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The origins of a temple on this site date to prehistory. The great Greek Temple of Athena was built in the 5th century BCE. The temple was a Doric edifice with six columns on the short sides and 14 on the long sides.<br/><br/> The present cathedral was constructed by Saint Bishop Zosimo of Syracuse in the 7th century. The battered Doric columns of the original temple were incorporated in the walls of the current church. The building was converted into a mosque in 878, then converted back when Norman Roger I of Sicily retook the city in 1085. The roof of the nave is of Norman origin, as well as the mosaics in the apses.<br/><br/> As part of the increased building activity after the 1693 Sicily earthquake, the cathedral was rebuilt and the façade redesigned by architect Andrea Palma in 1725–1753.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cathedral of Saint Mary of the Assumption was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower.<br/><br/> The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
The Cattedrale di Santa Maria del Fiore (Cathedral of Saint Mary of the Flowers) is the main church of Florence. Il Duomo di Firenze, as it is ordinarily called, was begun in 1296 in the Gothic style with the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi.<br/><br/> The exterior of the basilica is faced with polychrome marble panels in various shades of green and pink bordered by white and has an elaborate 19th-century Gothic Revival façade by Emilio De Fabris.<br/><br/> The cathedral complex, located in Piazza del Duomo, includes the Baptistery and Giotto's Campanile.
After Buddhists, Hindus (almost all of whom are Tamils) represent the largest religious group in Sri Lanka. Hinduism recognises literally dozens of deities, but the Lord Brahma is regarded as the supreme godhead.<br/><br/> Hinduism is a rather eclectic religion, or at least appears so to the non-Hindu. Thus the Buddha himself is readily incorporated within Hinduism as an incarnation of the great Hindu deity Vishnu. Like Buddhists, Hindus also seek to break the seemingly endless cycle of rebirth through attaining enlightenment. This can be achieved through meaningful worship, meditation, ascetic practices and selflessness.<br/><br/> Within Hinduism, guidance is provided by priests and gurus. In Sri Lanka the most important (and popular) Hindu deities are Skanda, the God of War, Vishnu, the Preserver of the Universe, Siva, the Creator-Destroyer, Ganpati, the God of Wisdom, Laksmi, the Bringer of Wealth, and Ganesh, the elephant-headed God.<br/><br/> Hindu gods appear in many Buddhist temples, just as the Buddha may appear in Hindu temples. The religions are distinct yet linked, as they have been for perhaps as long as two millennia.
Immediately west of the Royal Palace entrance gate, the rusty-red Jagannath Temple, built in 1653 by Mahendra Malla, enshrines a figure of the Chaturmurti Vishnu, the 'Four-Figured Vishnu'. This particular form of Vishnu is also called Jagannath, 'Lord of the World', and the etymological root of the English word 'juggernaut'.<br/><br/> The main shrine in the Jagannath Temple is accessible only to priests. The large struts under the roof are covered with erotic carvings. These carvings, which are fairly crudely executed, occupy the base of larger and more refined carvings representing gods and goddesses. The latter are dressed in regal finery, adorned with crowns and jewellery, and wear serene expressions on their faces.
Immediately west of the Royal Palace entrance gate, the rusty-red Jagannath Temple, built in 1653 by Mahendra Malla, enshrines a figure of the Chaturmurti Vishnu, the 'Four-Figured Vishnu'. This particular form of Vishnu is also called Jagannath, 'Lord of the World', and the etymological root of the English word 'juggernaut'.<br/><br/> The main shrine in the Jagannath Temple is accessible only to priests. The large struts under the roof are covered with erotic carvings. These carvings, which are fairly crudely executed, occupy the base of larger and more refined carvings representing gods and goddesses. The latter are dressed in regal finery, adorned with crowns and jewellery, and wear serene expressions on their faces.
Ctesiphon was the capital city of the Parthian and Sasanian Empires (247 BCE–224 CE and 224–651 CE respectively). It was one of the great cities of late ancient Mesopotamia. Its most conspicuous structure remaining today is the great archway of Ctesiphon.<br/><br/> It was situated on the eastern bank of the Tigris across from where the Greek city of Seleucia stood and northeast of ancient Babylon. Today, the remains of the city lie in Baghdad Governorate, Iraq, approximately 35 km (22 mi) south of the city of Baghdad.<br/><br/> Ctesiphon was the largest city in the world from 570 CE, until its fall in 637 CE, during the Muslim conquests.<br/><br/> The arched <i>iwan</i> hall at Taq Qasra, open on the facade side, was about 37 m high, 26 m across and 50 m long, the largest man-made, free standing vault constructed until modern times.
William (Wilhelm) Heine was the official artist of Commodore Matthew C. Perry's' Black Ships' expedition to Japan in 1853-54.<br/><br/> On returning to the United States, he produced a series of prints depicting the trip. This project employed the New York lithographic firm of Sarony, at that time probably the most skilled craftsmen in their profession in the United States.
Ctesiphon was the capital city of the Parthian and Sasanian Empires (247 BCE–224 CE and 224–651 CE respectively). It was one of the great cities of late ancient Mesopotamia. Its most conspicuous structure remaining today is the great archway of Ctesiphon.<br/><br/> It was situated on the eastern bank of the Tigris across from where the Greek city of Seleucia stood and northeast of ancient Babylon. Today, the remains of the city lie in Baghdad Governorate, Iraq, approximately 35 km (22 mi) south of the city of Baghdad.<br/><br/> Ctesiphon was the largest city in the world from 570 CE, until its fall in 637 CE, during the Muslim conquests.<br/><br/> The arched <i>iwan</i> hall at Taq Qasra, open on the facade side, was about 37 m high, 26 m across and 50 m long, the largest man-made, free standing vault constructed until modern times.
Ctesiphon was the capital city of the Parthian and Sasanian Empires (247 BCE–224 CE and 224–651 CE respectively). It was one of the great cities of late ancient Mesopotamia. Its most conspicuous structure remaining today is the great archway of Ctesiphon.<br/><br/> It was situated on the eastern bank of the Tigris across from where the Greek city of Seleucia stood and northeast of ancient Babylon. Today, the remains of the city lie in Baghdad Governorate, Iraq, approximately 35 km (22 mi) south of the city of Baghdad.<br/><br/> Ctesiphon was the largest city in the world from 570 CE, until its fall in 637 CE, during the Muslim conquests.<br/><br/> The arched <i>iwan</i> hall at Taq Qasra, open on the facade side, was about 37 m high, 26 m across and 50 m long, the largest man-made, free standing vault constructed until modern times.
Ctesiphon was the capital city of the Parthian and Sasanian Empires (247 BCE–224 CE and 224–651 CE respectively). It was one of the great cities of late ancient Mesopotamia. Its most conspicuous structure remaining today is the great archway of Ctesiphon.<br/><br/> It was situated on the eastern bank of the Tigris across from where the Greek city of Seleucia stood and northeast of ancient Babylon. Today, the remains of the city lie in Baghdad Governorate, Iraq, approximately 35 km (22 mi) south of the city of Baghdad.<br/><br/> Ctesiphon was the largest city in the world from 570 CE, until its fall in 637 CE, during the Muslim conquests.<br/><br/> The arched <i>iwan</i> hall at Taq Qasra, open on the facade side, was about 37 m high, 26 m across and 50 m long, the largest man-made, free standing vault constructed until modern times.
The Taj Mahal was built between 1632 and 1648 by Mughal emperor Shah Jahan (1592 - 1666) in memory of his third wife, Mumtaz Mahal.<br/><br/> The Taj Mahal incorporates and expands on design traditions of Persian architecture and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones, and buildings under his patronage reached new levels of refinement.
The Taj Mahal was built between 1632 and 1648 by Mughal emperor Shah Jahan (1592 - 1666) in memory of his third wife, Mumtaz Mahal.<br/><br/> The Taj Mahal incorporates and expands on design traditions of Persian architecture and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones, and buildings under his patronage reached new levels of refinement.
The Taj Mahal was built between 1632 and 1648 by Mughal emperor Shah Jahan (1592 - 1666) in memory of his third wife, Mumtaz Mahal.<br/><br/> The Taj Mahal incorporates and expands on design traditions of Persian architecture and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones, and buildings under his patronage reached new levels of refinement.
The Taj Mahal was built between 1632 and 1648 by Mughal emperor Shah Jahan (1592 - 1666) in memory of his third wife, Mumtaz Mahal.<br/><br/> The Taj Mahal incorporates and expands on design traditions of Persian architecture and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones, and buildings under his patronage reached new levels of refinement.
The Taj Mahal was built between 1632 and 1648 by Mughal emperor Shah Jahan (1592 - 1666) in memory of his third wife, Mumtaz Mahal.<br/><br/> The Taj Mahal incorporates and expands on design traditions of Persian architecture and earlier Mughal architecture. Specific inspiration came from successful Timurid and Mughal buildings including; the Gur-e Amir (the tomb of Timur, progenitor of the Mughal dynasty, in Samarkand), Humayun's Tomb, Itmad-Ud-Daulah's Tomb (sometimes called the Baby Taj), and Shah Jahan's own Jama Masjid in Delhi. While earlier Mughal buildings were primarily constructed of red sandstone, Shah Jahan promoted the use of white marble inlaid with semi-precious stones, and buildings under his patronage reached new levels of refinement.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
Palmyra was an ancient city in Syria. It was an important city in central Syria, located in an oasis 215 km northeast of Damascus and 180 km southwest of the Euphrates at Deir ez-Zor. It had long been a vital caravan city for travellers crossing the Syrian desert and was known as the Bride of the Desert.<br/><br/> The earliest documented reference to the city by its Semitic name Tadmor, Tadmur or Tudmur (which means 'the town that repels' in Amorite and 'the indomitable town' in Aramaic) is recorded in Babylonian tablets found in Mari.<br/><br/> The Temple of Bel is an ancient stone ruin located in Palmyra, Syria. The temple, consecrated to the Semitic god Bel, worshipped at Palmyra in triad with the lunar god Aglibol and the sun god Yarhibol, formed the center of religious life in Palmyra and was dedicated in 32 CE.
Wat Buppharam was originally constructed in 1497. In 1797 Chao (Prince) Kawila, a scion of the Tipchak dynasty, began his ritual circumambulation of Chiang Mai from this point. This ritual was required to formally re-occupy the city after two centuries of Burmese domination.<br/><br/> Chiang Mai is often called Thailand’s ‘Rose of the North’, and is the country’s second city and a popular tourist destination due primarily to its mountainous scenery, colourful ethnic hilltribes and their handicrafts.<br/><br/> Founded in 1296 by King Mengrai as the capital of his Lanna kingdom, Chiang Mai was later overrun by Burmese invaders in 1767. The city was then left abandoned between 1776 and 1791. Chiang Mai formally became part of Siam in 1774 by an agreement with local prince Chao Kavila, after the Siamese King Taksin helped drive out the Burmese. Chiang Mai then slowly grew in cultural, trading and economic importance.
Wat Saen Fang was originally constructed in the 14th century, but none of the structures visible today date from before the 19th century.<br/><br/> Chiang Mai is often called Thailand’s ‘Rose of the North’, and is the country’s second city and a popular tourist destination due primarily to its mountainous scenery, colourful ethnic hilltribes and their handicrafts.<br/><br/> Founded in 1296 by King Mengrai as the capital of his Lanna kingdom, Chiang Mai was later overrun by Burmese invaders in 1767. The city was then left abandoned between 1776 and 1791. Chiang Mai formally became part of Siam in 1774 by an agreement with local prince Chao Kavila, after the Siamese King Taksin helped drive out the Burmese. Chiang Mai then slowly grew in cultural, trading and economic importance.
Wat Saen Fang was originally constructed in the 14th century, but none of the structures visible today date from before the 19th century.<br/><br/> Chiang Mai is often called Thailand’s ‘Rose of the North’, and is the country’s second city and a popular tourist destination due primarily to its mountainous scenery, colourful ethnic hilltribes and their handicrafts.<br/><br/> Founded in 1296 by King Mengrai as the capital of his Lanna kingdom, Chiang Mai was later overrun by Burmese invaders in 1767. The city was then left abandoned between 1776 and 1791. Chiang Mai formally became part of Siam in 1774 by an agreement with local prince Chao Kavila, after the Siamese King Taksin helped drive out the Burmese. Chiang Mai then slowly grew in cultural, trading and economic importance.
Wat Lok Moli or ‘topknot of the world’ is thought to have been founded by King Ku Na, the 6th king of the Mangrai Dynasty (1263–1578), who ruled the Lan Na Kingdom from Chiang Mai between about 1367 and 1388. It was probably a royal temple, since the northern side of the city was a royal precinct at the time; certainly the sanctuary enjoyed a long and close association with the Mangrai rulers. According to a notice at the south entrance of the temple, King Ku Na invited a group of ten monks from Burma to come and live in Chiang Mai, providing Lok Moli as a residence for them.<br/><br/> The huge chedi that distinguishes Lok Moli was built in 1527, perhaps after the orders of the 11th Mangrai monarch, King Muang Kaeo (1495–1526), but apparently during the first year of the first reign of his younger brother, King Ket Chettharat (1526–1538).
Wat Buppharam was originally constructed in 1497. In 1797 Chao (Prince) Kawila, a scion of the Tipchak dynasty, began his ritual circumambulation of Chiang Mai from this point. This ritual was required to formally re-occupy the city after two centuries of Burmese domination.<br/><br/> Chiang Mai is often called Thailand’s ‘Rose of the North’, and is the country’s second city and a popular tourist destination due primarily to its mountainous scenery, colourful ethnic hilltribes and their handicrafts.<br/><br/> Founded in 1296 by King Mengrai as the capital of his Lanna kingdom, Chiang Mai was later overrun by Burmese invaders in 1767. The city was then left abandoned between 1776 and 1791. Chiang Mai formally became part of Siam in 1774 by an agreement with local prince Chao Kavila, after the Siamese King Taksin helped drive out the Burmese. Chiang Mai then slowly grew in cultural, trading and economic importance.
Wat Buppharam was originally constructed in 1497. In 1797 Chao (Prince) Kawila, a scion of the Tipchak dynasty, began his ritual circumambulation of Chiang Mai from this point. This ritual was required to formally re-occupy the city after two centuries of Burmese domination.<br/><br/> Chiang Mai is often called Thailand’s ‘Rose of the North’, and is the country’s second city and a popular tourist destination due primarily to its mountainous scenery, colourful ethnic hilltribes and their handicrafts.<br/><br/> Founded in 1296 by King Mengrai as the capital of his Lanna kingdom, Chiang Mai was later overrun by Burmese invaders in 1767. The city was then left abandoned between 1776 and 1791. Chiang Mai formally became part of Siam in 1774 by an agreement with local prince Chao Kavila, after the Siamese King Taksin helped drive out the Burmese. Chiang Mai then slowly grew in cultural, trading and economic importance.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Ulugh Beg Madrasah has its imposing portal with lancet arch facing the square. The corners are flanked by the high well-proportioned minarets. The mosaic panel over the entrance arch is decorated by geometrical stylized ornaments. The square-shaped courtyard includes a mosque, lecture rooms and is fringed by the dormitory cells in which students lived. There are deep galleries along the axes.<br/><br/> Originally the Ulugh Beg Madrasah was a two-storied building with four domed darskhonas (lecture room) at the corners. The madrasah was one of the best clergy universities in the Moslem Orient of the 15th century. Abdurakhman Djami, a prominent poet, scientist and philosopher studied here. Ulugh Beg himself gave lectures here. During Ulugh Beg's government the madrasah was a centre of secular science.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Ulugh Beg Madrasah has its imposing portal with lancet arch facing the square. The corners are flanked by the high well-proportioned minarets. The mosaic panel over the entrance arch is decorated by geometrical stylized ornaments. The square-shaped courtyard includes a mosque, lecture rooms and is fringed by the dormitory cells in which students lived. There are deep galleries along the axes.<br/><br/> Originally the Ulugh Beg Madrasah was a two-storied building with four domed darskhonas (lecture room) at the corners. The madrasah was one of the best clergy universities in the Moslem Orient of the 15th century. Abdurakhman Djami, a prominent poet, scientist and philosopher studied here. Ulugh Beg himself gave lectures here. During Ulugh Beg's government the madrasah was a centre of secular science.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The Registan contains three madrasahs (schools), the Ulugh Beg Madrasah (1417–1420), Tilya-Kori Madrasah (1646–1660) and the Sher-Dor Madrasah (1619–1636).<br/><br/> The Tilya-Kori Madrasah was built in the mid-17th century by the Shaybanid Amir Yalangtush. The name Tilya-Kori means ‘gilded’ or ‘gold-covered’, and the entire building is lavishly decorated with elaborate geometrical arabesques and sura from the Qur’an both outside and especially within. A magnificent turquoise dome rises over the left (western) side of the building, decorated inside with gilded Qur’anic inscriptions and delicate muqarnas hanging ‘stalactite’ decorations. The interior of the madrasah comprises rooms for students with accompanying vestibules surrounding three-sides of a square courtyard, while a domed mosque occupies the fourth.<br/><br/> The dome rises in four stages. A rectangular plinth forms the primary prayer hall and rises above the madrasa walls. Next, two terraced octagonal tiers rise to support a high cylindrical drum. The dome's monochrome blue color contrasts pleasingly with the drum's polychrome decoration formed by bands of Arabic calligraphy taken from the Qur’an.
The earliest historical record of the Paoay area dates back to 1593, becoming an Augustinian independent parish in 1686. Building of the present church was started in 1694 by Augustinian friar Father Antonio Estavillo, and it was completed in 1710. The church is famous for its distinct architecture highlighted by the enormous buttresses on the sides and back of the building.
The earliest historical record of the Paoay area dates back to 1593, becoming an Augustinian independent parish in 1686. Building of the present church was started in 1694 by Augustinian friar Father Antonio Estavillo, and it was completed in 1710. The church is famous for its distinct architecture highlighted by the enormous buttresses on the sides and back of the building.
The earliest historical record of the Paoay area dates back to 1593, becoming an Augustinian independent parish in 1686. Building of the present church was started in 1694 by Augustinian friar Father Antonio Estavillo, and it was completed in 1710. The church is famous for its distinct architecture highlighted by the enormous buttresses on the sides and back of the building.
St. William Cathedral, also known as Laoag Cathedral, was originally built in 1612 by Augustinian friars to replace a wooden chapel. It is known for its Italian Renaissance design and its Sinking Bell Tower, which sinks into the ground at a rate of an inch a year.<br/><br/> Laoag (Ilocano for 'light or clarity'), is an old, flourishing settlement known to Chinese and Japanese traders when the Spanish conquistador Juan de Salcedo arrived at the northern banks of Padsan River in 1572. Augustinian missionaries established the Roman Catholic Church in the area in 1580 and designated Saint William, the Hermit as its patron saint.