The Flickr Pediment Image Generatr

The upper facade of the Église Saint-Louis-des-Invalides (St. Louis Cathedral of the Invalides) features a pediment sculpture with allegorical figures of Time and History framing a central clock; and a monumental bronze statue of Napoleon Bonaparte, completed by sculptor Charles Émile Seurre in 1833, framed by Corinthian columns. This five-ton, 4-meter high portrait sculpture, was commissioned by Louis Philippe I in 1833 as a replacement for an earlier figure of the emperor that stood on top of the Colonne de la Grande Armée in Paris’s Place Vendôme.

The Cathédrale Saint-Louis-des-Invalides was commissioned by Louis XIV and built between 1679 and 1708 as the royal chapel for the Hôtel des Invalides. Designed by French Baroque master architect Jules Hardouin-Mansart, and completed by his collaborator Robert de Cotte, it was designed to serve the spirtitual needs of the veterans living at the Invalides and eventually evolved int the cathedral for the French military.

Hôtel des Invalides was built in 1670 to the commission of Louis XIV as a royal residence for aged and injured soldiers. The complex, designed in the French classical style by Libéral Bruant, was run like a small fortified city housing up to 4,000 veterans and evolved into a symbol of French national identity. Its most iconic feature--the Dôme des Invalides—was added by Jules Hardouin-Mansart between 1680 and 1706. Today, it serves as a major site of remembrance and education, home to the Musée de l’Armée and the Tomb of Napoleon.

Hôtel des Invalides was built in 1670 to the commission of Louis XIV as a royal residence for aged and injured soldiers. The complex, designed in the French classical style by Libéral Bruant, was run like a small fortified city housing up to 4,000 veterans and evolved into a symbol of French national identity. Its most iconic feature--the Dôme des Invalides—was added by Jules Hardouin-Mansart between 1680 and 1706. Today, it serves as a major site of remembrance and education, home to the Musée de l’Armée and the Tomb of Napoleon.

The upper facade of the Église Saint-Louis-des-Invalides (St. Louis Cathedral of the Invalides) features a pediment sculpture with allegorical figures of Time and History framing a central clock; and a monumental bronze statue of Napoleon Bonaparte, completed by sculptor Charles Émile Seurre in 1833, framed by Corinthian columns. This five-ton, 4-meter high portrait sculpture, was commissioned by Louis Philippe I in 1833 as a replacement for an earlier figure of the emperor that stood on top of the Colonne de la Grande Armée in Paris’s Place Vendôme.

The Cathédrale Saint-Louis-des-Invalides was commissioned by Louis XIV and built between 1679 and 1708 as the royal chapel for the Hôtel des Invalides. Designed by French Baroque master architect Jules Hardouin-Mansart, and completed by his collaborator Robert de Cotte, it was designed to serve the spirtitual needs of the veterans living at the Invalides and eventually evolved int the cathedral for the French military.

Hôtel des Invalides was built in 1670 to the commission of Louis XIV as a royal residence for aged and injured soldiers. The complex, designed in the French classical style by Libéral Bruant, was run like a small fortified city housing up to 4,000 veterans and evolved into a symbol of French national identity. Its most iconic feature--the Dôme des Invalides—was added by Jules Hardouin-Mansart between 1680 and 1706. Today, it serves as a major site of remembrance and education, home to the Musée de l’Armée and the Tomb of Napoleon.

The north pediment of the Hôtel des Invalides’ Cour d’Honneur features a sculptural relief commemorating Louis XIV. At its center is an equestrian depiction of the king in classical Roman attire, flanked by allegorical figures—Justice holding her scales and sword on the right, and likely Peace or Generosity on the left—symbolizing the king’s virtues. Beneath the relief, a Latin inscription honors Louis XIV as “Louis the Great,” praising his perpetual provision for soldiers through royal generosity. This decorative program reflects the building’s original purpose and the absolutist ideology of the Sun King’s reign.

Hôtel des Invalides was built in 1670 to the commission of Louis XIV as a royal residence for aged and injured soldiers. The complex, designed in the French classical style by Libéral Bruant, was run like a small fortified city housing up to 4,000 veterans and evolved into a symbol of French national identity. Its most iconic feature--the Dôme des Invalides—was added by Jules Hardouin-Mansart between 1680 and 1706. Today, it serves as a major site of remembrance and education, home to the Musée de l’Armée and the Tomb of Napoleon.

« Le flirt, pour appeler la chose par son nom, est une exquise maïeutique. Je ne connais pas de meilleure expérience philosophique que de potiner avec une femme qui vous présente, le temps de prendre un verre à une terrasse de café, l’adolescente qu’elle fut hier et qu’elle avoue avoir trahie. » (F.S.)

new website : this, random, RSS | random Flickr | © David Farreny.

This carved wooden tympanum is a decorative element set into the north façade pediment of the north gate to Cour d’Honneur (Court of Honor), the central couryard of the Hôtel des Invalides.

Hôtel des Invalides was built in 1670 to the commission of Louis XIV as a royal residence for aged and injured soldiers. The complex, designed in the French classical style by Libéral Bruant, was run like a small fortified city housing up to 4,000 veterans and evolved into a symbol of French national identity. Its most iconic feature--the Dôme des Invalides—was added by Jules Hardouin-Mansart between 1680 and 1706. Today, it serves as a major site of remembrance and education, home to the Musée de l’Armée and the Tomb of Napoleon.

The Musée de l’Armée, founded in 1905 through the merger of the Musée d'Artillerie and the Musée Historique de l'Armée, presents an expansive chronicle of French and global military history from antiquity to the present day.

The Church of Saint Genevieve flip-flopped between religious and secular multiple times as governments changed, and the pediment sculptures changed to match. The current version is the fourth, completed in 1837 by David d'Angers. An allegorical figure of the Nation, flanked by Liberty and History, distributes crowns to famous French soldiers and thinkers.

Panthéon - Paris, France

Town Hall, with magistrates courts and other offices, by Edmund and William Lush (Salisbury), 1779. Ashlar stone facade, rubble stone extension, English garden wall brickwork to rear wing, hipped Welsh slate roofs, ashlar chimney stacks. 2 storeys with attics to centre, 9 bays, with a 2-bay forwards projection of 1907 for the 3 centre bays. In a classical style.

Built by public subscription on the site of the Canonical House also known as 'The Exchequer', on the authority of an Act of Parliament dated 1779, this replaced an earlier structure of 1548 nearer the centre of the Market Place '... supported by stone columns, and over it a large room for transacting the public business of the borough...' which was by this time in a ruinous state. It was at Wells assizes that the Bloddy Assizes were held in 1685, the last Assize Court being held here in 1970.

This is a fragment of a relief that depicts a temple on a high platform with Ionic columns and a tall staircase (perhaps one of the temples in the Roman forum). The pediment depicts sculpture of gods in a battle - perhaps the Gigantomachy.

Roman, discovered in the Via del Corso in Rome in 1923. 1st-2nd century CE.

On display in the Ara Pacis Museum in Rome, but part of the Musei Capitolini collection (inv. 1386).

Upton House and Gardens
Warwickshire

Upton House and Gardens
Warwickshire

Photo taken from the real estate MLS

A Igreja Matriz de Nossa Senhora das Neves, em Sortelha (concelho do Sabugal), é um importante marco histórico e religioso, situado no coração da aldeia, dentro das suas muralhas medievais. Construída no século XIV, com reformas posteriores (sendo 1573 a data inscrita no portal), a igreja apresenta uma fachada em granito com portal de arco quebrado e frontão com nicho. A sua arquitetura combina elementos renascentistas e mudéjares, como se evidencia no teto de alfarge da capela-mor. O templo, de paredes robustas em alvenaria de pedra e cobertura de telha tradicional, destaca-se pelo seu aspeto austero, característico da arquitetura religiosa beirã. O adro murado, com bancos de pedra e pequenos contrafortes, completa o conjunto. Durante séculos, a Igreja Matriz desempenhou funções paroquiais e foi o principal centro religioso da povoação, sendo a sua localização próxima ao pelourinho e à muralha um testemunho da sua importância na vida comunitária, reforçada ainda por investigações arqueológicas que identificaram sepulturas nas suas imediações, evidenciando a prática de rituais funerários ligados à história local e a contínua presença comunitária ao longo dos séculos.

The Mother Church of Nossa Senhora das Neves, in Sortelha (municipality of Sabugal), is an important historical and religious landmark, located in the heart of the village, within its medieval walls. Built in the 14th century, with later renovations (1573 being the date inscribed on the portal), the church has a granite façade with a broken-arch portal and a pediment with a niche. Its architecture combines Renaissance and Mudejar elements, as can be seen in the alfarge ceiling of the chancel. The temple, with its sturdy stone masonry walls and traditional tile roof, stands out for its austere appearance, characteristic of Beira's religious architecture. The walled churchyard, with stone benches and small buttresses, completes the ensemble. For centuries, the Mother Church performed parish functions and was the main religious center of the village. Its location next to the pillory and the wall is testimony to its importance in community life, further reinforced by archaeological investigations that have identified graves in its vicinity, showing the practice of funerary rituals linked to local history and the continuous presence of the community over the centuries.

Manila, March 2024

Founded by Dominican priests in 1596. The belfry is still original; the current building dates mainly from the middle of the 19th century.

Archibald Simpson, 1820; large hall added by James Matthews 1858-9, murals by Robert Douglas Strachan 1899 to circa 1909; restored 1986. Centrally sited, notable monumental tall single storey and single-storey with attic, 5-bay, Neo-Greek civic building with hexastyle Ionic portico. Grey granite, polished and dressed. Raised base course and cill course, plain entablature rising into blocking course. Plain angle pilasters, lugged architraves, shallow aprons. Square- and segmental-arched windows. Principal elevation to Union Street has steps up to portico with plain tympanum, large 2-leaf doors and tall windows in flanking bays. Long return elevation with regular 7-bay fenestration, flanked by blind niche at outer left.

Archibald Simpson's competition winning design for the Aberdeen Assembly Rooms was awarded a prize of 50 guineas, and with the high quality addition by James Matthews, it is now recognised as "One of the most celebrated buildings of monumental Aberdeen" (MacInnes).

September 20, 2024 - Silverton City Hall at 1360 Greene Street. Silverton, Colorado

September 20, 2024 - Silverton City Hall at 1360 Greene Street. Silverton, Colorado

Alexander Marshall Mackenzie, 1892. Kemnay Granite construction; front ashlar on rock raced base course. Classical church with giant corinthian portico and pediment with drum and high dome above. Simple bow-ended apse.

Opened as the South Parish Church of Aberdeen. High dome modelled after St Paul’s, London.

Alexander Marshall MacKenzie was a Scottish architect responsible for prestigious projects including the headquarters of the Isle of Man Banking Company in Douglas, and Australia House and the Waldorf Hotel in London. He received royal patronage with the design of Crathie Kirk (1893). He began his career in the office of David Bryce in Edinburgh. In 1877 he went into partnership in Aberdeen with James Matthews, and later with his own son AGR Mackenzie.