Church of Falperra, near Bom Jesus do Monte, Braga, Portugal. By André Soares, 1753-1755
In response to the vertical impulses produced by the altar, light descends through the gothic vaults featuring arches and tracery boldly perforated by Narciso Tomé to favour the mystical encounter between the angels and saints in an exaltation of the Eucharist. By Narciso Tomé (1721-1731). Toledo, Spain.
Still life by Luis Meléndez, 1722. Museo del Prado, Madrid, Spain.
The façade of the Romanesque cathedral of Santiago de Compostela, with its baroque appearance and lavish ornament surrounding the statue of Santiago Matamoros, the holy conqueror of the Moors set in the largest niche between the two towers. By Fernado Casas y Novoa from 1738 onwards. Santiago de Compostela, Spain.
This saint, chosen from those around the Sacrarium of the Cartuja in Granada, personifies the intensity of mystic transport. Granada (1704-1720), Spain.
This detail of the 'trasperencia' in Toledo Cathedral with its countless angels is an example of exaggerated Spanish baroque By Narciso Tomé, 1721. Toledo Cathedral, Spain.
Two caryatids in informal pose bear the ceiling of the Queluz auditorium. Secular baroque endowed with delicate splendour in proportionate spaces.
The famous staircases at Bom Jesus do Monte (1723-1837), on Mount Espinho, near Braga, constitute the Calvary of a pilgrim church devoted to the Holy Cross. The stations of this spiritual Golgotha lead up to the church terminated in 1811 by Cruz Amarante, substituting the original, circular sanctuary. Braga, Portugal.
Detail of the 'talha' – or niche housing the monstrance – in the São Pedro de Obidos church in Portugal. The gilt wooden elements of this altar survived the earthquake of 1755. The kneeling angel combines elegant dynamism with well-structured drapes. Obidos, Portugal.
On the bank of the Ebro river, the Cathedral of Our Lady of El Pilar with its characteristic series of domes and its four, minaret-like, angular towers. By Francisco Herrera el Mozo (1680). Saragossa, Spain.
Contemporary of the Clerecía in Salamanca, this still life with thistles is depicted with the virtually clinical realism typical of 12th-century Spain. By Felipe Ramírez (1628). Museo del Prado, Madrid, Spain.
The dome of the Clerecía in Salamanca, an early example of the architect’s interest in Italianism. Designed at the same time as the Crescenzi mausoleum in El Escorial. By Juan Gómez de Mora (1617). Salamanca, Spain.
This detail of the famous portrait of Queen Mariana of Austria, shows the wife of Philip IV in her most sumptuous attire By Diego Velázquez (1652). Museo del Prado, Madrid, Spain.