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The Contarelli Chapel in the Church of San Luigi dei Francesi in Rome, famous for its three paintings by Caravaggio. 
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The Contarelli Chapel in the Church of San Luigi dei Francesi in Rome, famous for its three paintings by Caravaggio.

Three paintings, commissioned by Cardinal Mathieu Cointrel in 1599, depict scenes from the life of St. Matthew: The Calling of St Matthew, The Inspiration of Saint Matthew and The Martyrdom of Saint Matthew.
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Caravaggio of San Luigi dei FrancesiCaravaggio of San Luigi dei FrancesiCaravaggio of San Luigi dei Francesi
Inside the church of San Luigi dei Francesi in Rome, famous for its three paintings by Caravaggio. 
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Inside the church of San Luigi dei Francesi in Rome, famous for its three paintings by Caravaggio.

Th efresco on the ceiling is Death and Apotheosis of Saint Louis by Charles-Joseph Natoire (1754-56).
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San Luigi dei Francesi, Rome
Inside the church of Sant'Ivo alla Sapienza in Rome, a Baroque masterpiece built in 1642-1660 by Francesco Borromini. 
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Inside the church of Sant'Ivo alla Sapienza in Rome, a Baroque masterpiece built in 1642-1660 by Francesco Borromini.

"The church started out, around the 14th century, as a chapel of the palace of the University of Rome. The University is called La Sapienza, and the church is devoted to St. Yves (patron saint of jurists), giving the church its name. Borromini was forced to adapt his design to the already existing palace. He chose a plan resembling a star of David, and merged the facade of the church with the courtyard of the palace. The dome, with its corkscrew lantern, is remarkable in its novelty. The complex rhythms of the interior have a dazzling geometry. It is a rational architecture - intricate to view, but on paper the overlap of a circle on two superimposed equilateral triangles creates a basis for a hexagonal array of chapels and altar in a centralized church. The undulations, both concave and convex of the interiors, create a jarring yet stunning appeal. The decoration is a mixture of novel organic (six-winged cherubic heads) and geometric (stars), more platonic than the contemporary gilded and plaster excesses of Gianlorenzo Bernini. Rising along the base of three of the dome’s pillars are the symbol of the papal Chigi family, the "six mountain beneath a star". The main artwork of the interior is the altarpiece by Pietro da Cortona, portraying St. Yves." (Churches of Rome Wiki, CC-BY-SA).
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Sant'Ivo alla Sapienza, RomeSant'Ivo alla Sapienza, RomeSant'Ivo alla Sapienza, RomeSant'Ivo alla Sapienza, RomeSant'Ivo alla Sapienza, RomeSant'Ivo alla Sapienza, RomeSant'Ivo alla Sapienza, RomeRome from the Gianicolo Hill: Pantheon on the right and the dome of Sant'Ivo alla Sapienza on the left
Inside the church of Sant'Eustachio in Rome. 
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Inside the church of Sant'Eustachio in Rome.

"The church was founded in the 8th century, or possibly even earlier. The church was recorded as a diaconia (a centre for helping the poor and the sick) at the end of the pontificate of Pope Gregory II (715-731). It is mentioned in some documents dating from the 10th and 11th centuries, where this church is called in platana (between the plane trees) referring to the tree planted in the garden of the martyr Eustace. The emperor Constantine I had previously built an oratory on this same spot. This church was called "ad Pantheon in regione nona e iuxta templum Agrippae" (at the Pantheon in the ninth region and next to the temple of Agrippa").

The church was restored (including the addition of a new campanile). at the end of the 12th century during the pontificate of Pope Celestine III (1191–1198), who also deposited the relics of the martyr in the church. In the 16th century, it was a favoured praying-place for St Philip Neri. In the 17th and 18th centuries it was almost completely rebuilt (with only the campanile remaining from the old structure) by several architects : Cesare Corvara and Giovanni Battista Contini (1641–1723), who added chapels and the portico, Antonio Canevari (1681–1750), Nicola Salvi (1697–1751) and finally, from 1728, Giovanni Domenico Navone. The new high altar, in bronze and polychrome marble, was added by Nicola Salvi in 1739 and in 1749 Ferdinando Fuga put a baldachin over it. The choir and the sacristy were realized by Giovanni Moscati (but designed by Canevari). The church was designed in Roman Baroque style." (Text from Wikipedia).

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Sant'Eustachio, RomeNativity scene at Sant'Eustachio, Rome
The banks of the Tiber under the Ponte Sisto bridge in Rome. 
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The banks of the Tiber under the Ponte Sisto bridge in Rome.
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Thursday, Nov 2, 2017: On the walls of Palácio da Pena in Sintra, Portugal
Palácio da Pena
Czy to już jest koniec? :( (widz)
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