San Juan y Todos los Santos (St John and All Saints) stands on the site of the former Convento de la Trinidad established shortly after Fernando III conquered the city in 1236. Built in the Baroque style, it forms part of the Historic centre of Córdoba.
It is believed the original church and convent were built on the site of a mosque although nothing remains of it. Nor are there any remains of the Church of San Juan de los Caballeros which remained after the convent was disbanded. There are however records of the roof collapsing in the 16th century and of its subsequent repair funded by Don Martin de Córdoba.
After the building again fell into disrepair, it was decided to build a completely new church which was consecrated on Trinity Sunday in 1705. The Baroque building is constructed in the form of a Latin cross with a nave covered by a barrel-vaulted ceiling decorated with painted lunettes. The dome above the transept is supported by pendentives. The church's artwork includes a figure of Christ the Saviour (Santo Cristo de la Salud) from 1590 carved by an anonymous author. It was brought from the former convent church of the Order of the Trinity (Orden Trinitaria) which used to be located in the Vía Crucis. Recent paintings from the nearby Cofrafía de la Santa Faz monastery include Nuestro Padre Jesús Nazerano by Antonio Dubé de Luque and María Santísima de la Trinidad by Antonio Salto.
The decorations surrounding the church's entrance contrast with its whitewashed facade topped with a triangular pediment and two oculi. The portal consists of a Romanesque arch flanked by double Doric columns with a frieze of triglyphs and metopes. The upper section with Solomonic columns contains group of sculptures in a niche with an angel in a Trinity robe assisting two captives. The square-shaped sacristy is decorated with several notable murals by Antonio Palomino (1653–1726). They depict scenes from the Old Testament associated with the Eucharist. The church's altarpieces are also decorated with a number of works from the 17th and 18th centuries.References:
Redipuglia is the largest Italian Military Sacrarium. It rises up on the western front of the Monte Sei Busi, which, in the First World War was bitterly fought after because, although it was not very high, from its summit it allowed an ample range of access from the West to the first steps of the Karstic table area.
The monumental staircase on which the remains of one hundred thousand fallen soldiers are lined up and which has at its base the monolith of the Duke of Aosta, who was the commanding officer of the third Brigade, and gives an image of a military grouping in the field of a Great Unity with its Commanding Officer at the front. The mortal remains of 100,187 fallen soldiers lie here, 39,857 of them identified and 60,330 unknown.