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Neoclassical (10)

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Neoclassical architecture is an architectural style produced by the Neoclassical movement that began in the mid-18th century in Italy and France. It became one of the most prominent architectural styles in the Western world. The prevailing styles of architecture in most of Europe for the previous two centuries, Renaissance architecture and Baroque architecture, already represented partial revivals of the Classical architecture of ancient Rome and (much less) ancient Greek architecture, but the Neoclassical movement aimed to strip away the excesses of Late Baroque and return to a purer and more authentic classical style, adapted to modern purposes.

Neoclassical architecture - Wikipedia

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Bonsecours Market (French: Marché Bonsecours) is a two-story domed public market located at 350 Rue Saint-Paul in Old Montreal, Quebec. Opened in 1847, it served as Montreal's main public market for over a century and briefly hosted the Parliament of United Canada in 1849. Named after the nearby Notre-Dame-de-Bon-Secours Chapel, the Neoclassical building was inspired by Dublin's Customs House and designed by British architect William Footner. Construction began in 1844, with major alterations by Irish-born architect George Browne completed in 1860.The market also housed Montreal City Hall from 1852 to 1878, including a 3,700-square-meter meeting room and a concert hall added by Browne. It continued as a farmer’s market until 1963, after which it was transformed into a multi-purpose space with cafés, restaurants, boutiques, and event halls.Designated a National Historic Site of Canada in 1984, Bonsecours Market was commemorated by Canada Post in 1990 with a $5 stamp featuring its image. The stamp was designed by Raymond Bellemare and printed by the British American Bank Note Company and the Canadian Bank Note Company.

This church in Piran, dating back to 1272, is among the city's oldest. Tradition suggests it was funded by Lady Bona, widow of Giovanni de Vitale, and was constructed outside the town walls near the old port, now Tartini Square. In 1818, the church, then in poor condition, underwent a comprehensive renovation overseen by architect Pietro Nobile, who designed its Neoclassical façade. Above the entrance portal is a stone relief depicting Jesus handing the keys to St. Peter, crafted by Antonio Bosa. Inside, the church features rare architectural secco-technique paintings with plant decorations from the late 19th century, attributed to painter Ignazio Calassi. Beneath this layer, researchers uncovered wall paintings from the early 19th century. The Baroque altar, likely transferred from a disused church in Venice during reconstruction, is adorned with a marble tabernacle dating to the late 17th or early 18th century. The altar niche houses a painting of the Immaculate with St. Agnes, flanked by two angels supporting a wooden, gold-plated baldachin. Wooden statues of St. Peter and St. Paul flank the altar.

The entry into 'Brasov’s Stronghold' from the Romanian district of Schei was historically through the Upper Gate during the Middle Ages. Initially named Corpus Christi, it corresponded to the square's level where it stood. The sole remaining structure from the old fortified ensemble is Ecaterina's Tower, showcasing Renaissance architecture in Brasov. Erected in 1559 by initiative of Mayor Judge Johannes Benkner, it stands as a significant representative of this style. The other fortifications of the complex, once safeguarded by water moats, were dismantled in 1827. This was a preparatory step for the construction of The Schei Gate, vital for smoother traffic flow between Brasov’s Stronghold and the 'Upper Suburb.' Built in 1828 in a Neoclassical design, it featured a central operable entry, bordered by pedestrian walkways with semicircular openings. Mason artisan Joseph Jani executed the construction, funded by Romanian merchants. Later, modifications included classicist-style gate construction for Horses Fair Street, between 1819-1820, and adjustments to the interconnected walls of the south-eastern side, flanked by the Blacksmiths Bastion and the Weavers Bastion.'.

Situated at 96A Revoluției Boulevard in Arad, Romania, stands the St. Anthony of Padua Church - a Roman Catholic sanctuary devoted to the veneration of Saint Anthony of Padua. This architectural marvel was envisioned by local architect Milan Tabaković and meticulously constructed between 1902 and 1904. The church's foundations rest upon the site where a former Baroque church once stood, but was razed to pave the way for this grand endeavor. The completion of the interior design, including intricate frescoes, ornate altar embellishments, and captivating stained glass windows, extended the timeline of the project, ultimately leading to its consecration in 1911. The edifice finds itself embraced by the Minorite (Order of Friars Minor) Palace, a space that now accommodates various commercial ventures. The architectural style of the church is a captivating blend of eclecticism, seamlessly weaving together elements from Neoclassical, Baroque, and Renaissance revival styles. The main entrance is dignified by the presence of four substantial columns crowned with Corinthian capitals. Directly above, an homage to Michelangelo's Pietà commands attention. Rising higher, an inscription in Hungarian, derived from Luke 19:46, reads 'Az én házam imádság háza' or 'My house is the house of prayer.' Spanning an impressive 43 meters in length and 17 meters in width, the nave of the church hosts a dome that reaches a staggering 56 meters above ground level. Within this dome, bells, cast in a local foundry, resonate with solemnity. A masterpiece by György Vastagh adorns the white marble altar, depicting the revered patron saint. Adorning the side altars are Baroque paintings salvaged from the church's earlier incarnation. Notably, the entrance's stained glass windows are renowned for their exquisite craftsmanship. Adding to the auditory splendor, the pipe organ, dating back to 1905, boasts 40 stops and 1200 pipes, producing a resounding and melodious symphony. Endowed with historical significance, the St. Anthony of Padua Church has been granted the honor of being recognized as a historic monument under the auspices of Romania's Ministry of Culture and Religious Affairs.

The Móra Ferenc Museum, located at Roosevelt Square 1-3 in Szeged, Hungary, stands prominently where the river Tisza and the city's Downtown Bridge (Belvárosi Bridge) converge. The museum serves as a hub for archaeological, ethnographic, historical, and scientific research, complemented by its seasonal exhibitions. Established in 1883, the Neoclassical edifice was inaugurated in 1896. The museum was later renamed in honor of its former Director, Móra Ferenc, in 1950. Within the Móra Ferenc Museum, notable artists like Victor Vasarely and Tivadar Csontváry Kosztka have showcased their creations. Notably, the museum's most successful seasonal exhibition at the time, in 2012, featured works by Mihály Munkácsy. This achievement was surpassed in 2014 with the 'Pharaohs’ Egypt' exhibition, drawing over 114,000 visitors by the year's end..Museum Collections.The Móra Ferenc Museum's collection encompasses several distinct exhibitions. The Móra Ferenc Memorial Room honors the museum's former Director, featuring personal belongings, furniture, and photographs of Mora Ferenc, an esteemed figure in Hungarian literature, archaeology, and research. The natural sciences exhibition, 'We Only Have One Earth,' delves into Earth's history from formation to the present, utilizing installations, ancient fossils, and a 3D animation to offer visitors a journey through millions of years. In the ethnographic display titled 'The Famous Town of Szeged,' the focus lies on Tisza-related activities, renowned crafts like slipper and knife-making, bullrush weaving, and the unique aspects of folk architecture. Interactive tools, audiovisual equipment, and visual material provide insights into the folk life of the Szeged region. The museum's spectacle of gold collection showcases approximately 10 kg of extraordinary and invaluable treasure. Notably, the gold artifacts of Nagyszéksos, an exceptional Huns treasure excavated by Ferenc Mora, take center stage. The exhibit also includes precious red gold, memorial coins, and distinctive household items, such as István Tömörkeny's golden pen and a tie pin bearing Lajos Kossuth's engraved portrait.

The church of San Lorenzo di Coltura is believed to have been constructed or rebuilt in 1221, although there's no longer verifiable documentation to confirm this. Existing records show that as early as the sixteenth century, there was a covered atrium (aldidor) in front of the building. This atrium gained prominence in the late 1800s due to paintings by the renowned Sacilese painter Luigi Nono. The church's current appearance, including its Neoclassical facade, interior featuring Corinthian pilasters, and four side chapels, stems from renovation efforts initiated in 1890. These renovations were prompted by the significant growth in the local population and were completed shortly after World War II. The church's rededication occurred on January 16, 1921, presided over by Bishop Luigi Paulini. This event is commemorated by a plaque above the second side entrance. On June 13 of the same year, Coltura transitioned from a curacy to an autonomous parish. Within the church, there is a high altar constructed in 1763 by the artist Giovan Battista Bettini from Portogruaro. This altar, along with a probable ninth-decade altar of the Blessed Virgin of the Rosary, is believed to have originated from the same workshop. A painting adorning the high altar depicts the Trinity alongside Saints Lorenzo and Stefano. This artwork is attributed to Tiziano Vecellio, also known as Tizianello, who created it in 1625. Tizianello was the nephew of the more famous Cadore artist of the same name but with significantly less artistic renown. Another notable piece from the seventeenth century is an altarpiece showcasing the Holy Trinity, San Michele, and San Lorenzo. This altarpiece hails from the oratory of San Michele, situated above a side entrance. The church's four chapels feature Art Nouveau-style pictorial decorations, including faux coffered vaults and angel-supported scrolls in the lunettes. These decorations were contemporaneous with the temple's renovation efforts. Moving to the twentieth century, several paintings within the church originate from this era. Notably, three works—San Sebastiano, San Floriano and San Valentino, Santa Barbara, and La Pietà—are credited to the artist Salvatore Maldarelli. Additionally, a reproduction of Caravaggio's Deposition of Christ in the sepulcher, housed in the Vatican Pinacoteca in Rome, was gifted in 1991 by the painter Emilio Della Fiorentina, a native of San Giovanni di Polcenigo. Among the sculptures present, one stands out: the Madonna del Rosario statue, crafted in 1909 by Giovanni Costantini from Latisana. Giovanni Costantini is also responsible for creating the 'S Barbara' Workers' Society banner in 1913.

The first written evidence of the historic core of this church, controlled by the parish of Caneva for many centuries after it was built, can be found in the 1331 will of the nobleman Pertoldo (Rizzardo di Toppo). Over the centuries, the building was restored and modified numerous times, starting with the work done by the Patriarch of Aquileia in 1491. Only after it was transferred to the Diocese of Ceneda (Vittorio Veneto) in 1818, did the community of Stevenà gain its much-desired independence, which it had been struggling to gain for four centuries. The independent parish was established on 5 November 1849 via a decree from Monsignor Manfredo Bellati, who consecrated the new church on 10 November 1867. Its status was celebrated over the following years, remodelled according to Neoclassical canons by Antonio and Stefano De Marchi of Stevenà. In addition to the facade, a new circular presbytery was built, functioning almost as a second church attached to the original. The imposing space, with a central floor plan, is defined by sixteen coupled columns supporting a shallow dome and enriched by a decorative cycle by Giuseppe Ghedina (from Cadore). Numerous works of art hang in the interior, in particular: a late 16th century main altarpiece depicting the Virgin Mary with Child, St. Mark and James the Great by Andrea Michieli (Il Vicentino), The Massacre of the Innocents (17th century) and the Sacrifice of Isaac (18th century).

The Cathedral of Christ's Nativity, known as Catedrala Mitropolitană Nașterea Domnului in Romanian and Собор Рождества Христова in Russian, serves as the primary cathedral of the Moldovan Orthodox Church in Chișinău (Sectorul Centru), Moldova. Its construction was initiated in 1830 under the patronage of Prince Mikhail Semyonovich Vorontsov, the governor of New Russia, and Metropolitan Gavril Bănulescu-Bodoni. Designed in the Neoclassical style by Abram Melnikov, who had previously created a similar church in Bolhrad, the cathedral was erected during the 1830s. Unfortunately, it endured severe damage during World War II and suffered the destruction of its bell tower at the hands of local Communists in 1962. A new bell tower was subsequently erected in 1997. Throughout the Soviet era, worship was prohibited, and the cathedral was repurposed as an exhibition center. Melnikov's Neoclassical design showcases a simple and uncluttered façade, featuring an entrance adorned with six Doric columns. Over the course of its history, the cathedral underwent multiple restoration projects and underwent changes in its structure due to the numerous instances of destruction it endured. Notably, the current zinc dome and the cross crowning it were additions from 1997, replacing the previous structure. While the interior was left devoid of decoration during the Soviet period, it has now been adorned with painted walls in a pure Orthodox style.

The first mention of the Church of San Zenone is found in a document from 1295. However, the Neoclassical structure seen today was built between 1781 and 1818 where a building from 1485 once stood. The detached bell tower incorporated the previous one from 1533. The solemn, austere interior is shaped by a single nave with six side altars, each rich with many prized works of art. They include 16th century altarpieces, such as the Enthroned Virgin Mary with Child and Saints Rock, Zeno, Francis and Sebastian (1514) by Pietro da Vicenza, the Tobias and the Angel with St. Blaise and St. Lawrence (1581), signed and dated by Francesco Floreani, the Ascension (1545) by Venetian artist Giampietro Silvio, slightly recalling the style of Titian, and the Coronation St. Clare, attributed to G. Antonio Fasolo (1530-1572), a student of Veronese. The masterpiece by Gasparo Narvesa, the Virgin Mary with Child, St. Dominic, St. Catherine, the Descent of the Holy Spirit and 14 other Mysteries of the Rosary, was completed in 1617. Another beautiful 17th century altarpiece, by Flemish artist Nicolas Regnier, depicts St. Bruno of Cologne receiving the rules of the order. The 16th-century Crucifix and the baptismal font with a painted wood covering are also worth noting, along with the monument to Father Marco d'Aviano, completed in 1900 by local sculptor Carlo Marini in Pietrasanta (near Lucca). Numerous visitors have come to this sacred place following in the footsteps of Father Marco, including the Austrian Emperor Charles I in 1918.

The exterior of the building (1798) that surrounds the quadrangular courtyard resembles the Neoclassical period, but parts of the property have been built in different periods. The W- and S- sides have 14th and 15th century basements with staircases and a hypocaust furnace. Major Kaulbars and Count Hans Heinrich Tiesenhausen have contributed to the development of the building. Tiesenhausen's son Ferdinand, who was Alexander I's wingman, was mortally wounded in the battle of Austerlitz (1805); his grave and memorial stone are situated in the Dome Church. Benita v. Wrangell was the last aristocrat owner of the property. It was then presented to Captain Karl Mothander, a Swede who had voluntarily taken part in the Estonian War of Independence. Under his orders, the spacious halls of the noble palace were turned into small apartments.

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