Puerta de Toledo

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Puerta de Toledo (Toledo Gate)
Glorieta de la Puerta de Toledo
Madrid, September 2022

“The Puerta de Toledo (Toledo Gate) was one of the access gates to the city of Madrid. There were previously three other gates called Toledo in the vicinity, the current one dates from the first third of the 19th century and was designed by the Spanish architect Antonio Aguado , which is located in the middle of the Glorieta de la Puerta de Toledo acting as a roundabout. It was erected as a triumphal arch in honor of King Ferdinand VII as a commemoration of the Spanish War of Independence after the French occupation. It was the last monumental gate erected in the old city of Madrid. It was built between 1813 and 1827 and was restored by Madrid City Council in 1995. Its location in the city provided access from the city center via calle de Toledo to the roads south of Madrid (Camino Real de Andalucía), after crossing the Manzanares River via the Toledo Bridge and the Carabancheles mountains.” (Puerta de Toledo, Wikipedia)

Romeo e Giulietta

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Romeo e Giulietta, un sogno sospeso (Romeo and Juliet, a suspended dream) by Enrico Muscetra, 2008
Piazza Indipendenza
Verona, May 2025

“The monument called ‘Romeo e Giulietta, un sogno sospeso’ (Romeo and Juliet, a suspended dream) represents the two Shakespearean lovers in a stylized form. It was made in Poland in 2008 by the sculptor Enrico Muscetra (Alezio, 1946); then it was placed in piazza Indipendenza in 2012. The work was created for the exposition ‘Romeo e Giulietta, un sogno sospeso’ organized in 2009 for the 20th anniversary of the fall of the Berlin wall; the exposition ended an international project organized to remember the most famous European myths. Critics said that Enrico Muscetra’s sculpture was representative of the whole event. It isn't a coincidence that in this work Romeo and Juliet’s bodies are represented as two hearts: in fact, Muscetra became famous for his bronze sculptures and for “hearts”, his leitmotif. The heart is not only a human organ but it is also the symbol of spirituality. The work is in quite a good state of preservation and it is well valued thanks to its isolated location in the garden and its closeness to the main squares of the city.” (Statue of Romeo and Juliet, VisitVerona)

Marcus Claudius Marcellus

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Marcus Claudius Marcellus by Marcos Augusto Dueñas, 2015
Calle Claudio Marcelo
Córdoba, September 2022

“Marcus Claudius Marcellus (died c. 148 BC) was Roman consul for the years 166 BC (together with Gaius Sulpicius Gallus), for 155 BC (with Publius Cornelius Scipio Nasica Corculum), and for 152 BC (with Lucius Valerius Flaccus). He was apparently the son of Marcus Claudius Marcellus (consul 196 BC), censor in 189 BC and the grandson of Marcus Claudius Marcellus, the five-times consul. He founded Corduba (Córdoba, Spain) in 169 BC.” (Marcus Claudius Marcellus, Wikipedia)

Church of San Gaetano

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Church of San Gaetano
Corso Palladio
Vicenza, May 2025

“San Gaetano is a Roman Catholic church located on Corso Palladio #147 in the city of Vicenza, region of Veneto, Italy. The church was erected between 1721 and 1730 using designs of Girolamo Frigimelica Roberti and commissioned by the Theatine order. The church underwent reconstruction after bombardment during WWII in 1944. The church still houses a St Cajetan painted by Francesco Solimena.” (San Gaetano, Wikipedia)

Edificio Pedro Roldán

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Edificio Pedro Roldán by José Espiau, 1927
Plaza de Jesús de la Pasión, Casco Antiguo
Seville, September 2022

“It is located next to the building that was built years earlier on the corner between Siete Revueltas and Alcaicería streets. This building, named after the Sevillian baroque artist Pedro Roldán, is one of the main examples of regionalism. The Arabic lines that can be seen on its façade are made with a combination of brick and tile, as well as the author's use of ornamental ironwork. José Espiau also adds one of the identifying elements of Second Regionalism, the panoramic tower, using again the dome that he already used in other previous constructions such as the Adriatic building and the City of London building that we can later see.” (Edificio Pedro Roldán, Visita Sevilla)

Cattedrale ex Macello

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Cattedrale ex Macello
Via Cornaro
Padua, May 2025

“This exemplary industrial archaeology complex was inaugurated in 1908, designed by engineer Alessandro Peretti, to replace Jappelli's slaughterhouse, built in 1821 and converted into an Art Institute. The entire complex expanded over an area of approximately 17,000 square meters. The main entrance consisted of a colonnaded portico, and inside, all the buildings were arranged along a central axis. This unique and innovative layout was modeled after the Offenbach slaughterhouse in Germany. The original function of the slaughterhouse was suspended in the early 1970s and in 1984 the cattle slaughterhouse, which is the main room of the complex, was restored in accordance with the original structure and used as an exhibition space. It is also called ‘cathedral’ due to its characteristic shape with three ‘naves’.” (Cattedrale ex Macello, Comune di Padova)

Rafael Guastavino

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Rafael Guastavino by Alfredo Llorens, 2022
Plaza de la Reina
Valencia, September 2022

“Rafael Guastavino Moreno (March 1, 1842 – February 1, 1908) was a Spanish building engineer and builder who immigrated to the United States in 1881; his career for the next three decades was based in New York City. Based on the Catalan vault, he created the Guastavino tile, a ‘Tile Arch System’, patented in the United States in 1885, which was used for constructing robust, self-supporting arches and architectural vaults using interlocking terracotta tiles and layers of mortar. His work appears in numerous prominent projects designed by major architectural firms in New York and other cities of the Northeast. Guastavino tile is found in some of New York's most prominent Beaux-Arts landmarks and in major buildings across the United States. It is also used in numerous architecturally important and famous buildings with vaulted spaces.” (Rafael Guastavino, Wikipedia)

L'Arringatore

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The ‘Arringatore’ (The Orator)
National Archaeological Museum
Piazza Santissima Annunziata
Florence, January 2025

“The Orator, also known as ‘L'Arringatore’ (Italian), Aule Meteli (Etruscan) or Aulus Metellus (Latin), is an Etruscan bronze sculpture from the late second or the early first century BC. Aulus Metellus was an Etruscan senator in the Roman republic, originally from Perugia or Cortona. The Aulus Metellus sculpture was found in 1566. The exact location is debated, but all sources agree the sculpture was found either in or around Lake Trasimeno in the province of Perugia on the border between Umbria and Tuscany, 177 kilometers (110 miles) from Rome. The statue is exhibited in the National Archaeological Museum of Florence. The statue is 179 cm in height and wears a toga exigua, consisting of a short sleeved tunic underneath a close fitting toga, slung over the left arm and shoulder while leaving the right arm free for movement. The hem starts over the right ankle and heads diagonally upwards to above the left calf. The statue also wears a pair of boots called calceus senatorius, a type of footwear worn by senators and high ranking magistrates made of red leather. The statue stands in a contrapposto pose with one leg supporting the bulk of its weight. The hair of the statue is cut short and combed to the left. The left arm rests at its side with the hand raised and opened slightly, while the right arm is stretched out, bent at the elbow, its palm open and the fingers spread out. The statue wears a ring on its left ringfinger, which is believed to be a scarab ring. Since the statue was made out of seven parts, you can see the seams, where they were attached to each other.” (The Orator, Wikipedia)

Hospital de Tavera

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Hospital de Tavera
Calle Duque de Lerma
Toledo, September 2022

“The Hospital de Tavera, also known as the Hospital de San Juan Bautista, Hospital de afuera, or simply as Hospital Tavera, is an important building of Renaissance architecture located is in the Spanish city of Toledo. It was built between 1541 and 1603 by order of the Cardinal Tavera. This hospital is dedicated to John the Baptist and also served as pantheon for its patron, Cardinal Tavera. Initially it began to be constructed under the supervision of Alonso de Covarrubias, being succeeded by other architects, with Bartolomé Bustamante finishing the work. The remoteness with the old part of the city made it known as el hospital de afuera, since within the walls there already existed the Hospital de Santa Cruz. Currently the building remains the property of the House of Medinaceli and inside it is the Museo Fundación Lerma, which houses part of the artistic collections of this lineage, as well as the Section of the Nobility of the National Historic Archive.” (Hospital de Tavera, Wikipedia)

Santa Maria della Scala

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Santa Maria della Scala
Via Scala
Verona, May 2025

“The church of Santa Maria della Scala is a Catholic place of worship located in the historic centre of Verona, a few steps from Via Mazzini; it is part of the diocese of Verona. In 1324 Cangrande della Scala donated a building in the heart of the ancient city of Verona to the Servants of Mary, after he had made a vow to the Virgin to overcome a serious illness: that was the first of a long series of donations that allowed the Servants to settle in the centre of the city by building a church with an adjoining convent, next to the Franciscans of the church of San Fermo Maggiore, the Hermits of Sant'Eufemia and the Dominicans of Santa Anastasia. However, they encountered strong opposition from the Franciscans of the nearby convent of San Fermo. The construction of the church building in 1329 must have already been well underway, so much so that it was consecrated on 6 December, but the building site (contemporaneous with that of the convent) continued for a long time: in 1341 the first cloister of the convent and the sacristy were built, following the fire that had occurred inside a dormitory three years earlier; in 1362 the right apse of the church was completed, the bell tower was finished and the altar of the Virgin was renovated; in 1371 an organ with its choir had already been placed while a portico was built on the road in front of the church; in 1388 the central apse was finished; in 1416 the left apse was also completed; In 1423 a second cloister was built and the new dormitory of the convent was completed, built across the street from the first.” (Chiesa di Santa Maria della Scala, Wikipedia)

Statue of Isabel II

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Statue of Isabel II by José Piquer, 1850
Plaza de Isabel II
Madrid, September 2022

“That same year, 1868, the statue of Isabel II, commissioned and paid for by Manuel López Santaella and the work of José Piquer y Duart, was placed in the center of the square. A year later, the statue was removed from the center of the square and placed in the Teatro Real, until 1862, when an allegorical sculpture of the Comedy, the work of Francisco Elías Vallejo, was placed in its place. However, Isabel II did not return to the square until 1905. Valentín Gutiérrez de Miguel in the newspaper La Voz of February 3, 1922, gives a long account of the events and vicissitudes of the statue, its various locations and the pedestals needed, as well as the stinginess of the repeated operations to finance the works.” (Plaza de Isabel II, Wikipedia)

Pagello Altar

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Pagello or Santa Maria Maddalena Altar
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“The majestic altar in the second bay on the left was built—likely by the Pedemuro workshop—in the early 16th century and bears the Pagello family crest at the center of the entablature, commissioned by the family. In 1529, the Vicentine writer Luigi da Porto—author of the novella that inspired Shakespeare’s tragedy Romeo and Juliet—stipulated in his will to be buried in front of this altar. The altarpiece, painted between 1514 and 1515 by Bartolomeo Montagna, depicts Saint Mary Magdalene with Saints Jerome and Paula on her left, Saint Augustine and Saint Monica on her right. The depiction of Saint Monica, the widowed mother of Saint Augustine, is likely a portrait of the patroness Piera da Porto, widow of Bernardino Pagello.” (Santa Corona, Wikipedia)

Custodia de Arfe

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Custodia de Arfe (Arfe monstrance) by by Enrique de Arfe, 1518
Mezquita-Catedral de Córdoba
(Mosque–Cathedral of Córdoba)
Calle Cardenal Herrero
Córdoba, September 2022

“The ‘custodia de Arfe’ (Arfe monstrance) is the processional monstrance of the Cathedral of Córdoba, carved by Enrique de Arfe between 1514 and 1518. Its base was made by the Cordoban Bernabé García de los Reyes between 1734 and 1735. Its function is to process the consecrated host which, according to the Catholic faith, is the body of Christ on the feast of Corpus Christi, an annual celebration. Bishop Martín Fernández de Angulo commissioned Enrique de Arfe, a goldsmith of Germanic origin, to create the Corpus Christi monstrance. Arfe had already built one in León and was already working on the one in Toledo. He began work on it around 1512, with the prelate leaving 500 ducats in his will for its completion. Archdeacon Francisco de Simancas also contributed 100 marks. The exquisitely finished work was premiered on June 3, 1518 under the pontificate of Cardinal Alonso Manrique, the year in which it was carried in procession for the first time. It is fair to point out that it was not only Arfe who made this magnificent jewel, but that he was assisted in its making by several Cordoban silversmiths (among them Juan Ruiz el Vandalino) who, trained by the German master, perfected their art and were thus able to replace him on his frequent trips to Toledo, where he was also sculpting the monstrance for that capital.” (Custodia procesional de la Mezquita-catedral de Córdoba, Wikipedia)

Francesco Petrarca

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Francesco Petrarca by Luigi Ceccon, 1874
Piazza Petrarca
Padua, May 2025

“Luigi Ceccon is the sculptor of the statue of Francesco Petrarca located in Piazza Petrarca in Padua. The work, carved from Vicenza stone, dates back to 1874 and was erected on the fifth centenary of the poet's death. The base bears the inscription ‘To Petrarca / Five centuries after his death / Padua — XVIII LUGLIO MDCCCLXXIV’, accompanied by three medallions depicting Cola di Rienzo, Iacopo da Carrara, and Laura di Noves. A plaster model by the same sculptor is preserved in Petrarca's house in Arquà Petrarca.” (Statue of Francesco Petrarca, Grok)

Basílica del Cristo de la Expiración

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Basílica del Cristo de la Expiración
Calle Castilla
Seville, September 2022

“The Basílica del Santísimo Cristo de la Expiración (Basilica of the Most Holy Christ of the Expiration), also called the Basílica del Cachorro or Basílica del Patrocinio, is a Catholic temple located in the Triana neighborhood of the city of Seville (Andalusia, Spain). The original Chapel of Sponsorship dates back to the late 17th century. In 1689, the Brotherhood of Sponsorship and that of Christ of the Expiration merged here, giving rise to the current Pontifical, Royal and Illustrious Brotherhood and Confraternity of Nazarenes of the Most Holy Christ of the Expiration and Our Mother and Lady of Sponsorship in Her Pain and Glory. The current chapel consists of two temples adjoining each other. The first of these temples dates from the 17th century, and was renovated around the middle of the following century, following the Lisbon earthquake of 1755.” (Basílica del Cristo de la Expiración, Wikipedia)

San Pietro in Archivolto

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San Pietro in Archivolto
Via San Giusto
Verona, May 2025

“The church of San Pietro in Archivolto is a former Catholic place of worship located in the heart of Verona's historic center. Built on commission from the Lord of Verona, Cangrande della Scala, and consecrated in 1359 by Bishop Pietro della Scala, it is currently used as a multipurpose hall. The church, built in the 12th century, took on the characteristic Gothic forms that still distinguish it today in the first half of the 14th century, at the behest of Cangrande della Scala, Lord of Verona. The works were directed by Bono di Lanfranchino and the building was consecrated by the bishop of Verona Pietro della Scala on 12 and 13 September 1359. Of the church, positioned at an angle, the eastern façade and the northern side are visible, both with exposed brick facing. The gabled façade is characterised by a central tympanum portal and two lateral rectangular windows and ends with a decoration of hanging arches. The side, marked by pilasters and also ending with a decoration of hanging arches, has a lateral entrance protected by a porch supported by small columns in red ammonite, inside which is placed a statue of Saint Peter.” (Chiesa di San Pietro in Archivolto, Wikipedia)

Blue chimneys

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Blue chimneys
Calle Santa Matilde
Benalmádena, March 2025

Graziani Garzadori Altar

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Graziani Garzadori Altar
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“Attached to the wall of the fifth bay on the left is the Garzadori Altar, the most sumptuous in the city, built in the early 16th century by the workshop of Tommaso da Lugano and Bernardino da Como, with contributions from Rocco da Vicenza, designed vertically with a mixed order of columns, pilasters, and pillars. Framing the arch are four ringed columns, adorned with garlands at the base; the upper shafts of the two more prominent ones have Corinthian capitals, while the two recessed ones have Ionic capitals spiraling upward. Flanking the arch are two narrow recessed pilasters with the Garzadori crests adorned with an imperial eagle and animal heads in the capitals. At the ends, two wider pillars with sphinges in the capitals support the entablature, above which, aligned with the columns, four small pillars hold a wide lowered arch pediment, with a coffered and rosette-decorated intrados and an extrados enriched with bicaudate Nereids and topped by the Redeemer. Within the tympanum, under a garland of flowers and fruit, is a medallion depicting the Virgin nursing the Child; on either side of the attic, two pairs of facing dolphins hold flaming vases. Throughout are embedded small and large paterae of polychrome marbles brought by Graziani from Palestine, like the black touchstone inserted in the pedestals or those forming a cross adorning the altar frontal of the table. The altar houses Giovanni Bellini's masterpiece, Baptism of Christ, which was painted around 1500–1502.” (Santa Corona, Wikipedia)

Al pueblo del 2 de mayo de 1808

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“Al pueblo del 2 de mayo de 1808” by Aniceto Marinas, 1891
Jardines del General Fanjul, Calle Ferraz
Madrid, September 2025

“‘A los héroes del dos de mayo’ or ‘Al pueblo del dos de mayo de 1808’ is an instance of public art in Madrid, Spain. A sculptural work by Aniceto Marinas, the monument is an homage to the role of the Madrilenian people during the 1808 Dos de mayo uprising. Originally sculpted in Rome by Aniceto Marinas in 1891, the sculptural group depicts a winged statue holding a banner that emerges on top of a soldier, a cannon, a small boy and a number of corpses, male and female alike.” (Al pueblo del dos de mayo de 1808, Wikipedia)

Porta Molino

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Porta Molino
Vicolo Ponte Molino
Padua, May 2025

“The Porta Molino or Porta dei Molini was the main of the four royal entrances that opened into the medieval walls of Padua. Facing north, it stands at the end of the Roman Ponte Molino bridge that crosses the branch of the Bacchiglione called the Tronco Maestro. Until 1884, thirty-three wheels of as many mills mounted on boats operated, giving the gate and bridge their name. Nearly 26 meters high, it was built of stone and brick in the 13th century and was intended as a formal entrance to the Stra' Regia or Stra' Maggiore (now Via Dante), Padua's most important street. The tower rises externally on a sort of Romanesque triumphal stone arch (also decorated with a pair of lions), while inside there are two arches (the wider and more evocative one is pointed ) that allowed the defense mechanisms to be operated, including the large doors hinged in stone recesses that are still visible. Of interest is the Baroque access to the upper tower, a 17th-century construction adjacent to the internal façade, on the left. Sections of the municipal walls unravel on the sides, which continue westward along Via del Casin Rosso. The pedestrian access is the result of 19th-century renovations. At the end of the 19th century, the upper part of the gate was used as a storage tank for the city's first drinking water distribution network. The rumor that Galileo Galilei, during his time in Padua, used the gate as an astronomical observatory is probably false (although supported by a plaque by Carlo Leoni).” (Porta Molino, Wikipedia)

Casa de los Picos

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Casa de los Picos
Calle Juan Bravo
Segovia, September 2025

“The Casa de los Picos is a building in the Spanish city of Segovia, home to the Segovia School of Art and Design. It is located on Calle Juan Bravo, in the historic center of Segovia. It was built in the last third of the 15th century as a fortified house by Don Pedro López de Ayala, in order to defend the Puerta de San Martín, demolished in 1883. The house was later acquired by Alonso González de la Hoz, Chief Accountant of the Kingdom, and passed by inheritance to his son Juan de la Hoz, Councilor of Segovia. It is known for its façade, with 617 granite peaks, and its Renaissance courtyard. The heraldry of the de la Hoz family can be seen on the lintels of the five balconies and on the entrance door. The entrance hall and courtyard are decorated with Talavera tiles depicting various Segovia buildings.” (Casa de los Picos, Wikipedia)

Holy Fire Stones

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Reliquary of the Holy Fire Stones
Santi Apostoli
Piazza del Limbo
Florence, January 2025

“The church houses three flints (Pietre del Santo Sepolcro) putatively from the Holy Sepulchre in Jerusalem. These were putatively used to light the lamps of the tomb when Jesus was buried. Tradition holds that they were acquired in 1101 by Pazzino dei Pazzi, who was among the first Christians to scale the walls and lead to the capture of Jerusalem during the First Crusade. From then on, the Pazzi included a flaming cup in their coat of arms. The flints are linked to the ceremony of ‘Lo Scoppio del Carro’ and the lighting of fireworks from the ‘Portafuoco’ after a celebratory mass.” (Santi Apostoli, Wikipedia)

Colegio de Calatrava

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Colegio de Calatrava
Calle Rosario
Salamanca, September 2025

“The Colegio de la Inmaculada Concepción de Calatrava, commonly known as Colegio de Calatrava, is the only college founded in Salamanca by the military orders whose building still survives; it belonged to the Order of Calatrava. Instituted as an imperial college in 1552 by Charles V and incorporated into the University of Salamanca in 1554, the construction of this building did not begin until 1717, by Joaquín de Churriguera who directed the works until his death in 1724. In 1750 the works were resumed under the direction of Jerónimo García de Quiñones. He was forced to eliminate the baroque ornaments of the original project due to the neoclassicist ideas prevailing at that time, especially those that Francisco Ibáñez de Corbera, rector of the school when it was consecrated in 1790, wanted to impose. During the War of Independence, the Goya canvases in the altarpieces disappeared. The facade has two bodies and is articulated by pilasters of giant order and topped with a balustrade. The decorative elements that adorn it are mostly of Renaissance inspiration. We notice in the decoration baroque mixtilinear elements around the main doorway, in the doors of the side towers and in the moldings that surround all the windows of the facade. Today it is the seat of the Casa de la Iglesia, an institution that houses the offices of the Diocese of Salamanca.” (Colegio de Calatrava, Wikipedia)

Santi Siro e Libera

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Santi Siro e Libera
Lungadige Rigaste Redentore
Verona, May 2025

“The church of Saints Siro and Libera is a Catholic place of worship located in the Veronetta district of Verona, within the archaeological site which includes the Roman theatre and the museum of the same name; it is part of the diocese of Verona. According to tradition, the first mass in the city of Verona was celebrated in an archway of the Roman theatre, and it was right above this archway that in 913 the church dedicated to San Siro was built by Giovanni, bishop of Cremona and chancellor of the emperor Berengario; the same bishop donated the building to the nearby Benedictine monastery of Santa Maria in Organo in 922. Towards the beginning of the 14th century the dedication to "Santa Libera" was added, in reference to Liberata of Como, however the reasons which led to this double title are unknown. In the same century the building was transformed in Gothic style, but from this construction phase only the entrance portal and the hanging porch which protects it remain, together with the frescoes which adorn it.” (Chiesa dei Santi Siro e Libera, Wikipedia)

Los Cuatro Postes

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Los Cuatro Postes
Calle Cuatro Postes
Ávila, September 2025

“On the left bank of the Adaja River, overlooking the city from the west, stands the San Sebastián shrine (a small chapel on the outskirts of town), popularly known as Los Cuatro Postes (The Four Posts). The complex consists of four monolithic Doric columns joined by an architrave bearing the city's coat of arms, with a granite cross in the center. It was built in 1566, and some authors maintain that it was erected where a small temple would have stood in Roman times. Others claim it was built to commemorate the place where Francisco de Cepeda, Teresa de Jesús's uncle, found the saint and her brother Rodrigo when they fled to suffer martyrdom in Moorish lands. The place offers a unique vantage point over the walled city, especially at dusk, when day gives way to night and the wall is artificially illuminated.” (Los Cuatro Postes, ÁvilaTurismo)

Main chapel

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Main chapel
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“The altar, from 1667–69, is the work of inlayers in precious stones, the Florentine Corbarelli, who also built the small temple above the altar in 1670–71. The grandiose complex stands isolated on three steps, adorned with inlays and geometric and floral motifs. The small temple rises from a base decorated with cherubim and consists of two orders of red marble Corinthian columns. The dome is topped by an image of the Redeemer. On the lower tabernacle door is painted the Resurrection; on the rear tabernacle door, the Christ dead with the Sorrowful Virgin, Saint John the Evangelist, and the Eternal Father to whom an angel offers the chalice. Flanking the doors are cornucopias. The apse’s stained glass windows, from Munich, date to the late 19th century. Every surface of the altar is adorned with polychrome inlays of precious marbles, lapis lazuli, corals, carnelians, and mother-of-pearl. The frames feature small animals, flowers, cherubs, objects related to the Passion, as well as houses, cottages, churches, and small landscapes.” (Santa Corona, Wikipedia)

Los Molinillos by Ángel Cañizares

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Los Molinillos by Ángel Cañizares
Avenida Antonio Machado
Benalmádena, March 2025

“This roundabout is located at the junction of Avenida Antonio Machado and Avenida Federico García Lorca. A crossroads of poets in front of Santa Ana beach, a few metres from the Roman site of Los Molinillos, it is decorated by a series of masts similar to those of a sailing ship with coloured windmills that move in the wind. Clearly playful in tone, this sculptural ensemble was designed by Ángel Cañizares, architect and film set designer of unforgettable films by Samuel Bronston, such as ‘55 Days at Peking’ ‘Papillon’, ‘Doctor Zhivago’, among others.” (Rotonda de los Molinillos, Benalmádena Turismo)

Ponte di Ferro

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Ponte di Ferro
Via Patriarcato
Padua, May 2025

“You'll see an iron bridge in front of you, where a wooden bridge had previously stood since the 13th century. It was rebuilt in the 16th century, and in 1828, Italy's first suspension bridge with wire ropes was inaugurated. Unfortunately, this bridge was little used and left to decay, although the current bridge, a pedestrian walkway, still has its charm. With its street lamps at the entrances and its Art Nouveau arch, this wrought iron bridge, built in 1881, reminds me a bit of a famous bridge in Dublin, a splendid wrought iron bridge, the Ha'Penny Bridge.” (Una passeggiata nella ‘vecchia Padova’ lungo i canali e sotto ai ‘porteghi’, Blog di Padova)

Templo Nacional de Santa Teresa de Jesús

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Templo Nacional de Santa Teresa de Jesús
Plaza de España, Moncloa - Aravaca
Madrid, September 2025

“The National Temple of Saint Teresa of Jesus is a Catholic temple located in the Plaza de España in Madrid and belonging to the Carmelite order. With the name National Temple of Saint Teresa of Jesus and Convent of the Discalced Carmelite Fathers it was declared an asset of cultural interest on December 20, 1995. From 1965 to 2015 it was the headquarters of the Parish of Saint Teresa and Saint Joseph, for which the temple is also known by that name.” (Templo Nacional de Santa Teresa de Jesús y Convento de los Padres Carmelitas Descalzos, Wikipedia)

Palazzina Indiano

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Palazzina Indiano
Piazzale dell'Indiano
Parco delle Cascine (Cascine Park)
Florence, January 2025

“The Palazzina Indiano (sometimes also called the Palazzina dell'Indiano or Palazzina ex Indiano) is a historic stone building located downstream, in the western area of the Cascine park in Florence. It was built in 1872 as a public café near the confluence of the Arno and the Mugnone rivers and close to the pedestrian bridge that crosses the latter. It takes its name from the fact that the ashes of the Indian prince Rajaram Chuttraputti were scattered here in 1870, in whose honour a funerary monument was also built.” (Palazzina Indiano, Wikipedia)

Santos Justo y Pastor

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Iglesia de los Santos Justo y Pastor
Plaza de San Justo
Segovia, September 2025

“The church of Saints Justo and Pastor is a Catholic church located in Segovia, Spain, near the Plaza del Azoguejo, on the other side of the aqueduct. It is a Romanesque church built in the 12th century on the remains of a hermitage that was originally dedicated to the Christ of the Gascons. Its Romanesque paintings are significant. The temple, located in the Plaza de San Justo, is built of masonry. It displays typical Romanesque architectural elements. It has one of the most outstanding towers in Segovia, in which there are openings with columns and two doorways, one of them closed to the outside and only visible from the inside, and the other polychrome and belonging to the late Romanesque.” (Iglesia de los Santos Justo y Pastor, Wikipedia)

Palazzetto Fontana al Teatro Romano

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Palazzetto Fontana al Teatro Romano
Lungadige Rigaste Redentore
Verona, May 2025

“The entrance to the archaeological area and the museum is through Palazzo Fontana, a Renaissance building which has incorporated significant remains of the stage building of the ancient Roman theatre of Verona, which are still easily observable and distinguishable today. The building, so called after the name of the family who lived there in the eighteenth century and who conducted the archaeological excavations of the theatre, has on the ground floor the ticket office and an introductory room to the archaeological site, while on the upper floors there are some classrooms for laboratory activities, intended in particular for the use of school groups.” (Museo archeologico al teatro romano, Wikipedia)

Palacio de San Boal

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Escuela de Bellas Artes San Eloy
Palacio de San Boal
Plaza de San Boal
Salamanca, September 2025

“The Palacio de San Boal is a building in the Spanish city of Salamanca, constructed in 1470, along with the Arias Corvelle Palace, forming a single palace. They were later separated by the Marquis of Almarza. The silkscreen decoration of the façade dates back to the 17th century. In 1906, it was purchased from Enrique de Aguilera y Gamboa. It housed the San Eloy School of Arts and Crafts and the Salamanca Music Conservatory. The school was founded in the late 18th century by the Salamanca silversmiths' guild and has belonged to the Caja Duero Social Work since 1947. The building currently houses the Caja Duero Foundation, as well as the Youth Chamber Orchestra and the Children's Choir, which are affiliated with the foundation. The San Eloy Exhibition Hall is located on the ground floor, and the San Eloy Library, which specializes in art, is located on the first floor.” (Palacio de San Boal, Wikipedia)

Thiene Chapel

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Thiene or Saints Peter and Paul Chapel
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“The chapel concludes the right nave, retaining its original 13th-century rectangular plan. Originally in late Gothic style, it was called the golden chapel for its walls painted with saints ‘mixed with gold’ and a blue ceiling studded with stars, illuminated by a large golden ray. It was granted in 1390 to the knight Giovanni Thiene, who was buried in 1415 in the sarcophagus he had prepared, located on the left wall, adorned with three later marble statues. On the right wall is the sarcophagus of the knight Marco Thiene, Giovanni’s great-uncle, decorated with an image of the Madonna and Child. The two sarcophagi are among the most significant works of Venetian sculpture from the late 14th to early 15th centuries. The deceased are depicted lying with hands clasped, fully dressed in armor with a sword at their side; at their feet lies a dog, a symbol of loyalty. The sarcophagi feature bas-relief images of helmets and crests on the front. Above the sarcophagi are two flamboyant Gothic lunettes, frescoed inside. In the frescoes, the two knights are depicted symmetrically, kneeling, presented by a saint to the Madonna enthroned with the Child, accompanied by other saints, likely works by the Lombard painter Michelino da Besozzo. The entire chapel was renovated in the early 18th century due to its poor condition, redecorated in the Rococo style under the supervision of Francesco Muttoni. A new altar was installed, featuring an altarpiece of the Madonna enthroned with the Child venerated by Saint Peter and Saint Paul, with Saint Paul visually recalling Pope Pius V, the proponent of the Holy League that led to the Battle of Lepanto, a work by Giambattista Pittoni.” (Santa Corona, Wikipedia)

Ermita de San Esteban

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Ermita de San Esteban
Travesía San Esteban
Ávila, September 2025

“Built in the mid-12th century, it is the only Romanesque church preserved within the city walls. Built in ‘caleña’ stone, it retains its original structure, including the powerful apse, the northern closure, and materials reused in the 16th century for its reconstruction. The doorway is organized around an archivolt decorated with four-petalled rosettes, a reinterpretation of the original, dismantled doorway. The apse is broken only by two small columns and the eaves corbels, with decoration influenced by Cantabrian Romanesque. Inside, and despite its small size, it has three naves, the lateral ones being very narrow strips, perhaps a later adaptation of a space conceived as a single one. One of its greatest assets is the capitals on which the vault of the chancel rests: their decoration of plant, animal and anthropomorphic motifs is in keeping with the purest Romanesque style. The pulpit staircase stands out inside, made from a single piece of granite and decorated with waves that demonstrate its Visigothic affiliation. Declared a National Monument in 1923.” (San Esteban, ÁvilaTurismo)

Palazzo Pisani de Lazara

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Palazzo Pisani de Lazara
Riviera San Benedetto
Padua, May 2025

“Palazzo Pisani de Lazara is a civil building in Padua. Built in 1783 as the first example of neoclassical architecture in the city; the design is by the architect Giannantonio Selva.” (Palazzo Pisani de Lazzara, Wikipedia)

Playa de Malapesquera

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Playa de Malapesquera
Avenida Juan Sebastián Elcano
Benalmádena, March 2025

“According to the old fishers in the area, this beach’s name comes from the lack of catch caught there. Today it’s Benalmádena’s largest and most popular beach thanks to its proximity to the town’s most iconic hotels. The beach at more than 700 metres long and an average width of 50 metres has the Puerto Marina and Santa Ana Beach surrounding it. It’s famous for its ideal swimming conditions, thanks to its clear waters and moderate swells. It also has facilities for a variety of sports. It’s the only beach in Benalmádena with a green area with palm trees and grass that are ideal for taking in the shade. Its centric location makes this beach one of the most beloved for both locals and visitors to Benalmádena alike.” (Malapesquera Beach, Visit Costa del Sol)

Pescaia delle Cascine

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Pescaia delle Cascine
Parco delle Cascine (Cascine Park)
Florence, January 2025

El Vecino Curioso

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El Vecino Curioso (The Curious Neighbor) by Salvador Fernández Oliva, 1999
Calle de la Almudena
Madrid, September 2025

“Madrid has almost 2,000 sculptures, some of which are predictably dedicated to former monarchs, military heroes, and other prominent public figures. Yet some of the more interesting statues are compelling precisely because of how ordinary they are. Look carefully and you'll find life-size depictions or anonymous Madrileños going about their business. ‘El Vecino Curioso’, or ‘The Curious Neighbor’, is a bronze of a middle-aged gentleman created by sculptor Salvador Fernández Oliva in 1999. He appears to be leaning on a railing and looking down at the archeological remains of Santa María de la Almudena, the first church to be built in Madrid. The statue is anchored directly to the sidewalk, without a base. Unfortunately, only a few remnants of the original church survived after it fell victim to the construction work on Calle de Bailén in 1868. What's left is visible through a protective glass case, into which this curious neighbor peers. The statue's underside is polished from the many times it has been touched. Some say this is out of habit, others think it brings good luck. The statue has spent several decades in the same place, practicing the national sport of pensioners: ‘watching the works’.” (The Curious Neighbor, Atlas Obscura)

Basilica di Santa Anastasia

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Basilica di Santa Anastasia
Piazza Santa Anastasia
Verona, May 2025

“The church of San Pietro da Verona in Santa Anastasia, better known as the basilica of Santa Anastasia, is an important Catholic place of worship that stands in the heart of the historic center of Verona; it is located at the end of the decumanus maximus of the city in Roman times, near the point where the wide meander of the Adige river is crossed by the Ponte Pietra, where the two main traffic routes of the city, road and river, gravitate. It is the largest, most solemn and representative church in Verona, a reflection of a lively moment in the city's life, when the expansion and consolidation of political and economic institutions allowed the community, in synergy with the Scaliger rule, the Dominican clergy and the Castelbarco family, to make a considerable financial effort to build this important temple, a symbol of their power. The church represented the most important Gothic period for Verona. In the years immediately following its construction, it became a point of reference on which the designs of several other religious buildings were based, especially thanks to some innovations that St. Anastasia introduced into the plan, with the development of a wide transept and the articulation of the apsidal area into four chapels on either side of the presbytery, where the high altar is located, to the wall structure entirely in brick and to the new type of bell tower. The façade is unfinished, except for a majestic Gothic mullioned doorway that leads to a large interior divided into three naves by monumental cylindrical columns. On either side of the two naves are a series of chapels and numerous altars, the most famous of which is the Fregoso altar by Danese Cattaneo, praised by Giorgio Vasari. In addition, it is possible to admire paintings and frescoes by famous masters of Veronese painting and beyond, such as Pisanello, Altichiero, Liberale da Verona, Stefano da Zevio, Nicolò Giolfino, Giovan Francesco Caroto, Felice Brusasorzi, Francesco Morone, Michele da Verona and Lorenzo Veneziano.” (Sant'Anastasia, Wikipedia)

Torre de Arias Dávila

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Torre de Arias Dávila
Plaza los Huertos
Segovia, September 2025

“On the corner of Calle Colón and Plaza de los Huertos. It is in perfect condition. Tower of an old palace. Belonging to the powerful Diego Arias Dávila, father of Bishop Juan. This family, years later, became Counts of Puñoenrostro. Its construction style is very characteristic: mixed walls alternating between sections of masonry partially bonded with lime, brick courses, and adobe covered with smooth plaster or decorated with light sgraffito. Of particular note is a magnificent crenellated continuous balcony with various loopholes and coats of arms. The geometric sgraffito of its exterior decoration shows the multitude of designs that this typically Segovian plaster can display. In addition to the impressive main tower, there was a smaller one on the west facade, built with brick and adobe, now truncated and blended into the modern facade. Its image survives in an 1850 painting by Valentín Carderera.” (Torre de Arias Dávila, Fortificaciones de España)

Chapel of Our Lady of the Rosary

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Chapel of Our Lady of the Rosary
Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“As a thanksgiving for the victory at the Battle of Lepanto, to which Vicenza contributed two ships, the Confraternity of the Rosary erected this large chapel—the fourth on the right—completed in 1619, on the site previously occupied by two smaller 15th-century chapels of the Nievo and Monza families. To add height and integrate the chapel with the church, the right nave’s vault was demolished and replaced with a higher ceiling with a grand scenic effect; the imposing entrance arch to the nave is echoed inside. Ten years later, a majestic altar of light and gray marble was erected, featuring polychrome statues of Saint Thomas and Saint Catherine of Siena—the patrons of the two previous chapels—flanking the Virgin of the Rosario, from whose starry crown rays of light emanate throughout the niche. In the intrados of the niche, fifteen painted octagons depict the Mysteries of the Rosary. Above the archivolt, three cherubs symbolize the Virginity of Merciful Mary (with the attribute of a cedar), Divine Grace (with a cornucopia), and Prudence (with a mirror and serpent). The two statues on the entablature are allegories of Meekness (holding a lamb) and Temperance (flanked by a camel). Above the attic, three putti symbolize Purity (with a dove), the Holy Spirit (a dove resting with spread wings on its head), and Providence (with a rudder).” (Santa Corona, Wikipedia)

Convento de la Anunciación

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Convento de la Anunciación (Las Úrsulas)
Calle de las Úrsulas
Salamanca, September 2025

“The Convent of the Annunciation, better known as Las Úrsulas, is a Franciscan convent located in the city of Salamanca, on the Paseo de las Úrsulas. Located in the lower choir of the church is a small but interesting museum. The convent of Santa Úrsula was founded by Sancha Maldonado between 1460 and 1470, the erection of the monastery being confirmed by papal bull granted by Sixtus IV in 1480. The convent was intended for the Sisters of the Third Order of Saint Francis. The original building is not the one that has survived to this day, although it is known to have been small. Through the aforementioned papal bull, its name was changed from Saint Ursula to the Annunciation of Saint Mary. The need to expand the building soon arose, with the patronage of Alonso II de Fonseca , Archbishop of Santiago and later Patriarch of Alexandria, and nephew of the founder, who intended to establish his funeral chapel in the convent.” (Convento de la Anunciación, Wikipedia)

Ponte Sant'Agostino

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Ponte Sant'Agostino
Via San Tommaso
Padua, May 2025

“Ponte Sant'Agostino is one of the bridges that populate the city of Padua. This natural bridge, a continuation of Via San Tommaso, takes its name from the Church of Sant'Agostino, demolished in 1818. The ancient church had three naves. From the bridge you can enjoy a beautiful view of the Venetian city and admire one of its symbols: the Torre della Specola.” (Ponte Sant' Agostino, Italia Virtual Tour)

Iglesia-convento de Santa Teresa

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Iglesia-convento de Santa Teresa
Statue of Santa Teresa by Óscar Alvariño, 2016
Plaza de la Santa
Ávila, September 2025

“The Iglesia-convento de Santa Teresa is a church and convent located in Ávila, Spain. It was built by the Order of Discalced Carmelites, as outlined by friar Alonso de San José, in the Carmelite style in the first third of the 17th century, supposedly on the site where Saint Teresa of Ávila was born. The central rectangle is divided in four bodies with a triangular pediment with a circle in the middle. The lowest part contains a statue of Saint Teresa. The part below the pediment shows a large coat-of-arms. The entrance consists of three rounded arches, the middle one flanked by pilasters. The interior of the church was built in the style of the Valladolid classicism. It consists of a nave and two lateral aisles, with a transept and a cupola above the crossing. The Chapel of Birth, alongside the presbytery, coincides with place where Teresa was born.” (Iglesia-convento de Santa Teresa, Wikipedia)

San Tomaso Cantuariense

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Church of San Tomaso Cantuariense
Stradone San Tomaso
Verona, May 2025

“The Church of San Tomaso Becket, better known as the Church of San Tomaso Cantuariense, is a Catholic place of worship located near the historic center of Verona, just across the Ponte Nuovo del Popolo. It is dedicated to the English saint Thomas Becket, who was murdered in 1170 because of his aversion to Henry II of England. During the Late Middle Ages there were two churches in the area: one, older, dedicated to Thomas Becket, the second dedicated to the Virgin Annunciate and next to which stood a Benedictine monastery. In the early 15th century, the Carmelites decided to proceed with the expansion of the second one, thus laying the foundation for the present building, which would take its name from the one of St. Thomas, which was torn down. According to an inscription on the facade, construction began around 1449, continuing, not without financial difficulties, until 1504, the year of its consecration. With the arrival of Napoleon the church was used as an infirmary for French troops, and in 1805 the convent was finally suppressed. Under subsequent Austrian rule the cloister was partially demolished and many of the former convent premises used as a military prison. It was necessary to wait for the annexation of Veneto to Italy before the church could be reopened for worship. The present building looks like a combination of traditional Veronese Romanesque and late Gothic. The exterior features an austere facade with a circular rose window and a wide portal, the latter, it is assumed, coming from another building. The interior has a single nave and the pavement consists of red and white squares with the exception of the chancel, while the ceiling is covered with wooden trusses. On the interior side walls of the nave are two burial monuments sculpted by Ugo Zannoni and eight altars set in Renaissance arches. Numerous works of art are preserved that were created by famous painters from Verona, including Paolo Farinati, Girolamo dai Libri, Alessandro Turchi, and Antonio Balestra.” (San Tomaso Becket, Wikipedia)

Torre Pimentel

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Torre Pimentel
Cuesta del Tajo
Torremolinos, March 2025

“The origin of the town’s name is found in the Torre de los Molinos (Tower of the Mills), later called Torre Pimentel after a soldier who helped Ferdinand and Isabella conquer Malaga at the end of the 15th century. The tower stands between calle San Miguel and Cuesta del Tajo, on the way to Bajondillo beach. The Torre Pimentel was built more than 700 years ago, around the year 1300, and its location in the higher part of an escarpment is no coincidence. It was designed as part of an extensive network of defensive towers erected by the Nasrids along the southern coast of the Iberian Peninsula. It was of vital importance to the Kingdom of Granada, which controlled the province of Malaga from the 13th to the 15th century. The Torre Pimentel is made of rammed earth. It is 12 metres high and has a solid base, two floors, windows and a large terrace from which Nasrid wardens watched for possible intrusions from the sea. You only have to close your eyes to imagine the guards looking out across the Mediterranean day and night.” (Torre Pimentel, Visit Torremolinos)

L'adorazione dei Magi

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‘L'adorazione dei Magi’ by Paolo Veronese
Chapel of St. Joseph, Santa Corona
Contrà Santa Corona
Vicenza, May 2025

“The chapel—the third on the right—was built in the last decade of the 18th century, after demolishing the wall where the urn containing the remains of the blessed Bartholomew of Breganze was embedded, now in the Holy Thorn Chapel. During the mid-19th century restorations, an altar with fluted columns and a triangular pediment, erected around 1570 by artists from the Pedemuro San Biagio workshop, was placed there, along with the Adoration of the Magi from the mature period of Paolo Veronese, a painting of exceptional quality and great evocative power that significantly influenced the Vicentine artistic environment, particularly the development of Francesco Maffei. The composition, with a vertical orientation, features a caravan in the lower register moving from the left, guiding the viewer’s gaze toward the Holy Family on the right, with the Madonna standing out for her beauty against a towering column. In the upper section, a metaphysical burst of light, a tangible sign of the Epiphany, contrasts with a dark sky streaked with blue. The light, as a protagonist, skillfully highlights the architectural structures and the rich garments of the figures.” (Santa Corona, Wikipedia)

Monument to Eloy Gonzalo

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Monument to Eloy Gonzalo by Aniceto Marinas, 1902
Plaza de Cascorro
Madrid, September 2025

“The Monument to Eloy Gonzalo is an instance of public art in Madrid, Spain. It is a monument dedicated to Eloy Gonzalo, the so-called Hero of Cascorro. Erected on the plaza de Cascorro, it consists of a bronze statue of the aforementioned Cuban War hero authored by Aniceto Marinas, put on a stone plinth. It is a monument dedicated to Eloy Gonzalo [es] a Spanish soldier in the Cuban War independence who, in September 1896 — during a siege by a party of about 2,500 Cuban mambises equipped with 70 mm battalion guns on a small regiment of Spanish soldiers garrisoned in the small village of Cascorro — reportedly volunteered to his superiors in a nearly suicidal mission to infiltrate the enemy lines and fire the hut used as a warehouse for the weaponry of the enemy. Reportedly equipped with a 10-liter gasoline can, a Mauser rifle, a torch and a rope (to tie himself allowing for the retrieval of his corpse in case he fell in action, as he was certain of) he succeeded against all odds, helping to demoralize the enemy until the lift of the siege by General Adolfo Jiménez Castellanos, only to die of dysentery in Matanzas in June 1897.” (Monument to Eloy Gonzalo, Wikipedia)

Borgo della Paglia

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Borgo della Paglia
Via della Paglia
Padua, May 2025

“Borgo della Paglia is a charming, narrow alleyway tucked away in the historic heart of Padua (Padova), Italy, evoking the city's Renaissance past. It's not a grand monument but a quiet slice of urban history, lined with ancient porticos, modest stone buildings, and glimpses of the Bacchiglione River. This spot is best known as the birthplace of one of Italy's most influential architects, Andrea Palladio (born Andrea di Pietro della Gondola in 1508), who lived here during his early childhood until around 1516, when his family relocated to Vicenza. A commemorative plaque marks his family's former home in nearby Via dei Rogati, part of the same neighborhood. The alley's moniker, meaning ‘Straw District’, stems from its practical origins: in medieval times, boats along the river unloaded bales of straw here to feed horses in the nearby stables of the Castello Carrarese (a 14th-century fortress). Over time, ‘paglia’ (straw) also took on a slang connotation of mockery or derision, perhaps alluding to the area's humble, working-class vibe—home to boatmen, millers, and artisans like Palladio's father, a miller.” (Borgo della Paglia, Grok)