Royal Casino of Murcia is a jewel of eclecticism located in the heart of the historical centre Murcia. It is a unique building from an architectural point of view, located in an emblematic place in the capital, Trapería Street, of which it is a hallmark. Its construction began in 1847. The building is a mixture of different artistic currents that coexisted in the second half of the 19th and early 20th century in Spain and was declared a national historical-artistic monument in 1983.
Through the entrance door and a small neo-Baroque lobby, you access the Arabiam Courtyard, whose spectacular neonazari style decoration required more than 20,000 sheets of gold leaf.
It is also worth noting the library, in which stands out its upper grandstand of carved woods, supported by casting brackets depicting flamingos and the adjoining ladies’ room that is decorated with female allegories of the goddess Selene painted on the ceiling.
The Ballroom is perhaps the best known and most splendid witness if the social life of Murcia for more than a century
It's neo-Baroque in style. The valuable paintings that embellish it - four midwives in the clouds - represent Music, Sculpture, Painting and Architecture. Four medallions represent the illustrious children of Murcia: Romea, Salzillo, Floridablanca and Villacís.
It is also worth noting the billiard room, and two meeting rooms with huge windows to the Trapería Street which the Murcians, with the fine humor that characterizes them, nicknamed las Peceras (fishbowls).
References:The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.