 and dating back to the 1st century BC, show a luscious garden with ornamental plants and pomegranate trees.
|
|
The interior chapel of the Santissimo Sacramento was built in 1685 in Baroque style.parish of san Fiorenzo website. The apse, presbytery, and nave have frescoes mainly focused on the Life of San Fiorenzo by 15th century artists. The stuccoes in the Chapel of the Holy Sacrament were complete by Giacomo Marcori in 1681, and frescoed by Bartolomeo Baderna.
|
|
Later, in 1992 the Department completed the works by repairing the stuccoes, replacing the frames the gilt work, and repainted the Church. Today the Church of the Most Holy Ecce Homo is no longer a temple but a monument rescued from decay. It is now used as an auditorium and as a meeting place for cultural events.
|
|
The decoration includes stuccoes by Francesco Ferrari (c. 1725), and a Cosmatesque pavement. The vault of the central nave is decorated by a fresco representing the Glory of San Gregorio and San Romualdo and Triumph of Faith over Heresy (1727), by Placido Costanzi. The main altarpiece has a Madonna with Saints Andrew and Gregory (1734) by Antonio Balestra.
|
|
It is square- based with a golden dome and houses the tombs of its founder as well as King Sigismund II Augustus of Poland and Queen Anna. The design of the internal sculptures, stuccoes and paintings was carried out by some of the most renowned artists of the era, including Santi Gucci, Hermann Vischer, and the architect himself, Georg Pencz.
|
|
In addition to the stuccoes, worth noticing are stained glass, wooden reliefs (animal and plant motifs) and handrail stairwell. In the ballroom overlooking the garden is placed a fountain decorated with a sculpture of a woman washing her hair. The building has been put on the Kuyavian-Pomeranian Voivodeship Heritage List N°601312 Reg.A/1079/1-2, on December 13, 1994.
|
|
Part of the library complex is now the seat of the faculty of philosophy and theology, run by the Dominicans. At one end of the library is a room built in 1497 by the jurist Ludovico Bolognini. The room has Renaissance- style decoration with stuccoes by Antonio Maria Fontana. It has a painting of St Thomas Aquinas by Marcantonio Franceschini.
|
|
The façade is decorated with lesenes and stuccoes. The interior is on the Greek cross plan with a convex rhomboidal map, like the one of San Carlo alle Quattro Fontane. The apse, deeper than the side chapels, still houses the baroque altar made of polychrome marbles and a stained glass window depicting Saint Rita of Cascia. The dome is in the middle.
|
|
Eduard Schulz tenement has got an Art Nouveau decorated facade decoration, significantly impoverished as a result of renovation and rehabilitation. Initial decoration of N°66 frontage have been revived by a refurbishment during summer 2016. Likewise, on the facade of N°68, one can still notice gargoyles and stylized floral motifs. Inside are still preserved a staircase with its original door, railings and stuccoes.
|
|
The Sala delle Grottesche was decorated in the Mannerist style of the 16th century, and was commissioned by Marquess Michele Antonio around 1560. It has a finely painted ceiling, decorated with stuccoes, grotesques, ancient ruins and buildings. Annexed to the castle is the church, whose apse has a series of frescoes about the life of Christ dating from the same time as the Baronial Hall decorations.
|
|
The Carriageway is a mid-Victorian residential building. It consists of a pair of substantial two-storey town-houses of brick construction and terrace form with a central carriageway. The building is unusual in its roof form, the elevation to Smollet Street being composed of four equal jerkinhead gables. Other distinguishing features include stuccoes decorations such as quoinstones, gable plaques and elaborate window and door surrounds.
|
|
It also has some late 18th century decorations commissioned between 1789 and 1792 by Giuseppe Pallavicini, and completed by the Flaminio Minozzi, Francesco Pedrini, Vincenzo Martinelli, Giovanni Antonio Valliani, S. Barozzi, with stuccoes by Giuseppe Rossi.Biblioteca Salaborsa, entry on palace. On March 26, 1770, in the palace's Sala della Musica, a young Amadeus Mozart performed here.Bologna, the indulgent, by Katia Brentani, Andrea Brentani, Simona Guerra.
|
|
There are floral bas-reliefs and round inserts containing portraits of the tragedian Vittorio Alfieri and the poet and opera seria librettist Metastasio. The auditorium, decorated with stuccoes and gold, houses 350 spectators in three circles - stalls, gallery and "gods". The painting of Mount Parnassus on the curtain is by Angelo Moja. On the ceiling, a fresco by Pietro Ayres depicts Psyche and Apollo.
|
|
The building was rebuilt in the style of early historical modernism by Fritz Weidner. The two lower floors keep large windows that were once part of a department store. The facade, originally adorned with art Nouveau solar motifs stuccoes, has lost most of them with following reconstructions (especially in 1948). During the theater construction, reinforced concrete, a pioneering technology at the time, was used.
|
|
The Gar mosque and minaret are historical structures located in Gar village in the Isfahan province. The minaret dates back to Seljuq era, but the mosque belongs to the Ilkhanid age. The only remained part of the mosque is its mihrab, which has been decorated with stuccoes, but the minaret is relatively in a good condition and according to its inscription, it was built in 1121 by Abolghassem ebn-e Ahmad.
|
|
The room had lavish Baroque decorations with half-pillars and gilded stuccoes. The vaulted ceiling was decorated with Károly Lotz's fresco Apotheosis of the Habsburg Dynasty. Károly Senyei's four Carrara marble busts stood in front of the sidewalls representing King Charles III, Queen Maria Theresa, King Franz Joseph and Queen Elisabeth. The Habsburg Hall survived World War II relatively undamaged, but in the 1950s it was demolished for political reasons.
|
|
Etching by Jacques Bellange, The Three Marys at the Tomb 1610s Henry VIII of England had been spurred in emulation of Fontainebleau to import his own, rather less stellar, team of Italian and French artists to work on his new Nonsuch Palace, which also relied heavily on stuccoes, and was decorated from about 1541. But Henry died before it was completed and a decade later it was sold by his daughter Mary without ever having seen major use by the court. The palace was destroyed before 1700 and only small fragments of work associated with it have survived, as well as a faint ripple of influence detectable in later English art, for example in the grand but unsophisticated stuccoes at Hardwick Hall. Some (but not all) of the prodigy houses of Elizabethan architecture made use of ornament derived from the books of Wendel Dietterlin and Hans Vredeman de Vries within a distinctive overall style derived from many sources.
|
|
The internal stuccoes and the hexagonal bathroom (a bizarre fashion of the time, documented in several Genoese villas, but preserved only in Villa delle Peschiere) were realized by Marcello Sparzo, a member of the school of Giovanni Battista Castello. The rich frescoes at the piano nobile, almost completely preserved, are attributed to Antonio Semino with some interventions by Luca Cambiaso, to whom is also attributed the mythological cycle of frescoes in the lateral rooms.
|
|
The monumental main staircase (Főlépcsőház), with three flights, led up from the lobby to the first floor in an airy, glass-roofed hall. The side walls of the hall were decorated in Italian Renaissance style with colossal Corinthian half-columns, stuccoes and lunette openings. Ornate wrought-iron chandeliers and intricate balustrades decorated the stairs. On the ground floor, colossal Atlas statues stood beside the side pillars, holding the weight of the upper flights.
|
|
In Rome, he also met with Augustin Dumont. He was a prolific sketch artist and created many plaster models and studies. In 1831, Santarelli collaborated on the stucco decoration for the ballroom of the Meridiana building of Palazzo Pitti, built by Pasquale Poccianti. He was engaged by Poccianti to also complete stuccoes for the Chapel of the Madonna in the sanctuary of Maria Madre di Dio at San Romano, near San Miniato al Tedesco.
|
|
Only the side facing the square remains untouched. On the left wing in 1775 the theatre was built. Remarkable are the painting cycles that have been preserved in the palace: a fresco series on the ground floor and in several rooms on the noble floor. Decorations, stuccoes and paintings recount the mythology of the Po valley that grew up in the shadow of the history of Rome, of the Aeneid and of Chivalric poems.
|
|
The interior is well balanced and full with stuccoes made by Nicolò Curti, brother of Lorenzo Curti who carved the wooden statue of Our Lady of Miracles. On the high altar there is the 16th century sculpture of Our Lady of the Rescue (Madonna del Soccorso), realized by Bartolomeo Berrettaro."Trapani" ]. In the most popular iconography the Virgin Mary is represented armed with a club, while hitting a demon terrified at her feet.
|
|
It is 34 m high. Its bottom part has simple bricks, but the upper parts have been decorated by decorative bricks.' The Barsian mosque has masterly brickworks, notable mihrab and beautiful stuccoes. The brick decorations of the mosque and the cover of its dome are very similar to the Taj ol-molk dome in the Jameh Mosque of Isfahan and some believe that the Barsian mosque had the same architect as the Jame mosque of Isfahan.
|
|
The Grand Ballroom The Grand Ballroom (Nagy bálterem), in the middle part of the northern wing, took over the function of the smaller old ballroom in the Baroque wing. Designed by Hauszmann, it was the most splendid room of the palace. The two-storey high, airy room was lavishly decorated with stuccoes, half columns, trabeation, balconies and six crystal chandeliers in Neo-Baroque style. Seven arched windows and doorways opened towards a pillared terrace facing the western forecourt.
|
|
The ceiling of the Theodoli chapel at the basilica of Santa Maria del Popolo in Rome, Italy, containing stuccoes by Giulio Mazzoni Giulio Mazzoni (1525–1618) was an Italian painter and stuccoist, active during the Renaissance period. He was born in Piacenza, but studied in Rome under Daniele da Volterra, and was active about the year 1568. He helped decorate the Palazzo Spada. He also painted a canvas of the Four Evangelists for the Cathedral of Piacenza.
|
|
The façade is articulated by pilaster strips, blind arches, oculi (small circular windows), lozenges and mullioned windows. In the interior the intarsia pavement lies over a crypt with groin vaults and Roman capitals, perhaps the relic of an ancient market loggia later turned into a Christian temple. It houses a Roman sarcophagus, remains of frescoes and a Crucifix on panel from the 13th century. In the rectory are frescoes from the 13th and 15th centuries and 18th century stuccoes.
|
|
The staircase consists of four domes (the Dome of Ethics, the Dome of Rhetoric, the Dome of Dialectic, and the Dome of Poetics) and two flights, the vaults of which are each decorated with twenty-one images of alternating quadrilinear stuccoes by Alessandro Vittoria and octagonal frescoes by Battista Franco (first flight) and Battista del Moro (second flight).Broderick, 'Ascent to Wisdom...', pp. 19–20Sansovino, Venetia città nobilissima et singolare..., fol. 114rZorzi, La libreria di san Marco..., p.
|
|
Thee church has a nave and two aisles separated by columns and pillars, with matronaei at the sides. The capitals, in Byzantine style, are the last decoration detail visible today of the original Frederick II's building, together with the matronaei and the apse at the left of the portal. The nave, with a wooden ceiling decorated with gilded stuccoes, ends in a large 18th century high altar, executed in 1736-1793. The altarpiece is an Assumption of the Virgin by Leonardo Castellano (1546).
|
|
Simone had forbidden his children from selling the palace; however, lacking male descendants, in 1640, the palace came into the Giugni family with the marriage of Niccolò Giugni and Luisa Giraldi. At this time it was enlarged and two wings were added. A gallery was decorated using designs of Massimiliano Soldani Benzi, with stuccoes by Giovanni Martino Portogalli and ceiling frescoes by Alessandro Gherardini celebrating Medici support of the arts. The marchese Giugni served as Guardaroba Maggiore to the Grand-Duke of Tuscany.
|
|
In the middle of the courtyard there is a nymphaeum adorned with stuccoes. On the left there is an overhang caused by the chapel added by the Acquaviva family, probably made by Agostino Ciampelli to a design by Pietro da Cortona. The Sacchetti coat of arms was added later. On the side towards the Lungotevere the palace ends with a loggia once overlooking the river, created by the Ceuli and modified by the Sacchetti, adorned with a colossal marble head (possibly Juno)Pietrangeli (1981), p.
|
|
The central nave is surmounted by an octagonal dome, whose exterior is decorated with fugres resembling Inca Indians. The interior of the church has a rich Baroque decoration sith stuccoes and gold patina. The Chapel of the Dulce Nombre de Jesús has another work by Roldán and a Christ Reborn by Jerónimo Hernández. The high altar is in Baroque style (18th century), with sculptures by Pedro Duque y Cornejo and Francisco de Ocampo, while the retable of the Assumption was executed by Juan de Mesa.
|
|
The center of Castelvetrano consists of three linked squares and many monuments can be found within these areas. The main square is Piazza Tagliavia which is adorned with many fine buildings including the town's principal church, the Chiesa Madre, which in its present form dates back to the sixteenth century. Inside the church are stuccoes by Ferraro and Giacomo Serpotta. Near the church is the Municipio (town hall) and also close by is the Purgatory Church, built in 1624–64, with its façade filled with statues Castelvetrano on trapani- sicilia.
|
|
Several years later, the National Institute of Anthropology and History (INAH) of Mexico began extensive architectural excavations and consolidation under the direction of archaeologist Carlos Peraza Lope. This work continues to the present. It has resulted in the discovery of many important artifacts, murals, stuccoes, and architectural elements. From 2001 to 2009, further investigations were begun at the site by a team under the direction of Dr. Marilyn Masson from the State University New York at Albany, Carlos Peraza Lope of INAH, and Timothy S. Hare of Morehead State University.
|
|
In 1989, the cemetery celebrated its 150 years of service. The chapel's interior was restored in 1998, that involved treatment, conservation and restoration of supports and stucco ornamental structures; the mural painting in the chancel and nave; the repairs to cornerstones; the gilding of woods and decorative polychromatic stuccoes; repair to stone pavement and of cast-iron elements and artistic joinery. This also included the consolidation of traditional mortars and paint. Additional repairs were undertaken in 2018, that included works of conservation and restoration in exterior and interior.
|
|
Close by the gate, just outside the wall, is the unusual Tomb of the Baker, built by Marcus Virgilius Eurysaces. In 1917, a subterranean Neopythagorean Porta Maggiore Basilica was discovered nearby on the Via Praenestina, dating from the 1st century. The groundplan shows three naves and an apse, a design similar to that which began to be adopted in Christian basilicas during the 4th century. The vaults are decorated with white stuccoes symbolizing Neopythagorean beliefs, although the precise meaning of elements of the decoration remains a subject of debate.
|
|
The monumental façade was begun in 1723, with design by the Syracuse sculptor Mario Diamanti: it was completed, along with the campanile, in 1768. The church is noteworthy for its fine Baroque decorations, including a wide usage of stuccoes in the interior. The vault of the central nave has three large 19th-century frescoes, while the altars are in polychrome marbles, with altarpieces or statues portraying saints. The central nave ends with an apse including the St. Crucifix Chapel and a majestic marble high altar, with a 17th-century crucifix.
|
|
The mansion was later owned by the family called Hatvany-Deutsch. They were the ones who added those neo-baroque stuccoes which can be seen in the stairway. Most of the interior parts were destroyed, stolen and damaged by the soldiers during the Second World War and the local citizens during the first couple of decades after it. As a result, it was renovated and reconstructed a couple of times. The area of the former park was replaced by a student’s hostel, a hospital and even a building estate.
|
|
Tibaldi, archbishop Charles Borromeo's trusted architect, was at the time already working on the Duomo, on the Archbishop's Palace and on Cortile dei Canonici. Between 1573 and 1598 he coordinated work at the royal palace which completed overhauled the pictorial decorations of the apartments' porticoes, of the private chapel and of the Church of San Gottardo. Several major artists of the time attended to this work: Aurelio Luini, Ambrogio Figino, Antonio Campi and naturally Pellegrino Tibaldi himself. Some stuccoes and Gothic works were created by Valerio Profondavalle, a Flemish artist-impresario who had also worked on the windows of the Duomo.
|
|
He continued his work until the sack of Rome (1527) when he departed to work in Florence, where he worked on the stuccoes in Sagrestia Nuova in San Lorenzo, and Venice, where he worked on the stucco decoration in the Palazzo Grimani, around 1540. In Udine, he worked as an architect on the Torre dell'Orologio (Clock-Tower) and the Fontana di Piazza Nuova (Piazza Nuova Fountain). In Cividale, he helped in the construction of Santa Maria dei Battuti. He returned to Rome in 1560 to work on the third floor of the Logge Vaticane, and died in this city in 1564.
|
|
The Pir Bakran mausoleum is a historical mausoleum in Pir Bakran, the capital of Pir Bakran District. The mausoleum dates back to the Ilkhanid era. The names of The Rashidun Caliphs on its inscriptions show that the building belongs the early times of the conversion of mongols to islam and they were still sunnite. The courtyard of the mausoleum is surrounded by walls, small iwans and the arched portals of the main iwan and decorated by some inscriptions with Kufic scripts and stuccoes with the form of flowers and bushes, which are the works of Mohammad Naghash.
|
|
The complex maintained this role also after the fall of Napoleon, and was used by the Italian Army until 1978, when it was sold to the Ministry of Culture. Restoration works were begun in 1999, and encapsulated the palace, gardens, and the historic center of the town. It was the largest restoration project in European history, with 100.000 m2 of buildings area, 1.000 frescoes, 9.5000 m2 stuccoes, 800.000 m2 garden area being renovated. The complex was open for tourism from 13 October 2007, and has since become a major turist destination and space for exhibitions and events.
|
|
In the interior is the "Feasts Hall", in Roccoco style, with a complex decoration of mirrors, stuccoes and frescos painted by Matteo Desiderato and Sebastiano Lo Monaco. The small dome, destined to the orchestra, has a fresco depicting the glories of the Paternò Castello di Biscari family. It is accessed through a staircase decorated in stucco within the gallery facing the sea. Among the other rooms are the "Fief Room", featuring large canvasses of the Biscari feudataries; the "Princess Apartments", built by Ignazio V of Biscari for his wife, with pavements of ancient Roman marbles; the "Birds Gallery" and the "Don Quixote Room".
|
|
The west front is dominated by the rose window of sixteen rays and by the campanile on the left side, 52 metres high. The cathedral has a Latin cross ground plan and contains three naves, separated by round arches supported by columns with stone capitals. Much of the interior received a Baroque-style decoration in the 17th and 18th century, including gilted stuccoes and frames. The interior houses a Byzantine-style fresco depicting the Madonna della Bruna and Child, dating from 1270 and attributed to one Rinaldo da Taranto; the relics of Saint John of Matera (translated here in 1830);La Città del'Uomo.
|
|
Even if the bombs only hit a small part of the roof, damages quickly extended across the whole structure because of a colossal fire that was not noted and quenched in time, testament to Milan's general state of disarray on that eventful night. All wooden fixtures and furnishings went lost but the high temperature damaged even the famous stuccoes and Appiani's paintings, ruining the Hall of Caryatids beyond repair. Its wooden beams collapsed and trusses smashed on the floor, damaging it together with the vault, the balcony and the gallery. The other halls were also damaged by water seepage, after many of the roof tiles went lost in the raid.
|
|
The fine 15th-century Ponte del Diavolo leads to the church of S. Martino, which contains an altar of the 8th century with reliefs executed by order of the Lombard king Ratchis. The small church of Oratorio di Santa Maria in Valle (also known as Lombard Temple), next to the Natisone river, is a notable example of High Middle Ages art sometimes attributed to the 8th century, but probably later. Included in the old Lombard quarter, it was probably used as Palatine Chapel by the Lombard dukes and king's functionaries. The fine decorations, statues and stuccoes (11th or 12th century) housed in the interior, show a strong Byzantine influence.
|
|
To decorate the palace, in several campaigns Montano employed some of the greatest artists of his time: Giovanni Battista Zelotti (who had already intervened in the interiors of Palladio’s Villa Emo at Fanzolo), Anselmo Canera and Andrea Vicentino; the stuccoes were entrusted to Lorenzo Rubini (who contemporaneously executed the external decorations of the Loggia del Capitanio) and, after his death in 1574, to his son Agostino. The net result was a sumptuous palace capable of rivalling the residences of the Thiene, the Porto and of the Valmarana, a palace which permitted its patron to represent himself to the city as a ranking member of the Vicentine cultural élite.
|
|
Behind the Renaissance portico are three lunettes by Domenichino, painted in 1605, commemorating the hermits who lived here and depicting scenes from the life of St Jerome. The church also contains The Madonna of Loreto by Agostino Carracci (his only work in a church in Rome) and frescoes of Scenes from the Life of Mary, attributed to Baldassare Peruzzi. The first chapel to the right has an Annunciation by Antoniazzo Romano and an Eternal Father attributed to Baldassarre Peruzzi. The second chapel has frescoes and stuccoes (1605) by Giovanni Battista Ricci with an altarpiece of the Madonna di Loreto by pupils of Annibale Carracci.
|
|
Built in 1645, the church was constructed by wish of the Queen Regent Christine Marie of France to remember the miraculous rescue from the previous year of a girl from the river. The miracle was attributed to the intervention of an image of the Virgin of the Annunciation, which was placed on a votive pillar. The painting became such an item of devotion, that this church was built at the site, enlarged in 1779, and furnished with a baptistery in 1807. Repeated reconstructions have altered the interior, and the church retains only some of the original decoration consisting of the stuccoes attributed to Giovanni Andrea Casella and the cupola frescoes by Bartolomeo Guidobono.
|
|
The very simple yet elegant interior hosts interesting paintings, frescoes and stuccoes by local artists of the 16th and 17th centuries, including the work of Giovanni Battista Crespi (Mercy and Musiciant Angels) and the Madonna del latte by Tommasino from Mortara which is an object of great devotion, following some miracles that were attributed to Her. The main altarpiece was created by José Valdán and Joaquín de Villandiego in the 18th century. Six painting boards of different altarpieces were assembled in order to form the current altar of the trascoro, in front of the main entrance door to the church. The tables of the Degollación of San Juan Bautista and The Baptism of Christ are works of Pedro Berruguete.
|
|
The old Synagogue The first Synagogue of Livorno, called Tempio Maggiore, date back to 1603, when was built a modest and simply one on project by Claudio Cogorano and Alessandro Pieroni; in the following years due to the growing of the Jews in town, about 3,000 persons at that time, it was essential an enlargement of the synagogue. The project to build a larger worship hall and the galleries was by Francesco Cantagallina in 1642. The Torah ark was built with inlaid coloured marbles on project by Isidoro Baratta from Carrara, it was surmounted by a silver crown with a topaz set on it. With the same technique was built the bimah and the ceiling was enriched by stuccoes, decorations and gilt.
|
|
The mountainous interior, especially Mount Olympus, allows for hiking activities and adventure sports. C. Macedonia is home to two of Greece's 18 UNESCO World Heritage sites. The first is the ancient city of Aigai (modern day Vergina), which was the first capital of ancient Greek kingdom of Macedon, where in addition to the monumental palace, lavishly decorated with mosaics and painted stuccoes, the site contains a burial ground with more than 300 tumuli, one of which has been identified as the tomb of Philip II of Macedon, father of Alexander the Great. Pella, which replaced Aigai as the capital of Macedon in the fourth century BC, is also located in C. Macedonia, as well as Dion in Pieria and Amphipolis.
|
|
Chalkidiki is home to Mount Athos, which is an important centre of religious tourism. The mountainous interior allows for hiking activities and adventure sports, while ski resorts like Vasilitsa also operate in the winter months. Macedonia is home to four of Greece's 18 UNESCO World Heritage sites, including Aigai (modern Vergina), the first capital of the Macedonian kingdom, where in addition to the monumental palace, decorated with mosaics and painted stuccoes, the site contains a burial ground with more than 300 tumuli, one of which has been identified as the tomb of Philip II of Macedon, father of Alexander the Great. Pella, which replaced Aigai as the capital of Macedon in the fourth century BC, is also located in Central Macedonia, as well as Dion in Pieria and Amphipolis.
|
|
Next to the museum, also part of the convent complex, is the church, consecrated in 1273 and composed, following the female monasteries tradition, by an internal chapel constituted by a nave and two aisles, and by the external church. The latter was radically transformed in the 17th century into a luminous Baroque environment, decorated by stuccoes and frescoes, including some by Pietro Baschenis, as well as several altarpieces situated in the side chapels. Above the main altar is the 17th-century altarpiece of the Annunciation, executed by an unknown master; at its sides there are the altarpiece of the Adoration of the Shepherds (also by an unknown artist) and the Massacre of the Innocents by Pietro Ricchi. The chapels are decorated by altarpieces dating from the 18th and 19th century.
|
|
The stuccoes of the dining rooms, music rooms, visits of the Empress, state and bedroom of their majesties contribute to give grace and beauty to the environments of the Palace, one of the most important architectural monuments in Brazil. When the foundation stone was laid, there was leveling of the area, which was known as "Morro da Santa Cruz", to start the works, all of which were financed by stewardship of the Imperial House, as Pedro II said, in his private property, one should not use state money. In the Petrópolis plant, made by Koeler, it is indicated the place of the palace in a quadrilateral between the Emperor Street and the Empress Street. There were still other buildings on the same land, whose identification is impossible to make.
|
|
This elevation is served by a terrace bounded by a wall, adjacent to which is a formal garden. Within the wall, is a central module aligned with a slightly curved gate, which can be accessed across a rectangular floor and roof vault, which corresponds to the old Casa de Fresco and used as offices. The building has a central atrium, from which develops for each wing a corridor arranged in the longitudinal direction that articulates with compartments oriented to the northern and southern facades, generally with ceilings differently decorated with stuccoes. In the western wing (in the south), stands the dining room, a rectangular space interrupted by full arch with fireplace in stonework of erudite and lambril ceramic monochromatic treatment with a vegetal theme, also present in most spaces and areas of circulation (some with historic scenes or vegetal themes).
|
|
The surviving fragments can be easily recognized, as the precise intention of the reconstruction work was that it highlight the difference between the historic sections and the recent additions. The original parts of the ceiling cornices and remaining ornamental stuccoes on the walls are darker in color, in testimony of the last fire. The same difference can be seen in the marble frames of some of the doors, repaired with new marble of a different color, and in the new flooring, which merges with the typical Venetian terrazzo that remained in the room dedicated to the famous singer Maria Malibran. Thanks to these completions, the Sale Apollinee has been rebuilt on the basis of the originals, though a wider range of choice was conceded than in the house, shown by the new upholstery and furnishings in these rooms.
|
|
Church of SS. Claudius and Andrew of the Burgundian, Rome Antoine Dérizet (November 16, 1685Collection of the French School in Rome, copy of the baptismal certificate, 2004, p. 267 – October 6, 1768), of Lyon, was an experimentally classicizing French Late Baroque architect who spent much of his career in Rome, where he designed the churches of Church of SS. Claudius and Andrew of the Burgundian (1729?),Date given in Touring Club Italiano, Roma e dintorni, 1965, p. 178. where he experimented with reviving the High Renaissance central planning of a Greek cross surmounted by a central dome, and, facing Trajan's Forum, Santissimo Nome di Maria (1736–38),Dates given in Touring Club Italiano, Roma e dintorni, 1965, p. 143. which is elliptical in plan, with radiating chapels. He also provided designs for the marble revetment and stuccoes added to the interior of San Luigi dei Francesi (1759–64).Touring Club Italiano, Roma e dintorni, 1965, p. 200.
|
|