Ponte San Michele

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Ponte San Michele
Via Ponte San Michele
Vicenza, May 2025

“The bridge, exclusively for pedestrians, crosses the Retrone River in the south-eastern part of the city. In this ‘alla veneziana’ form with a single arch, it was built in 1621-23, the third reconstruction of a structure originally made of wood (1265) and then of stone (1422). It owes its name to its proximity to the Augustinian church of San Michele, built in the 13th century by the Augustinians, but destroyed in the Napoleonic era; today only part of the convent remains.” (Ponte San Michele, Arte.it)

El Cenachero

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“El Cenachero” by Jaime Fernández Pimentel, 1968
Plaza de la Marina
Málaga, March 2025

“This bronze sculpture created by Málaga artist Jaime Fernández Pimentel in 1968 represents a typical and traditional figure of Málaga, the ‘Cenachero’ or Fish Vendor. El Cenachero sold fish on the streets of the city while maintaining the balance of the two esparto baskets he carried. These basket are called ‘cenachos’ in Spanish, hence his name. The cenachos were handmade of esparto and filled at the beaches where the central fishing net was landed. Generally, Cenacheros sold anchovies, but also traded in mackerel, sardines or whitebait. The sculpture shows how a traditional cenachero dressed: with a sash, the hanging cenachos and a hat to protect him from the heat. In honour of the twinning of the cities of Málaga and Mobile, Alabama, Málaga City Council donated a replica of this sculpture to Mobile, which has been erected in a square of this American city.” (El Cenachero, Ayuntamiento de Málaga)

Palazzo del Bo

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Palazzo del Bo (Bo Palace)
Via VIII Febbraio
Padua, May 2025

“The Bo Palace (Palazzo del Bo) is the historical seat of University of Padua since 1493. It is still home to the Rectorate and the School of Law. It is also home to the oldest anatomical theatre in the world. The University of Padua was founded by an exodus of professors and students from the University of Bologna in 1222. When the University settled in the current location of the Bo, a long time had passed since its foundation and, by then, all its structures had profoundly changed from the initial ones. It was now made illustrious by the value of its students and teachers, furthermore it could materially be considered one of the major European universities, and the most attended by foreign students among the universities of the Italian peninsula. Like many other complexes that have had a long historical life, that of the Bo also presents itself with a rather complex genesis and with events that, over the centuries, have contributed to modifying its physiognomy. Therefore, a historical analysis of the various components of the Palace, starting from the defined sixteenth-century nucleus, and then arriving at the imposing additions that occurred during the twenty years of fascism, implies an understanding of the events that have marked the life of the city and the university over the centuries.” (Palazzo del Bo, Wikipedia)

Simeón Sentado

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Simeón Sentado by Francisco Leiro, 2007
Paseo de la Castellana
Madrid, September 2025

“Simeon wanted to be alone to meditate, but he was so rigorous in his methods that he was expelled from the monastery. To escape the world, he went to the desert and there looked for a dry cistern, but curiosity was aroused, and his fame drew hundreds of people to visit him. He also visited the cave where he later took refuge. Fed up with everything, he had a three-meter-high column built, but it wasn't enough. He asked for another seven-meter one, but that wasn't enough either. Finally, he got one seventeen meters high, which he climbed. According to legend, he spent thirty-seven years there, until he died in 459. He was known as Simon the Stylite, and his memory is commemorated on January 5th. Luis Buñuel made a film about him, Simon of the Desert (1965), a cinema classic. Buñuel didn't let him die on the column, but that's another story. This is ‘Simeón sentado’ (Simon Seated), a bronze sculpture on a granite column by Francisco Leiro, installed in 2007 at the Cuatro Torres in Madrid. Leiro, who has other sculptures in which the biblical and the classical interact with modernity, wanted to see here a distracted attitude in Simeon, evoking the Hellenistic Thorn-Bearer, but also Rodin's thinker. I said distracted, but I could say relaxed: is good old Simeon meditating, or has he been distracted by the flight of a butterfly? No matter how high you climb, the world will always call you back. There, next to it, is the Torre Emperador Castellana, formerly Torre Espacio, with its two hundred and thirty meters of height (the fourth tallest building in Spain) and many people perched on it. Are they meditating? The tower is also famous for the fire that broke out there while it was still under construction, in September 2006. Will Simeon think of this when he sees people staring curiously at him from above?” (Simeón sentado, La Acequia)

Loggia del Consiglio

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Loggia del Consiglio, 1493
Piazza dei Signori
Verona, May 2025

“The Loggia del Consiglio, also known as the Loggia of Fra Giocondo after the humanist friar Giovanni Giocondo, who was long believed to be the designer of the building, is a significant episode in Veronese architecture from the second half of the fifteenth century. The loggia, located in Piazza dei Signori, in the heart of Verona, was a representative building commissioned by the leaders of the Municipality for the sessions of the patriotic Council, and is currently the seat of the offices of the Province of Verona. Starting from 1451 the Municipality of Verona began the search for a suitable place to host its Council until in 1476, finally, it decided to build in Piazza dei Signori a loggia characterized by marble columns, which would replace a crenellated palace. The latter was in poor condition of conservation and, moreover, had a facade advanced towards the square and not aligned with the building that was located to the side; to reconcile the new canons of Renaissance architecture, it was decided to move back the facade of the new loggia, so as to remodel the square in front and give it a regular shape.” (Loggia del Consiglio, Wikipedia)

Nuestra Señora de la Asunción

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Catedral de Nuestra Señora de la Asunción y de San Frutos
Calle Marqués del Arco
Segovia, September 2025

“The Cathedral of Our Lady of the Assumption and of Saint Fructus is a Roman Catholic cathedral located in the Spanish city of Segovia. The church is dedicated to the Assumption of the Virgin Mary and to Saint Fructus and is the seat of the Diocese of Segovia. It was built in the Flamboyant style, and was dedicated in 1768, constituting one of the latest Gothic cathedrals in Europe. The original cathedral stood adjacent to the Alcazar and was destroyed during the Revolt of the Comuneros. During the Revolt, the city of Segovia murdered their legislator after he voted against their interests during the Cortes of Corunna celebrated on April 22, 1520. Rodrigo Ronquillo was sent to investigate the murder, but the city refused him entry, leading to the blockade of Segovia. The supporters of Charles V barricaded themselves inside the Alcazar, while the Comuneros intended to take the cathedral and use it as a strategic position to siege the Alcazar. After 6 months of constant siege, the Comuneros were defeated in Villalar and the original cathedral laid in ruins. Charles V then ordered a new cathedral to be built, but demanded it to be built in a completely different place to prevent a similar outcome in the case of another siege to the Alcazar. The new cathedral was to be built on top of the Convent of Saint Clare of the Cross and part of the jewish quarter (its actual location). The chosen architect was Juan Gil de Hontañón and the first stone was laid on June 8, 1525. To reduce costs, some of the remains of the previous cathedral were used in its construction, suchs as the cloister.” (Segovia Cathedral, Wikipedia)

Neri Pozza

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Monument to Neri Pozza by Nereo Quagliato, 2012
Contrà Pescaria
Vicenza, May 2025

“Neri Pozza (Vicenza, 5 August 1912 – Vicenza, 6 November 1988) was an Italian partisan, writer and publisher. He was also an artist, engraver and collector of contemporary art. He was born and lived in Vicenza, a city to which he dedicated all his activity. He attended the Pigafetta classical high school in Vicenza, but did not complete his studies; his father was a sculptor and Neri approached sculpture, which he soon abandoned for poetry. Active in the Vicenza Resistance, he wrote the book ‘La prigione’ from this experience in the 1960s. In 1941 he founded the publishing house Il Pellicano, under the banner of a vivifying cultural renewal; an intent made evident in the logo, which features a pelican feeding its dying children with its own blood. After the war period he committed himself to what would be the project of his life: Neri Pozza Editore, for which the first title was published in 1946: ‘Paludi’ by André Gide. In 1950 he published the anthology ‘In quel preciso momento’ by Dino Buzzati. In 1951 he published the first novel by Goffredo Parise (also from Vicenza), ‘Il ragazzo morto e le comete’. The growth path of the publishing house continued with collaborations with Vincenzo Cardarelli, Eugenio Montale, Carlo Emilio Gadda and Mario Luzi.” (Neri Pozza, Wikipedia)

Iglesia de Santiago del Arrabal

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Iglesia de Santiago del Arrabal
Plaza de Santiago
Salamanca, September 2025

“The church of Santiago del Arrabal is a Catholic church located on the banks of the River Tormes in the city of Salamanca. Its construction dates back to the 12th century, making it one of the oldest in Salamanca. It is located near the Roman bridge of Salamanca and the stone verraco (the so-called verraco del puente). It is one of the churches near the Ruta de la Plata before entering the city on the Jacobean pilgrimage. The interior was completely baroque in the 18th century due to the transformations and renovations that were made. The church was important in the celebrations of the festival of Santiago in which the representatives of the city council came on horseback preceded by a herald with a flag. It was founded in 1145 as a Mozarabic church. It was located in the suburb (outside the walls) and had a notable relevance, since every year until it was closed in the 19th century it was visited by members of the City Council on the day and the eve of Santiago. In addition, until 1772 it maintained, exclusively with the cathedral, the right of asylum.” (Iglesia de Santiago del Arrabal, Wikipedia)

Church of the Eremitani

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Church of the Eremitani
Piazza Eremitani
Padua, May 2025

“The Church of the Eremitani (Chiesa degli Eremitani), or Church of the Hermits, is a former-Augustinian, 13th-century Gothic-style church in Padua, region of the Veneto, Italy. It is also now notable for being adjacent to the Cappella Scrovegni with Giotto frescoes and the municipal archeology and art gallery: the Musei Civici agli Eremitani, which is housed in the former Augustinian monastery located to the left of the entrance. It is part of the UNESCO World Heritage Site of Padua's 14th-century fresco cycles (since 2021). The Augustinian hermit friars, precursors of the present Order of Saint Augustine had arrived in Padua in 1237. Through the patronage of both the wife of the local nobleman Zaccaria dell'Arena and the city, the church was erected between 1260 and 1276 and dedicated to the saints Philip and James. The friars would remain in the administration of the monastery and church until 1806, when the Napoleonic régime suppressed the order and closed the monastery. The church was re-opened to services in 1808, and in 1817 redesignated a parish church. The façade is tall with a rose window. A 15th-century side portal has bas-reliefs depicting the months, completed by Nicolò Baroncelli. The interior has a single nave.” (Church of the Eremitani, Wikipedia)

Nuestra Señora de las Nieves

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Ermita de Nuestra Señora de las Nieves
Calle Reyes Católicos
Ávila, September 2025

“The hermitage of Our Lady of the Snows is a Catholic temple in the Spanish city of Ávila. Located within the city of Ávila, within the walls, this chapel was founded by María Dávila. It is located in a central and busy spot in the city: Calle Reyes Católicos (previously known as ‘de Andrín’ or ‘del Comercio’). Solidly constructed, it is built of Berroqueña stone, laid on ashlars. According to Juan Martín Carramolino, it is thought to be a disproportionate building, as its height does not correspond to its other tiny dimensions. Next to the chapel were the houses that served as the residence of the Franciscan nuns from the time they abandoned their original convent of Villa Dei on the Gordillas mountain until they settled in a convent built in the city. In 1600, Antonio Gutiérrez de Vayas and his wife María de la Concepción obtained the right to patronage this chapel.” (Ermita de Nuestra Señora de las Nieves, Wikipedia)

Ein feste Burg ist unser Gott

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“Ein feste Burg ist unser Gott” (A Mighty Fortress Is Our God)
Lutheran Evangelical church by Riccardo Mazzanti, 1901
Lungarno Torrigiani
Florence, December 2024

“‘A Mighty Fortress Is Our God’ (originally written in German with the title ‘Ein feste Burg ist unser Gott’) is one of the best known hymns by the Protestant Reformer Martin Luther, a prolific hymnwriter. Luther wrote the words and composed the hymn tune between 1527 and 1529. It has been translated into English at least seventy times and also into many other languages. The words are mostly original, although the first line paraphrases that of Psalm 46.” (A Mighty Fortress Is Our God, Wikipedia)

“Escape” by ROA

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“Escape” by ROA, 2013
Calle Casas de Campos
Málaga, March 2025

“ROA (born c. 1976) is a graffiti and street artist from Ghent, Belgium. He has created works on the streets of cities across Europe, the United States, Australia, Asia, New Zealand and Africa. ROA generally paints wild or urban animals and birds that are native to the area being painted. ROA usually uses a minimal color palette, such as black and white, but also creates works using vibrant colours depicting the flesh or internal systems within the animals and birds.” (ROA, Wikipedia)

Emilio Salgari

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Emilio Salgari by Sergio Pasetto, 2015
Piazzetta Capretto
Verona, May 2025

“Emilio Salgari (21 August 1862 – 25 April 1911) was an Italian writer of action adventure swashbucklers and a pioneer of science fiction. In Italy, his extensive body of work was more widely read than that of Dante Alighieri. In the 21st century, he is still among the 40 most translated Italian authors. Many of his most popular novels have been adapted as comics, animated series and feature films. He is considered the father of Italian adventure fiction and Italian pop culture, and the ‘grandfather’ of the Spaghetti Western. Emilio Salgari was born in Verona to a family of modest merchants. From a young age, he had the desire to explore the seas and studied seamanship at a nautical technical institution in Venice, but his academic performance was too poor, and he never graduated. He began his writing career as a reporter for the daily La Nuova Arena, which published some of his work as serials. As his powers of narration grew, so did his reputation for having lived a life of adventure. He claimed to have explored the Sudan desert, met Buffalo Bill in Nebraska (he had actually met him during his ‘Wild West Show’ tour of Italy), and sailed the Seven Seas. His early biographies were filled with adventurous tales set in the Far East, events which he claimed were the basis for much of his work. Salgari had actually never ventured farther than the Adriatic Sea.” (Emilio Salgari, Wikipedia)

Puerta de San Vicente

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Puerta de San Vicente
Glorieta de San Vicente
Madrid, September 2025

“The Puerta de San Vicente is a monumental gate located in the Glorieta de San Vicente in Madrid (Spain). Since 1995, it has occupied the space where the original door, designed by architect Francesco Sabatini, was located between 1775 and 1892. Throughout Madrid's history there have been several doors that have received the same name. In 1726, the Marquis of Vadillo, the town's mayor, commissioned Pedro de Ribera to build a monumental gate in the city's fence to replace a previous gate, which was in a dilapidated state and was called ‘del Parque’. The gate, which consisted of three arches, was decorated with a statue of San Vicente, which is why it was given that name, although it would also be known later as the gate of La Florida. It was demolished in 1770, due to the remodelling of the Cuesta de San Vicente (1767–1777), as part of the reorganisation of the western accesses to the Royal Palace and its connection with the Camino de El Pardo. Shortly afterwards, King Carlos III commissioned Francesco Sabatini to build a new gate to replace the previous one as the entrance to the city from the new Paseo de La Florida. The work was completed in 1775 and Sabatini placed an ornamental fountain next to it, popularly known as the Fuente de los Mascarones. The new gate was in its current location, closer to the river than the previous one. It consisted of an arch and two shutters (or portholes) and was built of granite and limestone from Colmenar de Oreja. The arch was decorated with two Doric columns on the outside and two pilasters, also Doric, on the inside. It was crowned by a triangular frontispiece finished with a military trophy. The lateral shutters were also crowned by military trophies. In front of it there were two buildings that also disappeared: the aforementioned Mascarones fountain, between 1775 and 1871, and the Washerwomen's Asylum promoted by María Victoria dal Pozzo, from 1872 to 1938.” (Puerta de San Vicente, Wikipedia)

Palazzo del Capitaniato

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Palazzo del Capitaniato
Piazza dei Signori
Vicenza, May 2025

“The palazzo del Capitaniato, also known as loggia del Capitanio or loggia Bernarda, is a palazzo in Vicenza, northern Italy, designed by Andrea Palladio in 1565 and built in 1571 and '72. It is located on the central Piazza dei Signori, facing the Basilica Palladiana. The palazzo is currently used by the town council, inside the Sala Bernarda. It was decorated by Lorenzo Rubini and, in the interior, with frescoes by Giovanni Antonio Fasolo.” (Palazzo del Capitaniato, Wikipedia)

Torreón de Lozoya

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Torreón de Lozoya
Plaza San Martín
Segovia, September 2025

“The Torreón de Lozoya is one of the most emblematic buildings of Segovia's civil architecture. It is a palace complex with two towers, a courtyard, and a garden with a porticoed gallery. A towered fortified house, very common in Segovia between the 13th and 15th centuries. It has a large tower that gives it its name and entrance, as well as another smaller tower, aligned with the first at a certain distance, so that the initial complex had a careful defense that evidences the conflicts experienced in Segovia in the Late Middle Ages. The large tower, measuring 8 by 9 meters and 25 meters high, predates the entire complex and embodies the stately idiosyncrasy of its owners. From it, one can enjoy a 360-degree panoramic view of the city and its surroundings, protected from the elements by its large windows. These can be removed for crystal-clear photographs and videos.” (Torreón de Lozoya, Wikipedia)

Santa Maria ‘ad Portas Contarenas’

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Church of Santa Maria ‘ad Portas Contarenas’
Via Matteotti
Padova, May 2025

“As attested by the inscription on the facade, the Church was built in 1723, by the Comini family who built the church for public use. Later, in 1839, together with Palazzo Cavalli, the Church became the seat of the Austrian Customs, and after the Unification of Italy it was used as a hydraulic warehouse. In 1893, when the mill was purchased and modernised by Ilario Ercego, the little church risked being demolished, but was finally restored in 1968, as the plaque on the façade recalls.” (Porte Contarine, Wikipedia)

Casa Lis

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Museo Art Nouveau y Art Déco - Casa Lis
Calle Gibraltar
Salamanca, September 2025

“The Casa Lis is a museum located in the ancient city wall of Salamanca, Spain. Also known as Museo Art Nouveau and Art Déco, it is a museum of decorative arts, with exhibits dating from the last decades of the 19th century to World War II. The Museum is an old mansion that was built for its first owner, Miguel de Lis, by Joaquin de Vargas y Aguirre, a provincial architect from Jerez de la Frontera. Don Miguel de Lis was the owner of a tannery which he had inherited from his father. The thriving business gave him a privileged economic position and he was well-travelled; he chose a modernist design. The mansion changed ownership in 1917, when D. Enrique Esperabé de Arteaga, rector of the University of Salamanca, moved there with his family. Subsequently, the Casa Lis was inhabited by various tenants until in the 1970s, closed and unused, and fell into decay. In 1981, the city of Salamanca was able to save it from ruin.” (Casa Lis, Wikipedia)

Automat revisited

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‘Automat’ by Edward Hopper revisited
Via de' Guicciardini
Florence, December 2024

Casa consistorial

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Casa consistorial (Town Hall)
Plaza del Mercado Chico
Ávila, September 2025

“The Ávila Town Hall is the headquarters of the Ávila City Council, located in the Plaza del Mercado Chico, in the Spanish city of Ávila. Its erection dates back to the last years of the reign of Isabel II. Designed by the municipal architect Ildefonso Vázquez de Zúñiga, the works would take place in a period between 1861 and 1868. It is located presiding over the central Plaza del Mercado Chico, inside the walls of the medieval city . It replaced another town hall located in the same square and built during the 16th century. The building, which would be restored in the early 1980s, has a clock on its facade.” (Casa consistorial de Ávila, Wikipedia)

Cathedral of Santa Maria Matricolare

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Cathedral of Santa Maria Matricolare
Piazza Duomo
Verona, May 2025

“Verona Cathedral (Cattedrale Santa Maria Matricolare; Duomo di Verona) is a Roman Catholic cathedral in Verona, northern Italy, dedicated to the Blessed Virgin Mary under the designation Santa Maria Matricolare. It is the episcopal seat of the Diocese of Verona. It was erected after two Palaeo-Christian churches on the same site had been destroyed by an earthquake in 1117. Built in Romanesque style, the cathedral was consecrated on September 13, 1187. The structure was later modified by several renovation interventions, although the plan has remained unchanged.” (Verona Cathedral, Wikipedia)

“Soho” on a kiosk

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“Soho” on a kiosk
Calle Casas de Campos
Málaga, March 2025

“A central neighbourhood which is an icon of urban art and underground culture in the city of Málaga thanks to a project started by the public. Its most recognisable feature is probably the large-scale graffiti art covering some of its buildings. These murals include work by internationally recognised graffiti artists like Obey and D*face. The district is easy to explore on foot and is very close to Málaga’s main tourist area. Its streets feature independent local businesses with a strong sense of identity, and several art and cultural centres, including private galleries, artists’ studios, La Alameda theatre, and the Contemporary Art Centre; many restaurants offering local, organic or gourmet food; and modern, functional, well-designed public spaces. The ‘Made in Soho’ market is held on the first Saturday of every month, with stalls selling design, crafts, works of art and audiovisual art, antiques, and vintage items.” (Soho Málaga - the Art District, Spain.info)

Basilica Palladiana

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Torre Bissara and Basilica Palladiana
Piazza dei Signori
Vicenza, May 2025

“The Basilica Palladiana is a Renaissance building in the central Piazza dei Signori in Vicenza, north-eastern Italy. The most notable feature of the edifice is the loggia, which shows one of the first examples of what have come to be known as the Palladian window, designed by a young Andrea Palladio, whose work in architecture was to have a significant effect on the field during the Renaissance and later periods. The building was originally constructed in the 15th century and was known as the Palazzo della Ragione, having been designed by Domenico da Venezia to include two pre-existing public palazzi. The building, which was in the Gothic style, served as the seat of government and also housed a number of shops on the ground floor. The 82-metre (269 ft)-tall Torre Bissara precedes this structure, as it is known from as early as 1172; however, its height was increased on this occasion, and its pinnacle was finished in 1444.” (Basilica Palladiana, Wikipedia)

El Oso y el Madroño

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“El Oso y el Madroño” by Antonio Navarro Santafé, 1967
Puerta del Sol
Madrid, September 2025

“The Statue of the Bear and the Strawberry Tree (Spanish: El Oso y el Madroño) is a sculpture from the second half of the 20th century, situated in the Spanish capital, Madrid. It represents the coat of arms of Madrid and is found on the east side of the Puerta del Sol, between Calle de Alcalá and Carrera de San Jerónimo, in the historical centre of the capital. The statue is a work of the sculptor Antonio Navarro Santafé (1906-1983) and it was inaugurated on 19 January 1967. It was promoted by the section of Culture of the City council of Madrid, which wanted to represent the main heraldic symbols of the city in a monument. The first appearance of a wild bear and a strawberry tree on the coat of arms of the city was in the 13th century. Previously, it only incorporated a bear in passant attitude, until it was replaced in the aforementioned century by the two current figures. With this change, they wanted to symbolise the resolution adopted by the municipality and the Chapter of Priests and Beneficiaries after a long litigation about the control of Madrilenian pastures and trees. Since this agreement, the former became property of the Chapter and the latter of the council. From here they modified the arms, including a strawberry tree and of a bear in a new posture: leaning on the tree with both paws. The sculpture has always been in the Puerta del Sol, but in two locations inside the square. Before 1986, it was situated in the east side of it, in the vicinity of the building between the Calle de Alcalá and the Carrera St. Jerónimo. That year, it was moved to the front of Carmen Street for the square's reform and remodeling, promoted by mayor Enrique Tierno Galván. In September 2009, with the integral renewal of the square promoted by Alberto Ruiz-Gallardón, it has gone back to its original location.” (Statue of the Bear and the Strawberry Tree, Wikipedia)

Abbey of Santa Giustina

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Abbey of Santa Giustina
Via Ferrari
Padua, May 2025

“The Abbey of Santa Giustina is a 10th-century Benedictine abbey complex located in front of the Prato della Valle in central Padua, region of Veneto, Italy. Adjacent to the former monastery is the basilica church of Santa Giustina, initially built in the 6th century, but whose present form derives from a 17th-century reconstruction. A church dedicated to Saint Justina of Padua and other 4th-century Christian martyrs of Padua, was present at the site by the 520s, erected under the patronage of the Prefect Opilius and housing the relics of the saint. The church was already described as lavish in decoration in the 565 biography "Life of St Martin", written by Venantius Fortunatus. By the 10th century, monks ministered to pilgrims who came to the basilica to venerate the saints' relics. In 971, the Bishop of Padua placed the community under the Rule of St. Benedict.” (Abbey of Santa Giustina, Wikipedia)

Iglesia de San Millán

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Iglesia de San Millán
Avenida del Acueducto
Segovia, September 2025

“The church of San Millán is a Catholic church located next to the Avenida del Acueducto, in the San Millán neighborhood of the city of Segovia, in the autonomous community of Castile and León. It is located in the neighborhood of the same name. The pre-Romanesque tower is the oldest remains of the temple, as it dates back to the 11th century and is in the Mudejar style, an aspect that gives the building a distinctive character within the important number of Romanesque churches in the city, which together with Zamora are the largest group in Spain. The rest of the building is the product of the reform carried out between 1111 and 1126 by Alfonso I the Battler during his government in Castile for his marriage to Doña Urraca, making it one of the oldest churches in the city.” (Iglesia de San Millán, Wikipedia)

The Modest Painter

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‘Il Pittore Pudico’ (The Modest Painter) by Maurizio Rapiti, 2019
Piazza della Passera
Florence, December 2024

“‘The Birth of Venus’ by Sandro Botticelli (1486) revisited by Maurizio Rapiti.”

Iglesia de San Sebastián

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Iglesia de San Sebastián
Plaza de Anaya
Salamanca, September 2025

“The church of San Sebastián is a temple located in Salamanca, in the Plaza de Anaya, adjacent to the Colegio Mayor de San Bartolomé. On October 6, 2011, the Colegio de Anaya, the Hospedería and the church of San Sebastián were declared a Site of Cultural Interest with the category of Monument. The original temple was designed by the master builder Juan Álvarez de Toledo around 1410 for Don Diego de Anaya in imitation of that of San Clemente de Bolonia. Structural problems caused the building to weaken and finally had to be demolished, the Dominicans attempted to build another church. The church was developed between the years 1730 and 1739, under the direction of Alberto de Churriguera, who also directed the works of the cathedral at that time, imprinting its style both externally and internally.” (Iglesia de San Sebastián, Wikipedia)

Fountain of the Alps

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Fountain of the Alps, 1975
Piazza Bra
Verona, May 2025

“The Fountain of the Alps is the fountain located in the center of Piazza Bra and symbolizes the close union between the cities of Verona and Munich. Donated to the city in 1975 by the German city on the occasion of the twinning between the two cities, a copy of the Statue of Juliet, which currently resides inside the Town Hall, was sent in exchange. With its particular shape, it is jokingly called by the Veronese ‘strucca limoni’, because its shape reminds a citrus squeezer. Another sign of the twinning between the two cities is next to the fountain, where a memorial plaque is erected in memory of Italian deportees to German concentration camps.” (Fountain of the Alps, VisitVerona)

Basílica de San Vicente

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Basílica de San Vicente
Plaza de San Vicente
Ávila, September 2025

“The Basílica de los Santos Hermanos Mártires, Vicente, Sabina y Cristeta, best known as Basílica de San Vicente, is a church in Ávila, Spain. It is one of the best examples of Romanesque architecture in the country. According to legend, Christian martyrs Vicente, Sabina and Cristeta were martyred during the rule of the Roman Emperor Diocletian; their corpses were buried into the rock and later a basilica was built over their tombs. In 1062 their remains were moved to the monastery of San Pedro de Arlanza in Burgos, but later, in 1175, they were returned to Ávila and the construction of a new basilica was started at the location. Construction was repeatedly halted or slowed, and were finished in the fourteenth century thanks to the support of Alfonso X and Sancho IV.” (Basilica of San Vicente, Wikipedia)

Torrione di porta Castello

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Torrione di porta Castello
Corso Palladio
Vicenza, May 2025

“It was later enlarged by Ezzelino III da Romano and demolished after his death. In 1343 it was rebuilt larger during the Scaliger occupation and became part of the medieval city walls. Antonio and Mastino II della Scala restored the Ezzelinian fortress, transforming it into a real Castle that occupied a square area and surrounded by a deep moat. Subsequently, with the Visconti domination, the crenellated crowning and the upper lantern were added, taking on its current appearance. During the 17th century, the Castle, now deprived of its defensive role, was sold – except for the Tower because it was a public passage – by the Serenissima to the Valmarana family , who transformed the north wing into a palace overlooking their ancient garden. The dismantling of the remaining parts, at the end of the 18th century, left the Tower almost intact. However, between the 19th and 20th centuries, for traffic reasons, the entrance arch was doubled and flanked by two pedestrian passages. The last two restorations date back to 1999 and 2018. The internal perimeter of the ancient Castle – parade ground – is still identifiable in the large rectangular space that opens beyond the Torrione portal, overlooking the Corso. After five centuries, on April 3, 2018, the Torrione returned to being a public property. The collector Antonio Coppola , after having purchased it at auction, ceded the bare ownership of the imposing building to the Municipality of Vicenza. The Coppola Foundation will maintain the usufruct of the Torrione for 30 years, using it as a center of contemporary art, guaranteeing its management and maintenance.” (Torrione di porta Castello, VIVA)

Bodega El Pimpi

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Bodega El Pimpi
Calle Granada
Málaga, March 2025

“Founded in 1971, the Pimpi is one of the wine cellars with most solera in Málaga, where it is possible to enjoy local gastronomy and local wines, but mostly, the tradition and culture belonging to southern Spain. Its name makes reference to the figure of ‘Pimpi’, a popular character from Málaga who helped crew and passengers of boats that arrived at the Málaga port. Currently, the wine cellar is a famous meeting point for the famous, both Malagueños and visitors, who recommend us and value our cultural entity and gastronomy of top order in Málaga.” (Gastronomic and cultural history of Málaga, El Pimpi)

Porta Ognissanti

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Porta Ognissanti (Porta Portello)
Via del Portello
Padua, May 2025

“The Porta Ognissanti (Omnium Sanctorum in Latin, also called Portello Nuovo or Venezia, commonly Porta Portello) is one of the gates still existing within the sixteenth-century walls of Padua, built by the Serenissima Republic. It rises in the area of the city called Portello (that is ‘small port’, because this area hosted a sort of arrival - restored - for the boats that connected along the Riviera del Brenta Padua with Venice, but the recent hypothesis in deriving it from the fact that, previously to the current gate, there was a ‘Portello’ (a simple pedestrian gate or almost). The gate dates back to 1519, the year in which it took the place of the Portello Vecchio gate, located in today's Via San Massimo.” (Porta Ognissanti, Wikipedia)

Dionysos-Brunnen

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Dionysos-Brunnen (Dionysus Fountain) by Karl Burgeff, 1973
Am Domhof
Cologne, September 2024

“Somewhat hidden, in front of the tunnel entrance Am Domhof under the east side of the Domplatte, the bronze sculpture of the Greek god Dionysus graces the concrete-heavy surroundings. Created by Karl Burgeff in 1973, the curvaceously shaped god of festivities and wine is in a contorted position that is half sitting, half reclining, and directs his gaze up to the sky, lost in thought. The god depicted here as a sculpture is a modern counterpart to the mosaic in the Roman-Germanic Museum. There, Dionysus is the central motif of the mosaic of the same name around which the museum building was erected. Even if there is no direct connection, it is somewhere fitting that homage is paid to the ancient deity in Cologne, since to a certain extent the bacchanalia of ancient Rome continued in today's carnival.” (Dionysus Fountain, Cologne Tourist Board)

Church of San Francesco

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Church of San Francesco by Vincenzo Micheli, 1932
Piazza Savonarola
Florence, December 2024

“The church of San Francesco is a Catholic place of worship located in Piazza Savonarola in Florence. The archive of the convents of the Minor Observant Fathers of the Tuscan Province is kept in the annexed convent. It was built in neo-Gothic style in 1887 by the architect Vincenzo Micheli for the Carmelite nuns of Santa Maria Maddalena dei Pazzi, who had left their convent in Borgo Pinti. The latter then moved to via dei Massoni and were replaced in 1928 by the Franciscans, who decided to expand the church, according to the project of the architect and brother Fra' Raffaello Franci. On 15 April 1930 the church in Piazza Savonarola became a canonical parish with an Archbishop's decree and was consecrated in 1932. The building underwent a final renovation in 1971, when it was expanded with the opening of new spaces and repaved.” (Chiesa di San Francesco, Firenze)

Merkur-Brunnen

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Merkur-Brunnen (Mercury Fountain) by Hugo Lederer, 1916
Ludwig-Erhard-Anlage
Frankfurt, September 2024

“The Mercury Fountain was donated in 1909 by banker Anton L.A. Hahn, but not completed until 1916 by his sons Louis Alfred and Ludwig Arnold Hahn in memory of their father. Initially erected on Komödienplatz (later Rathenauplatz), it was relocated around 1954 to the grounds in front of the main entrance to the exhibition center. Its decor is perfectly suited to this location, as the Roman god Mercury was believed to protect trade and commerce. A bronze figure of Mercury stands on a stone fountain post with a stepped double ring decorated with rams' heads. The figure is life-size, nude, and wears the typical winged hat; its upper body slightly turned away, it weighs a bag of gold pieces in its hands. The basin of this neoclassical ornamental fountain is a monolithic granite bowl. The water runs over its scaled ring and cascades through a concealed gap into the depths. The basin stands on four spheres above a surface of two octagonal steps.” (Merkur-Brunnen, Kunst im öffentlichen Raum Frankfurt)

Ponte Pietra

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Ponte Pietra (Stone Bridge)
Via Ponte Pietra
Verona, May 2025

“The Ponte Pietra (Italian for ‘Stone Bridge’) is a Roman arch bridge crossing the Adige River in Verona, Italy. The bridge was completed in 100 BC, and the Via Postumia from Genoa to Aquileia passed over it. It is the oldest bridge in Verona. It originally flanked another Roman bridge, the Pons Postumius (called Pons Marmoreus and at Middle Ages was called Fractus - broken, now remain some fragments); both structures provided the city (on the right bank) with access to the Roman theatre on the east bank. The arch nearest to the right bank of the Adige was rebuilt in 1298 by Alberto I della Scala. Four arches of the bridge were blown up by retreating German troops in World War II, but rebuilt in 1957 with original materials.” (Ponte Pietra, Wikipedia)

Peterskirche

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Alte Peterskirche (Old St. Peter's Church)
Schletterstraße
Leipzig, September 2024

“Old St. Peter's Church (German: Alte Peterskirche) is a Lutheran parish and church in the old town of Leipzig, Germany. The present church building, in Gothic Revival style, was erected from 1882 onwards at the Gaudigplatz, and also serves as a concert venue. It replaced a former building at a different location. The former building was built in 1507. After the Reformation, it was used as a Lutheran church until 1539, and again from 1712 to 1885. It was demolished in 1886. With 87 metres (285 ft) it is Leipzig's tallest church.” (St. Peter, Wikipedia)

Fontana dei bambini

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“L'altalena” (The Swing) by Nereo Cagliato, 1984
aka “Fontana dei bambini” (Children's fountain)
Stradella dei Tre Scalini
Vicenza, May 2025

“The Children's Fountain, next to the Post Office, is certainly nice, but nothing more. It was built in 1984 based on a design by the architect Vittorio Veller thanks to funding from some citizens and donated to the Municipality in exchange for authorization to open windows on the front of the building behind. Restored and reactivated in July 2020, it is already dry. Quagliato's bronze sculpture softens the fountain, but the low system of communicating basins that underlies it lacks any monumentality. A vertical structure with a wall-mounted water jet would have been much more suitable in the same place. It would at least distract the gaze from the looming red and white mass of the Royal Post and Telegraph building” (Quattro fontane in tutto, ViPiù)

Dinglingerbrunnen

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Dinglingerbrunnen by Matthäus Daniel Pöppelmann, 1718
(restored by Werner Hepel in 1966)
Gewandhausstraße
Leipzig, September 2024

“The Dinglinger Fountain is a listed Baroque fountain in Dresden. It is considered the oldest surviving court fountain in the Saxon capital. It is named after Johann Melchior Dinglinger, court jeweler and goldsmith to Augustus the Strong, who had it constructed for himself. The Dinglinger Fountain is located at the northern end of the west façade of the New Gewandhaus, now the Gewandhaus Hotel, in Dresden's inner old town. It stands along a footpath and is attached directly to the building's outer wall, framing a barred window. The entire work is made of Elbe sandstone. The fountain basin rests on a double-tailed, fish-like creature. Just above this basin, an open shell, flanked by two putti with cornucopias, forms a smaller basin. Embedded in the upright shell is a head – Jochen Hänsch explains it as the head of Triton, Stefan Hertzig writes only of a ‘male mask’. Around the fountain basin rises a portal-like frame, also around a window in its original location. On each side there is a pilaster, from whose console a putti grows. Above this are volutes with dolphins. The keystone shows the head of Bacchus. Above this lies a double-open shell with a gilded pearl, framed by four putti.” (Dinglingerbrunnen, Wikipedia)

Church of San Nicolò

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Church of San Nicolò
Via San Nicolò
Padua, May 2025

“San Nicolò is a Romanesque and Gothic-style, Roman Catholic church in Padua, region of Veneto, Italy. It stands in front of a homonymous piazza, and is adjacent to the Palazzo Meschini and Palazzo Brunelli-Bonetti. The church was first documented to the 11th century, when it was consigned to monks of the order of St Peter (Monache di San Pietro). It is dedicated to San Nicholas of Myra, and apparently later acquired some relics of the saint. In a document from 1178, bishop Gerardo recalls it among the parishes of Padua. It underwent substantial refurbishment in the early 14th-century. By 1546, the church was known to have 11 altars, many owned by local neighborhood aristocratic families, including the Forzatè. Further refurbishments occurred in the 17th and 18th-centuries. The bell-tower was rebuilt in the 19th-century in a gothic-style. The latest restoration (1966-1971) stripped much of the baroque interior decoration.” (San Nicolò, Wikipedia)

Aqua viva

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“Aqua viva” by Stanislav Hanzík, 1992
Františkánská zahrada (Franciscan Garden)
Vodičkova, Nové Město
Prague, September 2024

“The garden is located next to the former Franciscan monastery at the Church of Our Lady of the Snows, which can be entered from Vodičkova Street, Wenceslas Square and Jungmann Square. Originally there was a fish tank here and in the recent past a concrete fire tank. Currently, a metal sculpture of a boy has been newly placed here, with water flowing down from a conch shell that the boy is holding above him. The sculpture was created by Stanislav Hanzík (he called it ‘Aqua viva’) in 1992 and also serves as a drinking fountain.” (Drinking bottle with a sculpture of a boy, Pražské kašny a fontány)

Monument to Savonarola

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Monument to Savonarola by Enrico Pazzi, 1875
Piazza Savonarola
Florence, December 2024

“The Monument to Savonarola in Piazza Savonarola is an outdoor marble statue on a plinth in honor of the 15th-century Dominican friar Girolamo Savonarola; it is located in a piazza of the same name a few blocks outside of the Viali di Circonvallazione, in Northeastern Florence, region of Tuscany, Italy. This monument has a colorful history of migrations. The statue was completed circa 1875 by Enrico Pazzi, a native of Ravenna, at a time, when anti-papal feelings ran high in Italy. However, Savonarola has always been a polarizing historic figure, maniacal in his faith, and the perpetrator of the original Bonfire of the Vanities. His theology was not compatible with contemporary liberal thought. The statue was conceived by Pazzi in 1861, who habitually created public monuments before they were requisitioned. A committee was formed in 1869 to commission a monument to Savonarola, which was to be placed in the convent of San Marco; however, they did not choose Pazzi's model, but instead chose one by Giovanni Duprè, a former mentor of Pazzi. This was to lead to fierce conflict between the two sculptors. In 1870, another committee, chaired by Prince Ferdinando Strozzi, selected to commission Pazzi's more grandiose and more anti-papal statue, and obtained the Commune's permission to site the sculpture in the first cloister of the Florentine convent. However, the drop in revenue caused by the transfer of the capital of Italy from Florence to Rome, cancelled this project. By 1873, Duprè completed his contribution: a simple plaque and relief bust placed in the cell of the friar in San Marco. Pazzi's work, completed only in 1875, did not find enough subscribers, and was donated ultimately to the Town Hall. It remained in studio till 1882, when it was installed, to much criticism, into the niche of the southern end of the Salone dei Cinquecento in the Palazzo Vecchio. One justification for this placement was that Savonarola had commissioned the creation of this large hall in 1497. There was still rumors that it would be moved in the future to the precinct of San Marco. The statue had displaced none other than a Michelangelo statue, placed here by Vasari.” (Monument to Savonarola in Piazza Savonarola, Wikipedia)

Bastei Köln

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Bastei Köln by Wilhelm Riphahn, 1924
Konrad-Adenauer-Ufer
Cologne, September 2024

“A striking example of expressionist architecture is located directly on the Rhine in the form of the Bastei, which opened in 1924. Built by architect Wilhelm Riphahn, the restaurant is built on the base of a former Prussian fortress tower and has taken on the name. The architecture, which was modern for its time, was initially controversial when it was built because there were concerns that it would spoil the panoramic view of the Rhine. However, these fears quickly gave way to enthusiasm for the modern building. For Wilhelm Riphahn, the bastion signalled his professional breakthrough. Later, after the building was destroyed in the Second World War, Riphahn rebuilt it in its original form. With its view over the Rhine, the Bastei was one of the best addresses for events for many years. Unfortunately, however, the listed building showed considerable substantial defects. It has therefore been closed. Whether and how maintenance can be guaranteed is currently being examined.” (Bastion, Cologne Tourist Board)

Ponte di Castelvecchio

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Ponte di Castelvecchio Castel Vecchio Bridge)
Corso Castelvecchio
Verona, May 2025

“The Castel Vecchio Bridge (Ponte di Castel Vecchio) or Scaliger Bridge (Ponte Scaligero) is a fortified bridge in Verona, northern Italy, over the Adige River. The segmental arch bridge featured the world's largest span at the time of its construction (48.70 m). It was built (most likely in 1354-1356) by Cangrande II della Scala, to grant him a safe way of escape from the annexed eponymous castle in the event of a rebellion of the population against his tyrannic rule. The solidity of the construction allowed it to resist untouched until, in the late 18th century, the French troops destroyed the tower on the left bank (although it probably dated from the occupation of Verona by the Visconti or the Republic of Venice). The bridge was however totally destroyed, along with the Ponte Pietra, by the retreating German troops on April 24, 1945. The bridge's reconstruction by architect Libero Cecchini began in 1949 and completed in 1951, with the exception of the left tower.” (Castelvecchio Bridge, Wikipedia)

Liegende

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“Liegende” (Reclining) by Willi Schmidt, 1977
Große Bockenheimer Landstraße
Frankfurt, September 2024

“The female figure in Freßgass was modeled after a much smaller one that the sculptor Willi Schmidt had exhibited in Frankfurt's former Technical City Hall. Frankfurt city officials liked it so much that Schmidt was commissioned to create a larger version for the city center. The material used, Naxos marble, takes its name from a Greek island where it has been mined since ancient times and continues to this day. Rudolf Kipp also created reclining figures for the Taunusanlage and Christian Peschke for Feuerbachstraße.” (Liegende, Kunst im öffentlichen Raum Frankfurt)

Santa Maria Annunciata

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Cathedral of Santa Maria Annunciata
Piazzetta del Duomo
Vicenza, May 2025

“Vicenza Cathedral (Italian: Cattedrale di Santa Maria Annunziata, Duomo di Vicenza) is a Roman Catholic cathedral in Vicenza, Veneto, northern Italy. It is the seat of the Bishop of Vicenza, and is dedicated to the Annunciation of the Virgin Mary. Construction of the cathedral was begun in 1482, to plans by Lorenzo of Bologna, and completed in the 1560s. The cupola was planned by Andrea Palladio and probably the north doorway also. Only the original façade survived the bombing of World War II; the rest of the present building has been reconstructed.” (Vicenza Cathedral, Wikipedia)

Synagogendenkmal

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Synagogue Memorial by Sebastian Helm and Anna Dilengite, 2001
Gottschedstraße / Zentralstraße
Leipzig, September 2024

“On the site of the Moorish synagogue stands today the Holocaust memorial. This powerful installation is made of 140 empty bronze chairs, representing the 14.000 Jews who once prayed there and outlining the floor plan of the destroyed synagogue.” (Leipzig, The Cultural Guide to Jewish Europe) “The site of the former synagogue had served as a parking lot and the site of a transformer station for decades. After the city of Leipzig acquired the property only in 1997, it launched a Saxony-wide, anonymous competition in 1999 in collaboration with the Jewish Religious Community, inviting ten international artists. The design by Leipzig artists Sebastian Helm and Anna Dilengite, which had only made it onto the shortlist for implementation, was ultimately chosen. Following a majority vote by the Leipzig City Council in October 2000, the site was transformed into a large-scale memorial. Inaugurated on June 24, 2001, the memorial traces the floor plan of the destroyed building on an area of ​​12 × 12 meters. The interior is a field of 140 empty bronze chairs, intended to convey a tangible sense of the loss of the architectural shell. The western boundary of the site is formed by a wall of exposed concrete, with texts in English, German, and Hebrew on three bronze plaques each.” (Große Gemeindesynagoge, Wikipedia)

Loggia dei Carraresi

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Loggia dei Carraresi (Lodge Carrarese)
Via Accademia
Padua, May 2025

“The Loggia dei Carraresi is a historic building in Padua located in via Accademia. It is the last surviving part of the Reggia Carrarese, the large residence of the Da Carrara family, lords of Padua. Since 2021 it has been included by UNESCO among the world heritage sites in the site of the 14th-century fresco cycles of Padua.” (Loggia dei Carraresi, Wikipedia)

On a drunken donkey

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“Bacchus auf einem trunkenen Esel reitend” (Bacchus riding on a drunken donkey) by Georg Wrba, 1910
(The original statue of 1952 was cast iron)
Rathausplatz
Dresden, September 2024

“Georg Wrba (3 January 1872 – 9 January 1939) was a German sculptor and graphic artist. He created some 3,000–4,000 works, including as a collaborator of the Zwinger workshop. Wrba was born in Munich in 1872, the son of a smith. His younger brother Max Wrba became an architect in Dresden. Wrba began his training with Jakob Bradl the Elder and his son Jakob Bradl the Younger. From 1891 to 1896, he studied at the Akademie der Bildenden Künste München under Syrius Eberle. After some time spent in Italy (with Egon Rheinberger), a trip made possible by a travel award from Prince Regent Luitpold, he settled in Munich as an independent sculptor in 1897 and became director of the city's school of sculpture. In 1906 and 1907, he worked in Berlin, where he created sculptures for buildings for the architects Ludwig Hoffmann and Alfred Messel. Wrba then moved to Dresden, where from 1907 to 1930 he taught at the Dresden Academy of Fine Arts. He brought the Dresden school of sculpture into contact with the reforming ideas of the Deutscher Werkbund and was a founding member of the Dresden Artists' Association, known as ‘Die Zunft’ (The Guild). The basic aim of the ‘Werkbund’, and also of ‘Die Zunft’, was to achieve a collaboration between and integration of various forms of art, rejecting ornamentation for its own sake: painting and sculpture were to form integral parts of architecture. In Dresden he made, among many other works, the Marie Gey Fountain near the Dresden Hauptbahnhof in the Südvorstadt, which was donated by a Dr. Heinze for his wife, a student at the Kunstakademie, who had died young. In 1910 Wrba agreed a contract for the restoration and completion of the missing parts of the Zwinger, for which he directed the work of 53 sculptors from 1911 to 1933, and himself created many groups of figures modelled from the life. Wrba died on 9 January 1939 in Dresden, where a street is named after him. He is buried in the Munich Waldfriedhof.” (Georg Wrba, Wikipedia)