In 1847, the Madison & Indianapolis Railroad reached Indianapolis. Railroads connected the young state capital to the rest of the nation. Over the next decade, other major rail lines would reach town. Because the railroads crossed through at various locations, connections for freight and travelers were complicated. In August 1849, Union Railway Company formed to solve the problem. The company laid tracks to connect the railroads, then built a large brick train shed where all lines met – America’s first Union Station, which was located on this site. As the city’s rail-based trade grew, rail, business, and civic leaders wanted a new station befitting the importance of railroads to Indianapolis. In 1886, the railroads hired Pittsburgh architect Thomas Rodd to plan a new “head house,” or main office/waiting hall.
National Park Service
Baptistery, Cathedral & Campianile (bell tower)
The Pisa Baptistery of St. John (Italian: Battistero di San Giovanni) is a Roman Catholic ecclesiastical building in Pisa, Italy. Construction started in 1152 to replace an older baptistery, and when it was completed in 1363, it became the second building, in chronological order, in the Piazza dei Miracoli, near the Duomo di Pisa and the cathedral’s free-standing campanile.
Wikipedia: Pisa Baptisery
Wikipedia: Pisa Cathedral
The square of the Cathedral of Pisa represents the best example of the Pisa Romanesque style through its magnificence and perfection, a harmonious fusion of classical, early Christian, Lombard and eastern motifs. The buildings maintain a stylish unity. The Cathedral, the Tower, the Baptistery and the Camposanto represent together the allegory of human life.
Piazza del Duomo
The Karnak temple complex at Luxor developed over more than 1,000 years, principally between the Twelfth and Twentieth Dynasties. It was, at its peak, the largest and most important religious complex in ancient Egypt. The most significant structure, and the largest religious building ever built, is the Temple of Amun-Ra, considered to be where that god lived on earth with his wife, Mut, and son, Khonsu, who also have temples at the site.
World Monuments Fund: Karnak Temple
The Bargello, also known as the Palazzo del Bargello, Museo Nazionale del Bargello, or Palazzo del Popolo (Palace of the People), is a former barracks and prison, now an art museum, in Florence, Italy. . . . The word bargello appears to come from the late Latin bargillus (from Gothic bargi and German burg), meaning “castle” or “fortified tower”. During the Italian Middle Ages it was the name given to a military captain in charge of keeping peace and justice (hence “Captain of justice”) during riots and uproars. In Florence he was usually hired from a foreign city to prevent any appearance of favoritism on the part of the Captain. The position could be compared with that of a current Chief of police. The name Bargello was extended to the building which was the office of the captain.
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Construction began in 1255. The palace was built to house first the Capitano del Popolo and later, in 1261, the ‘podestà’, the highest magistrate of the Florence City Council. This Palazzo del Podestà, as it was originally called, is the oldest public building in Florence. This austere crenellated building served as model for the construction of the Palazzo Vecchio. In 1574, the Medici dispensed with the function of the Podestà and housed the bargello, the police chief of Florence, in this building, hence its name. It was employed as a prison; executions took place in the Bargello’s yard until they were abolished by Grand Duke Peter Leopold in 1786, but it remained the headquarters of the Florentine police until 1859. When Leopold II, Holy Roman Emperor Peter Leopold was exiled, the makeshift Governor of Tuscany decided that the Bargello should no longer be a jail, and it then became a national museum.
The word “bargello” appears to derive from the late latin noun bargillus, meaning “castle” or “fortified tower“. Bargello was the title attributed to a military captain, precisely the “Captain of justice”, who from 1554, under Duke Cosimo I, made arrests, conducted interrogations, and carried out death sentences.
The Bargello was used as a prison until 1786, when the Grand Duke Pietro Leopoldo abolished capital punishment. Consequently, from this time on, the Bargello no longer held executions. The Bargello next served as the headquarters of the Florentine police until 1859. When Pietro Leopoldo II was exiled, the makeshift Governor of Tuscany decided that the Bargello should no longer be a jail, thereby becoming a national museum. Construction of the palace began in 1255 when Lapo Tedesco, an Italian architect of the XIII century, incorporated the old palace, the tower of Boscoli, the property of an ancient Florentine family, as well as certain houses and towers belonging to the Badia Fiorentina. Subsequently, the palace was merged with a new building on Via dell’Acqua, and in 1295, its arcaded courtyard was created. Between 1340 and 1345, the famous Italian architect Neri di Fioravante added another story to the building. The Bargello was designed around an open courtyard with an external staircase leading to the second floor. An open well is located in the center of the courtyard.
The National Museum has its setting in one of the oldest buildings in Florence that dates back to 1255. Initially the headquarters of the Capitano del Popolo (Captain of the People) and later of the Podestà, the palace became, in the sixteenth century, the residence of the Bargello that is of the head of the police (from which the palace takes its name) and was used as prison during the whole 18th century. Its walls witnessed important episodes of civic history. It was the meeting place of the Council of the Hundred in which Dante took part. It wituessed sieges, fires, executions, the most famous perhaps being that of Baroncelli, involved in the Pazzi plot against the Medici, which Leonardo also witnessed. During the 14th and 15th century, the palace was subjected to a series of alterations and additions, still preserving its harmonious severity, best seen in the beautiful courtyard, the balcony and the large hall on the first floor.
The building’s use as National Museum began in the mid-19th century. Today it is the setting for works of sculpture, mainly from the grand ducal colleotions, and for many examples of “minor” Gothic decorative arts.
Museums in Florence
The entrance of the museum gives access to the inner courtyard, where criminals were executed until 1786. The walls are decorated with coats of arms representing high ranking officials and city districts. . . . The staircase on the inner court leads to an arcaded gallery known as the Verone, where you’ll encounter a number of marble sculptures by GiamBologna, a Flemish artist who worked in Florence for most of his life.
A View on Cities
The Arte della Lana was the wool guild of Florence during the Late Middle Ages and in the Renaissance. It was one of the seven Arati Maggiori (“greater trades”) of Florence, separate from the Arti Minori (the “lesser trades”) and the Arti Mediane (the “middle trades”). The Arte della Lana dealt in woollen cloth and cooperated with the other corporations of bankers and merchants in administering the commune, both under the podestà and the Republic of Florence.
At the height of the industry the Arte della Lana directly employed 30.000 workers and indirectly about a third of Florence’s population, and produced 100,000 lengths of cloth annually. The Arte della Lana saw all the processes from the raw baled wool through the final cloth, woven at numerous looms scattered in domiciles throughout the city. Like other guilds, the Arte served only to coordinate the activities of its own members, who did not generally own the means of production or directly manage the processes. Its syndics ensured that quality standards were met and contracts were honored. The predecessor and until the mid-14th century the rival of the Arte della Lana was the powerful Arte di Calimala, a corporation of importers of raw cloth, who dyed and finished it.
The guildhall, the Palazzo dell’Arte della Lana, was completed in 1308, with an attached fortifiable tower-house. From its interior, where some 14th-century frescoes remain, a gallery designed by Bernardo Buontalenti links the palazzo with the church of Orsanmichele. The palazzo is now the seat of the Società Dantesca.
The Temple of Minerva is an ancient Roman building in Assisi, Umbria, central Italy. It currently houses a church, Santa Maria sopra Minerva, built in 1539 and renovated in Baroque style in the 17th century. The temple was built in the 1st century BC by will of Gnaeus Caesius and Titus Caesius Priscus, who were two of the city’s quattuorviri and also financed the construction. The attribution to the goddess Minerva derives from the finding of a female statue, although a dedication stone to Hercules has been found, and the temple was likely dedicated to this male demi-god. In the Middle Ages the temple housed a tribunal with an annexed jail, as testified by one of Giotto’s frescoes in the St. Francis Basilica, which portrays the church windows with bars.
Of the ancient temple, the façade has been preserved, with six Corinthian columns supporting the architrave and a small pediment. The columns were originally covered by a very strong plaster, which was perhaps colored. The cella was completely demolished during the church’s construction, in the 16th century, while a small section of the temple was found in the 20th century near the altar.
The Temple of Minerva was built in the 1st century BC by the quatorvirates Gneus Cesius and Titus Cesius Priscus at their own expense. In Roman times, the piazza in front of the temple was the main city center, and some early Christian martyrs were likely executed here. By the late 4th and 5th centuries, paganism was basically outlawed and the Temple of Minerva was abandoned. Fortunately, however, it was not destroyed. Sometime in the late sixth century, Benedictine monks restored the temple and made use of it. The divided the interior into two floors, creating living rooms in the upper part and the church of San Donato in the lower part.
In the 13th century, the monks leased the temple to the newly-formed Comune of Assisi, which made the temple its headquarters from 1215 to 1270. The Temple of Minerva/San Donato was used as the municipal jail until the 15th century. In 1456, the temple returned to sacred use and the church of San Donato was reopened. In the meantime, the Italian Renaissance inspired a newfound appreciation for classical art and architecture. In the years 1527-1530, the magistrates of Assisi ordered restoration projects to be undertaken. Then, in 1539, Pope Paolo III, making a visit to Assisi, ordered the Temple of Minerva to be completely restored and dedicated to the Virgin Mary, queen of true wisdom. The temple then took the name of Santa Maria sopra Minerva (St. Mary over Minerva).
From the year 295 BC, Assisi became part of the comune of Rome, the latter having been victorious over the Italian confederacy. In the year 88 BC, the city became a “Municipium romanum” (Roman municipality), with all the rights and regulations afforded to Rome. During the reign of the emperor Augustus, the city of Assisi was transformed into a well organized residential and turistic centre (during the years 28-25 BC). The grand Forum (a rectangle measuring 44 x 88 meters inside) was constructed; various temples were built, the city walls were completed, the baths and the (healing) springs of mineral waters were opened, and the theatre was constructed alongside the amphitheatre. Among the many monuments constructed was the Temple of Minerva, which at that time dominated the Forum complex and even today, still dominates the “Piazza del Comune”, the heart of Assisi and a wonderful example of medieval architecture.
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d’Eau. Forming a transitional element from the château to the gardens below and placed on the north-south axis of the gardens, the Parterre d’Eau provided a setting in which the imagery and symbolism of the decors of the grands appartements synthesized with the iconography of the gardens. In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d’Eau. The Grande Commande, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.