Portugal 114 | | 115 IGREJA of NOSSA SENHORA DO TERÇO CONVENTO DA MADRE DE DEUS Practical Information: Practical Information: Av

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PO RTUGAL Portugal 114 | | 115 IGREJA OF NOSSA SENHORA DO TERÇO CONVENTO DA MADRE DE DEUS Practical information: Practical information: Av. dos Combatentes da Grande Guerra 240/272, Rua da Madre de Deus, 4, 1900-312, Lisboa, Portugal 4750-267 Barcelos, Portugal 38.724671, -9.113816 41.533685, -8.618859 (+351) 218 100 340 (+351) 914 955 623 [email protected] www.museudoazulejo.gov.pt Opening times: Open daily from 10:00-12:00 and from 14:00-16:00 Opening times: Tuesday to Sunday from 10:00 to 18:00

he Convent of the Mother of God was commissioned in 1509 by the Queen Eleanor of Viseu. he primitive complex was modiied during the next centuries by several major remodelling campaigns: in the mid-16th century, John III commanded Dio- go de Torralva to design a larger church with a new choir. At the end of the next century, Pedro II ordered repair the building and started decorative work. he 1755 Lisbon earthquake damaged the convent, especially the church, which was almost ruined. he king José inanced its rebuilt and restoration and commissioned new paintings. At the irst mid of the 19th century, the extinction of religious orders brou- ght signiicant changes to the building, which was adapted to a civil use, housing from then the Ma- ria Pia Asylum. In 1910, the religious complex was classiied as a National Monument and put under the authority of the National Museum of Ancient Art. In 1958, some of the spaces were proposed for the installation of a new museum. Created in 1965 and independent from 1980, the Museu Nacional do Azulejo (National Tile Museum) occupies at present parts of the convent as the church, the chapels of Saint Anthony and Queen Leonor, and the choir.

© Joseolgon Noteworthy: he large blue and white panels of tiles he demolition of a convent in Monção to fortify the defences of the town made it necessary to raise a new building to that cover the walls of the main nave of the church house the nuns. hus, in 1707 the foundation stone of the Convent of São Bento was laid, being almost concluded in of the convent. In all of them are depicted scenes 1713. Despite the dissolution of the religious orders in 1834 and the nationalization of its properties, as a religious sis- (countryside and gallant themed on the north side © Alvesgaspar ters’ house, the convent remained used as such until 1842, when the last nun died. hen, the conventual dependencies and religious on the south side) that take place in natural landscapes and are framed by a border of acanthus scrolls. In were sold and, subsequently, mostly demolished. Of the whole complex, only the church of Nossa Senhora do Terço the lower part of some panels, naked putti and satyrs seem to hold the scenes above them. he panels, mostly painted has survived. At present, it continues to function as a place of worship. by Jan Van Oort, were placed there at the end of the 17th century, inanced by Luis Correia da Paz, deputy of the court of the Brazilian Board of Trade. Besides the church, the walls of the small cloister are also completely covered by tiles. Noteworthy: he monochrome igurative ceramic panels, made up of blue painted tiles on a white background, that Arranged in losange, and organized in groups of 4 creating a geometric pattern, square tiles with decorative designs in cover the interior walls of the church. he decorative program can be horizontally divided into three diferent parts yellow, blue and orange on a white background are interspersed with blue and white monochromes ones. bottom-up: in the lower are the panels with moralizing and maximum slogans in Latin and Portuguese; the central one presents scenes from the life of San Benito; and the tiles at the upper part, also with igurative scenes, stand out by the painted windows to contribute to the sensation of symmetry with the opposite side. As for the two ceramic panels located on the side walls of the main chapel, in they are represented two milestones at the beginning of the convent’s history: the foundation of the building and the entrance of the nuns on the day of its inauguration. he tiles located at the nave are attributed to António de Oliveira Bernardes, while the main chapel ceramic panels are signed by “P.M.P.”.

Practical information: Besides, in the platforms walls and the access corridors are depicted individually some igures and small elements of Cidade Universitária, 1600-192 Lisboa, Portugal “Le Metro” panel as well as the phrases: “I am not an Athenian or a Greek, but a citizen of the world” (Socrates) and “If 38.751921, -9.158632 I never died, and eternally seek and achieve the perfection of things!” (Cesario Verde), both in Portuguese. Both quo- (+351) 213 500 115 tes have been interpreted as the attitude towards the life of the artist Vieira da Silva. For last, it can be also highlighted [email protected] the abstract-style ceramic panels in the inal part of the platforms, depicting old neighborhoods of Lisbon, and several www.metrolisboa.pt/viajar/cidade-universitaria/ owls located next to big eyes which, according to some authors, symbolize the wisdom that is formalized in what the painter’s gaze registers and what her images show. Opening times: Open daily from 06:30 to 01:00

Cidade Universitária is a Lisbon metro station of the Yellow Line projected at the end of the 1980s. It was designed by the architect Jorge Sanchez and decorated with the artistic interventions of the Portuguese artist Maria Helena Vieira da Silva, which were transferred to tiles by the painter and ceramist Manuel Cargaleiro. he metro station was inaugurated on October 14th, 1988. © jaime.silva © Stefan Didam

Noteworthy: he most of plastic creation of this metro station derives from the large ceramic panel located in the entrance hall. he panel reproduces in tiles the original work “Le Metro” (1940) by the artist Vieira da Silva. It represents a group of anon- ymous people who took refuge in the Paris metro to escape the bombings of World War II. Among them stands out a gown wearing igure (identiied with Socrates by some authors, since in this station appear quotes of this philosopher), a igure with a dress of Renaissance aspect and a writer with what seems to be a typewriter. On the top let is placed the self-portrait of Vieira da Silva, in front of the one of Arpad Szenes, with whom she married in 1930. In addition to human igures, there are many small elements, including a bottle, two cups, a dog, a cat, capital letters, etc.; all structured in a qua- drangular mesh background, suggesting the no- tion of fragmentation. he panel is signed on the right side with the pseudonym “bicho” (bug), an

afectionate nickname of the artist. © Koshelyev 118 | | 119 MOSTEIRO OF SÃO VICENTE DE FORA MOSTEIRO DOS JERÓNIMOS Practical information: Practical information: Largo de São Vicente, 1100-572 Lisboa, Portugal Praça do Império, Lisboa 1400-206, Portugal 38.714850, -9.127640 38.697904, -9.206721 (+351) 218 810 500 (+351) 213 620 034 [email protected] [email protected] www.mosteirojeronimos.gov.pt Opening times: Open daily from 09:30 to 19:00 Opening times: Closed on January 1st and December 25th October to April from 10:00 to 17:30 May to September from 10:00 to 18:30

© Andrea Pravettoni he present building is a reconstruction of the Romanesque monastery of São Vicente de Fora, founded around 1147. King Philip II of Spain (Philip I of Portugal) ordered in the 16th century the rebuilt of the complex, in which project participated several architects in diferent stages. One of the irst buildings to be inished was the church of the monas- © xiquinhosilva tery, whose works began about 1585 and was completed ca. 1629, resulting in a single nave building with lateral cha- he construction of the Jerónimos Monastery of Belém began on January 6th, 1501, designed in the Manueline style pels, and a Mannerist façade attributed to Baltazar Álvares and lanked by two towers. In 1755, during the earthquake by Diogo de Boitaca, who was succeeded by Juan de Castilho. In 1550, Diogo de Torralva carried on the construction of Lisbon, it was damaged, losing the dome that topped the cruise. In 1834, ater the dissolution of the monasteries in of the monastery, continued from 1571 by Jérôme de Rouen until 1580, when it was stopped because of the union of Portugal, the religious complex was transformed into a palace for the archbishops of Lisbon. Some decades later, King Spain and Portugal. With the restoration of Portuguese Independence in 1640, the building became the burial place Ferdinand II of Portugal transformed the former refectory into a pantheon for the House of Braganza dynasty. In 1910, for the royal family. he monastery withstood the 1755 Lisbon earthquake without sufering much damage but from the monastery was listed as a National Monument. At present, it houses a museum dedicated to the sacred art. 1833, when the building was secularised by state decree, its condition began to deteriorate. Restoration works were undertaken ater 1860 and lasted until the mid-20th century. In 1983, the complex was designated as a World Heritage Noteworthy: he 103 cut-out ceramic panels painted in blue on a white background that decorate the cloisters of the Site by UNESCO. At the end of the 20th century, restoration works were carried out again. In 2007, the building was monastery. hey depict landscapes, gardens and bridges; maritime images; ighting between gentlemen; and scenes the scene of the signing of the Treaty of Lisbon, which established the basis for the reform of the European Union. based on the fables of La Fontaine as well as other pastoral, hunting and gallant, which are a relection of European court life. Each of them is framed by architectural elements and urn-vases on the sides, where angels are placed, as well Noteworthy: he 18th century polychrome ceramic panels placed at the refectory depicting biblical scenes in sepia-to- as Baroque motifs. he panels come from two diferent orders, the irst undertaken between 1735-1740 and the second ned over a blue and yellow background that imitates a marble baseboard. At the north-end wall can be seen the Mira- one ca. 1750. Although it was tried to maintain the same style, they can be distinguished from each other due to the cle of the Bread and Fish, from the New Testament, meanwhile at the sides are scenes from the life of Joseph in Egypt blue coloration, stronger in the panels of the second order, that also presents a greater rigidity of the design. from the Old Testament. All framed by a blue grotesque fringe with green vegetal motifs and one bouquet at each side.

Practical information: Also notable by its ceramics is the façade of the Casa do Fresco, coated in its lower half with tiles with hybrid igures, Largo de São Domingos de Benica 1, 1500-554 Lisboa human and marine. On its outside, the undulating benches are similarly decorated with ceramics depicting imaginary 38.740289, -9.180419 characters, hybrids of humans and animals, that perform diferent actions. Regarding to the interior of the palace, it (+351) 217 782 023 can be highlighted the eight large panels of the Battles Hall depicting battles fought by Spaniards and Portuguese du- [email protected] ring the War of Independence (1640-1668). Each one of these panels is surrounded by two rows of tiles with geometric www.fronteira-alorna.pt patterns and phytomorphic decorations in white on a blue background.

Opening times: Gardens: Monday to Friday from 9:30-13:00 / 14:00-17:00 Palace (by guided tour): Monday-Friday 10:00-12:00

© KotomiCreations he Palace of the Marquises of Fronteira was built in the 1670s as a summer residence and hunting lodge for João de Mascarenhas, the irst Marquis of Fronteira. he building has been restored several times since then, resulting in halls and rooms furbished with tile panels, frescoes and oil paintings from diferent centuries. On the outside, stand out elements such as the terrace with a balustrade, the staircase and the gardens, decorated with fountains. he complex was declared a National Monument in 1982. At present, it is a private property of the current Marquis of Fronteira, despite which some of its parts can be visited since 1989 through guided tours.

Noteworthy: he south wall of the Great Garden Pond. In the lower part, the blind arcade is coated by monochrome ceramic panels with individual representations of knights of the Mascarenhas family on rampant horses. In the upper part, there is the Gallery of the Kings, covered with blue tiles except the niches of the igures and a frieze at the top, that present relief tiles with red pine cones on a red background and blue ones on white background. © KotomiCreations 122 | | 123 ESTAÇÃO FERROVIÁRIA DE PORTO-SÃO BENTO Practical information: Praça Almeida Garrett, 4000-069 Porto, Portugal 41.145666, -8.610554 (+351) 707 210 220 www.cp.pt/passageiros/pt/consultar-horarios/estacoes/ porto-sao-bento

Opening times: Open daily from 6:40 to 24:00

Designed by José Marques da Silva, the São Bento railway station was built between the end of the 19th century and beginning of the 20th century on the site of the former Benedictine convent of São Bento da Avé Maria, a 16th century building that was badly deteriorated. Although the irst train arrived at the station in 1896, the building was not oi- cially open until 1916, when it was inaugurated. In the 1930s, the station was modernized to enable dual-track traic, in addition to carrying out partial repairs and modiications to the central pavilion. Although in 1991, due to the de- gradation of the facilities, renovation works were carried out, the station underwent an extensive reformation program ive years later, both to improve it as a terminal for suburban trains and to expand the building to include commercial areas. On October 5th, 2016, on the occasion of the commemoration of the centenary of the inauguration, a renovation © Ingolf © Joseolgon project of the building was presented.

Noteworthy: he tiled walls of the station entrance hall. On the north wall, there is a large tile panel depicting the Ba- ttle of Valdevez (1140) in blue on a white background. Below it, there is the meeting between the knight Egas Moniz and Alfonso VII of León in Toledo (12th century). On the south wall, a tile panel depicts the entrance to Porto of King John I and Philippa of Lancaster (1387); below that, the Conquest of Ceuta (1415). he east wall is divided into multi- ple compositions: a procession of Nossa Senhora dos Remédios, the pilgrimage of São Trocato to Guimarães, a cattle fair and a camp of pilgrim. In the middle, are represented four farming and work scenes: the vineyards, the harvest, the wine shipment and the work in the watermill. he west wall, with multiples doors and large windows, is decorated with smaller compositions, medallions with romantic scenes and allegories associated with the railway. Finally, covering the upper part of the four walls there is a polychrome tile frieze in which are depicted forms of transport framed by geometric motifs. he panels were composed and painted by Jorge Colaço and made at the Sacavém factory. he irst ones were placed on August 13th, 1905. he ceramics have been restored between 2010 and 2011. 124 | | 125 PALÁCIO DO MARQUÊS DE POMBAL IGREJA MATRIZ DE SÃO MARTINHO Practical information: Practical information: Largo Marquês Pombal 21, Oeiras, Portugal Largo 5 de Outubro 7A, 3100-440 Pombal, Portugal 38.6925028, -9.3168142 39.913809, -8.627652 (+351) 214 430 799 [email protected] Opening times: Open daily from 07:30 to 19:30 Opening times: Tuesdays to Sundays from 10:00 to 13:00 / 13:30 to 18:00

© Pedro Designed by the Hungarian architect Carlos Mardel and built in the second half of the 18th century following the Baro- que and Rococo styles, the palace was the oicial residence of Sebastián José de Carvalho y Melo, Count of Oeiras and he origins of the Church of São Martinho in Pombal date back to medieval times and although it was notably remo- Marquis of Pombal. he property consisted of the union of several farms connected together. Around the second half delled in 1520, little of those works is conserved due to the destruction sufered during the invasion of Portugal by the of the 20th century the property was sold, going through diferent hands until it was acquired by the Portuguese State, French troops in 1807. Aterward, the building required a new reconstruction, which took place in the irst quarter of which declared it a National Monument in 1953. Since 2004, the palace belongs to the City Council of Oeiras and it the 19th century, promoted by Jorge Coelho de Vasconcelos Botelho, Captain General of Pombal. Outside, the church was opened to the public in 2015, providing an outstanding example of the 18th century manor houses in Portugal. presents a simple architecture, with one nave and six lateral altars, while the interior is decorated in Baroque-style. At present, it is open to the public. Noteworthy: he exterior staircase, coated with panels painted in blue on a white background depicting personages and mythological scenes, such as he Fall of Icarus. Also on the exterior, the terrace presents rectangular panels with Noteworthy: he large panel of tiles pain- hunting and courtesans scenes in sepia or blue tones, framed with baroque borders and lowers in the corners. On the ted in blue on a white background that interior of the building, several rooms have tiled baseboards with courtesan scenes and landscapes in blue on a white adapts to the shape imposed by the archi- background. Other interior panels have a decoration based on motifs such as lowers, garlands, putti and grotesques. tecture of the arch. It represents the public oath of peace of king Denis I of Portugal and his son Don Alfonso IV, which took place in this church in 1323.

Practical information: Inside the palace, the walls of the Corredor das Mangas, the only room of that wing of the building that completely Largo do Palácio, 2745-191 Queluz, Portugal survived the 1934 ire, are coated by ceramics. In the lower part are placed panels in blue on a white background, most 38.750747, -9.259145 with hunting scenes framed on baroque edges. Above them, polychrome panels of larger dimensions represent the (+351) 219 237 300 four seasons, the four continents, mythological scenes and chinoiseries. While the lower panels are attributed to the [email protected] painter Manuel da Costa Rosado and dated by 1764, the upper tile panels, made in the Real Fábrica de Louça ao Rato in 1784, are attributed to Francisco Jorge de Costa. Opening times: Open daily from 09:00 to 19:00 Closed on January 1st and December 25th.

he Palace of Queluz was originally a country residence of Cristóbal de Mora, irst Marquis of Castelo Rodrigo. By the mid-18th century, Pedro of Braganza received the property and conceived it as a summer palace, promoting in 1747 a campaign of works to expand the complex following the architect Mateus Vicente de Oliveira directions. In 1758, three years ater the Lisbon earthquake, the works were undertaken again, with a new and more structurally stable design due to the fear of another natural catastrophe. In 1794, the destruction by ire of the Ajuda Palace caused that the Pa- lace of Queluz became the oicial residence of the prince John VI and his familiy until 1807, when they led to Brazil in because of the French invasion. During this period, the French General Junot made alterations to the building. In 1821, on the royal family’s return from exile, the Queen Carlotta Joaquina occupied Queluz with Princess Maria Fran- cisca Benedita; but only ive years later, the palace began to be abandoned by the royal family. In 1908, it became the property of the state. Several years ater the major ire of 1934 that destroyed a great part of its interior, the palace was extensively restored and refurbished. Since 1940, it is open to the public as a museum.

Noteworthy: Mostly of the architectonical elements of the palace gardens are coated with polychrome tile panels depicting natural landscapes, maritime and courtesan scenes and a wide range of Baroque decorative motifs.

Practical information: From the later centuries, are remarkable the panels that coat the walls of the Sala dos Brasões, depicting hunting and Largo Rainha Dona Amélia, 2710-616 Sintra, Portugal courtly scenes; and the Gruta dos Banhos, entirely covered by blue on white background tile panels that represent 38.797763, -9.390634 fountains, gardens and gallant scenes typical of that time. (+351) 219 237 300 [email protected]

Opening times: Open daily from 09:00 to 19:00 Closed on January 1st and December 25th.

he irst historical reference of this palace is from the 10th century. During the next centuries were undertaken works in it as the transformations promoted by King Manuel I between 1497-1530 in the Manueline style (a transitional Go- thic-Renaissance art style) as well as in Mudéjar style, relected in the ceramic tiles with geometric motifs. Damaged in the 1755 Lisbon earthquake, the building was restored following the contemporary standards. At the end of the 18th century, Queen Maria I redecorated and redivided the spaces of the ‘Ala Manuelina’. New decorations were added in 1863 and the palace was the summer residence of the Queen Maria Pia of Savoy. In 1910, with the foundation of the Republic, the building was classiied as a National Monument. hree decades later, it was restored by the architect Raul Lino, who tried to return the palace to its former magniicence by including antique furniture and restoring the original tile panels. At present, the Palace of Sintra is an outstanding historical and architectonical tourist attraction.

Noteworthy: From the 16th century, it can be mentioned the high baseboard of the Sala das Sereias, made up of square tiles in mixed technique (relief and cuerda seca) decorated with the motif of a green vine leaf surrounded by a brown tendril. hese tiles also appear at the D. Sebastião’s room, where the high ceramic baseboard is topped with a border of tiles trimmed with a corn cob in the shape of a leur de lis motif. Besides, in the molding of one of the windows of this room are placed tiles with the armillary sphere, the emblem of Manuel I (great-grandfather of Sebastião).

© KotomiCreations © Alvesgaspar 130 | QUINTA DAS CARRAFOUCHAS Practical information: Rua Fco. Franco Cannas, 2660-500 Santo Antão do Tojal 38.847550, -9.165735 (+351) 917 262 385 [email protected] www.quintadascarrafouchas.com

Opening times: Monday to Friday from 9:00 to 20:00 Saturdays and Sundays 9:00-12:00 / 18:00-20:00

Little is hardly known of the history of this country villa more than it was built in the irst quarter of the 18th century. In 1879, more than a century and a half later, Joaquim Franco Cannas, Marquis of Valada, purchased the property, which has remained in this family since then. he complex consists of three elements integrated: the residential house; the chapel, dedicated to the Virgin del Carmen and endowed with a small bell tower; and the courtyard, which is accessed by a wall decorated with coats of arms. he main building was designed in the typical way of this Portuguese area, with a frontal conception and a longitudinal façade in which is written the date 1714. Since 1954, the Quinta das Carrafouchas is a winery, considered one of the few in the Lisbon area that produces wine with local vines.

Noteworthy: he 18th century ceramics in Baroque style, painted in blue on a white background, decorating the courtyard, the small grotto and the chapel. In the back and side walls that surround the pond are open four large niches decorated with tiled panels that depict elegant allegorical female igures representing the Four Seasons, each one framed by tiles with Baroque motifs. Similarly is decorated the small grotto, located on the back wall of the pond and which walls are coated with large panels with gallant scenes in which the characters are placed on realistic architectural backgrounds and/or natural landscapes.

RUSSIA Р о с с и́ я 134 | | 135 METROPOL HOTEL

Practical information: In addition to this, other panels that can be seen on the façade are “the hirst”, “Worshipping a Deity”, “Worshipping Teatral’nyy Proyezd, 2, Moskva, Moskovskaya oblast’, Nature”, “the Bathing of the Naiads”, “Worshipping Old Times” and “Cleopatra”, all designed by Alexander Golovin. Russia, 109012 he creators of the 16 remaining small panels are not known. In addition to the tile panels, there is a ceramic frieze 55.758377, 37.621639 with the quotation “Another old truth: You notice that you have learned something ater building a house”, by German (+7) 495 432 65 49 philosopher Friedrich Nietzsche. [email protected] www.metropol-moscow.ru

Opening times: Open 24 hours a day, 7 days a week.

he Hotel Metropol is a historical hotel located in the center of Moscow. Built between 1899 and 1907 in Art Nouveau style, it is the largest extant Moscow hotel built before the Russian Revolution of 1917. he building was designed by © Digr © jaime.silva Walcot, Kekushev and Shukhov and several artists participated in its decoration, as Mikhail Vrubel, Alexander Golo- vin and Nikolai Andreev. In 1918, the Bolshevik administration nationalized the hotel, which was renamed “Second House of Soviets” and housed living quarters and oices of growing Soviet bureaucracy. In the 1930s, it was restored to its original hotel function. It went through a major restoration in 1986-1991 by Finnish companies as part of So- viet-Finnish bilateral trade. At present, the hotel has 365 rooms that vary in shape or decoration.

Noteworthy: he façade of the hotel present several ceramic panels depicting igurative scenes. It stands out, in particular, the big one in the gable, designed by Mikhail Vrubel and which composition is a copy of he Princess of Dreams (La Princesse Lointaine). he panel, painted in a dusky colour palette, depicts a well-known tale about the Provençal prince and troubadour Geofroy Rudel and his voyage to meet Princess Melisande, who li- ves far beyond the sea. In this case, is represented the (super- natural) encounter between the prince and the princess. © Andrey Korzun 136 | | 137 CHURCH OF THE SAVIOR ON BLOOD SAINT PETERSBURG MOSQUE Practical information: Practical information: Griboyedov channel embankment, 2Б, Sankt-Pe- Kronverkskiy Prospekt, 7, Sankt-Peterburg, Russia, 197046 terburg, Russia, 191186 59.955198, 30.323969 59.940003, 30.328739 (+7) 812 233 98 19 (+7) 812 315 16 36 [email protected] http://eng.cathedral.ru http://islam-spb.ru

Opening times: Opening times: hursday to Tuesday from 10:30 to 18:00 * Usually not open to tourists. To visit the mosque interior, contact previously with the mosque’s oice.

he church, which is placed where Alexander II (Emperor of Russia) was mortally hurt Saint Petersburg Mosque was de- by the bomb attack of an anar- signed by Nikolai Vasilyev. On chist in 1881, was funded by February 3rd, 1910, was laid its the Imperial family and priva- irst stone and, although the buil- te donors as a memorial to the ding was not inished until 1921, tsar. It was designed in eclectic it opened in 1913 as the largest style in 1883 by the architect mosque outside Turkey. In 1940, Parland and the archimandri- Soviet authorities closed the mos- te Ignati Mályshev. he buil- que to worshippers and it served ding was not completed until as a medical equipment storehou- 1907, a relatively long period se. In 1956, at the request of the since its beginning, due to the irst Indonesian President, Sukar- profuse exterior and interior no, the mosque was returned to decorations as well as the use the Muslim Religious commu- of innovative engineering and nity. In the 1980s, were carried architectural techniques at the out major restoration works in time, as the cement founda- the building. his temple is con- tions instead of the habitual sidered one of the most beautiful wooden ones. In the Russian mosques in the Russian country. Revolution, the church was ransacked and later closed Noteworthy: he great dome and by the Soviet government in both minarets completely covered 1932. During the World War with tiles, most of them glazed in II, it sufered again signiicant sky-light-blue colour. Similarly, damages, used as a temporary main and lateral entrances of the morgue for those who died in building are entirely coated with combat, from starvation or ill- mosaic work and glazed ceramics ness. Ater almost thirty years depicting vegetal, loral and geo-

of restoration works, it reope- metric motifs as well as several © Florstein ned in 1997. At present, it is a Arabic inscriptions, with a manifest predominance of the blue colour. Skilled cratsmen from Central Asia took part State Historical Museum. working on decoration the mosque. © kuhnmi Noteworthy: he church, with a red and brown brickwork structure, is covered on the outside by a variety of ceramic ornaments as glazed coloured bricks, ‘shirinka’ (polychrome tiles set in squared recesses), tiles covering the domes and mosaics. As for the interior of the building, walls and ceilings are completely covered in detailed large mosaics, most of them depicting biblical scenes or religious igures.

SERBIA Србија 140 | | 141 HOTEL MOSKVA

Practical information: Noteworthy: he green glazed ceramics at the exterior of the building. he roofs are covered with green ish scale-sha- Terazije 20, Beograd, Serbia ped lat roof tiles while the façade present green glazed ceramic panels, tiles and friezes in relief, on a white or green 44.813084, 20.460425 background. he motifs include vegetal decorations, garlands and grotesques. Among all these stands out, placed on (+381) 11 364 2069 the upper loor façade, stands out the ceramic relief known as “Gloriication of Russia”. Glazed in green as well, it de- [email protected] picts the image of Roman god Neptune, which symbolizes Imperial Russia’s will for maritime dominance. www.hotelmoskva.rs

Opening times: Open daily from 00:00 to 24:00

Designed by the architect Jovan Ilkić in Secession style, the construction of the Hotel Moskva began in 1906 and was inaugurated two years later, on January 16th, 1908, by the King of Serbia, Pedro I Karađorđević. In 1923, the Poštanska štedionica (Postal Savings Bank) took possession of the hotel, which was ceded to the National Bank of Yugoslavia in 1938. During the World War II, the building was the headquarters of the Gestapo, for what was renamed as “Velika Srbija” (the name of the inn that occupied the land on which the building was built) and transformed according to the new requirements. In 1944, in the German withdrawal, the hotel was looted, disappearing much of its paintings, decorative objects and silverware. In the post-war period, it became one of the places frequented by the cultural elite such as the Yugoslav writer Ivo Andrić, who won the Nobel Prize for Literature of 1961. Between 2009 and 2010, four years ater its re-privatization, the hotel underwent an extensive refurbishment. Protected by the government since 1968, the Hotel Moskva is one of the most important cultural monuments in Belgrade architecture. 142 | | 143 HOUSE OF VUK’S FOUNDATION RAICHLE PALACE Practical information: Practical information: Kralja Milana 2, Beograd, Serbia Đure Đakovića 9, Subotica 24000, Serbia 44.810991, 20.461855 46.101630, 19.668933 (+381) 24 553 725 * No information about how to contact [email protected] or opening hours is provided. https://sgsu.org.rs/

Opening times: Monday to Friday: 8:00-19:00 Saturdays: 9:00-13:00

Raichle Palace was designed in the early 20th century in Hungarian Secession style by Ferenc Raichle to serve as his home, including an oice at the ground loor for his own needs and a house for rent. Due to the high maintenance © Aktron costs and unpaid contracts, Raichle was soon in bankruptcy and he had to move out of the palace with his family House of Vuk’s Foundation was built in Academic Art style ca. 1870, on the plans of Bulgarski, who was commissioned only three years later. he mansion was then taken over by the bank, which sold the entire inventory in an auction. by the merchant Dimitrije Mita Golubović. At irst, the building was the head oice of the Russian Imperial Consulate, he building was bought by Tereza Hartmann, a factory owner, and later by Emil Schossberger. Ater World War II, then the Serbian Institute for War Orphans, and from 1879 it housed the Ministry of Education. Due to the growth of the ediice came under state ownership and it was given to the City Museum, which accommodated the rooms to its the ministry, there was a need to expand the building. During the World War I, it was used as the headquarters of the needs. Since 1970, the palace houses the Art Gallery “Likovni susret”. In 1973, the building was declared a Cultural Main Commissariat of Austro-Hungarian Army and as the Main Postal Administration. In 1941, ater the capitulation Monument of Great Importance and, between 2002-2005, took place extensive conservation and restoration work. of the Kingdom of Yugoslavia, the building closed, but it reopened when was founded the Department for German Noteworthy: he decoration of the façade. It com- Language Teaching, until October 1944. he build- bines ceramic elements in relief with colorful mo- ing was classiied as a Cultural Property in 1996, saics formed by tesserae in shades of yellow, ocher, and since 1979 it is declared a Cultural Property of blue and green. Decorative motifs include mostly Great Importance. In 1988, the building was assig- plants and heart-shaped glazed and colourful cera- ned to the Vuk’s Foundation. An extensive recons- mic ornaments. truction took place between 1997 and 1998. One of the last interventions was carried out in 2006, when the main façade was revitalized within the project “Lepša Srbija”.

Noteworthy: he ceramics on the façade, with in- terlaced decorations of lines and ribbons, as well as geometric and loral motifs. In addition, small busts are added, practically exempt, heraldic reliefs, and other terracotta elements. © Mickey Mystique © KovacsDaniel 144 | SUBOTICA SYNAGOGUE

Practical information: RS, 24000, Trg Jakaba i Komora, Subotica, Serbia 46.101359, 19.661456 (+381) 24 670 970 [email protected] www.josu.rs/nasa-sinagoga

Opening times: No information about opening hours is provided.

Subotica Synagogue, designed in 1901 in Hungarian Art Nouveau style according to the plans of the architects Komor and Jakab, is the second largest synagogue in Europe. In 1976, two years ater it was designated as Monument of Cultu- re, a series of interventions were carried out to protect the building. he last major restoration, in the irst decade of the 21st century, was inanced mainly by Hungarian and Serbian governments. he synagogue, classiied as a Monument of Culture of Exceptional Importance since 1990, re-opened to the public on March 2018.

Noteworthy: he ives domes and roofs of the synagogue, covered by scale-shaped glazed lat roof tiles, arranged in geometric patterns. In addition, it can also be noted ceramic reliefs with plant and loral motifs decorating the walls, especially at its upper parts.

S LOVENIA Slovenija 148 | | 149 STAVBO LJUDSKE POSOJILNICE (PEOPLE’S LOAN BANK) LITTLE BEE HOUSE Practical information: Practical information: Miklošič road 4, 1000 Ljubljana, Slovenia Gorenjska cesta 18, 4240 Radovljica, Slovenia 46.052551, 14.506411 46.343877, 14.171982 (+386) 4 537 16 00 * No information about how to contact [email protected] or opening hours is provided. Opening times: Monday and Tuesday from 08:00 to 15:00 Wednesdays from 07:00 to 17:00 Fridays from 08:00 to 13:00

© Ljuba Brank © Alois Staudacher Known popularly as Čebelica Hiša (meaning Little Bee House) because of the decoration on its main entrance, this Stavbo Ljudske Posojilnice is one of the Ljubljana Art Nouveau buildings that were constructed by local Slovenian capi- ediice was designed to 1900 in the Secession style by the Ljubljana municipal architect Ciril Metod Koch, who was tal at the time of strengthening economic power. Architect Josip Vancaš used in this building (and for the irst time in commissioned by Radovljica Loan Bank, a registered cooperative with limited liability. Conceived as a detached, his works) typical Art Nouveau motifs, as the plant tendrils with golden lowers in the balcony fences. he decoration three-storey and symmetrical building, with a low-pitched roof and deep eaves, it was opened as a lending centre on has its models in Vienna, where Vancaš was trained. At the top of the façade, there are two seated female igures ba- October 10th, 1906. In 1987, it was declared a cultural and historical monument of local importance. At present, it refoot and have bare shoulders. he let igure holds a hive, while the one at the right is holding a pouch. Both statues houses a local government oice. crown the building and represent wisdom, prosperity, prudence and diligence. At present, in addition to various shops on the ground loor, the building houses the Zadružna Zveza Slovenije (Cooperative Association of Slovenia). Noteworthy: he decoration of the main façade, mostly in tiles, is centered mainly on the space around the windows, the upper Noteworthy: he continuous frieze of blue plain square tiles placed at the lower part of the irst-loor façade. In addi- frieze and the entrance at the axis of the building. In this last, tion, over each window and balconies of that loor, there are situated three tiles of the same characteristics. are depicted two trees which crowns surround the lower part of the central window on the irst loor. he tree crowns, which are composed of green and blue-green leaves, like a mosaic, shows small white-yellow lowers. Immediately above the entrance is a beehive with bees around it, all in tiles, while on the tree crowns are more bees, these last in metal. he bees lying into the hive have been interpreted as the symbol of the debt, in allusion to the original use of the building.