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in the "underground" you can find this residence, which is rumored to have been home to King Charles IV before he became king. Regardless, it was definitely home to someone very wealthy. This picture, taken inside the chapel, reflects biblical paintings on the ceiling. Since they are dated just 300 years after the spread of Christianity into Europe, most of the paintings use animals or mythological beings rather than actual people.

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Note the liberal usage of arches inside the structures of medieval times and the middle ages. This one is painted quite ornately.

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At one time this building looked like the building in picture 1, but was chipped back to reveal the Gothic-then-Baroque origins. A trademark or Gothic architecture is the fact that there are often three windows or three doors, symbolizing the Holy Trinity.

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Over the centuries, the facades of many Prague buildings have been changed and updated to reflect the most recent trends, though inside most still have the elements they have had for 500 years. In the 1970s people began peeling back these layers of decor.

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The elephant, a symbol of strength, is a makers showing that this is a residence of a soldier of some sort.

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Above the door is a gold ring. A jeweller lived here.

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Part of the architecture of this 15th century building includes small keyhole windows for archers to defend the building.

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In the commercial center of Prague, moneylenders were essential. On the wall of this building is the name of the Jewish moneylender who operated out of this horse-stall. First is is name, and the second word is Hebrew for "of Israel." Sort of like 13th Century graffiti, he etched his name into the wall. He could not live in this area, of course, as Jews and Gentiles could not live in the same community until after the 18th century.

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Because the traditional arch wasn't stable enough to sustain the weight of the building, the walls were approximately 5 feet thick. This is why there were so few windows, and those that existed let in very little light.

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Ancient cities can be found below current level. The image below shows the perspective of how far below the current streets 14th century Prague actually was. Many windows and doors around town look small or short because the ground is actually higher than it was when the structure was originally built (not because people were shorter).

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In 14-15th c Prague, any foreigners who wanted to sell their wares in Prague would pay a tax to the tax collector (whose palace is shown here) and set up their sales in this square.  Citizens such as tax collectors got wealthy quickly and became what is no known as nouveau riche.  In order to demonstrate and flaunt their wealth, they made significant modifications to their homes.  Seen below, the wall of the front room was dismantled, allowing for family members to parade around and showcase their riches.

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In the foreign-trade square, a significant element of the Renaissance architecture was etching or engraving into the building, and then painting over the images.  Over four centuries later, the original art is still visible.

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The revealing pose of the portrait (bare neck, flowing hair) indicates that this building was a brothel. Side note: the seven candles show it was open 7 days per week (open on Sundays with permission of the church).

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This church was built in the late middle ages in the Gothic style, but then was adapted to a Baroque style in response to the Protestant Reformation, which eschewed such ornate decor.

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This was a door, but the bottom half has been sealed by the rising layers of the streets over time and development.

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Most common in Prague is the Gothic style of architecture, as seen below in a public walkway tunnel.

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An example of Classical Romanesque architecture, the entrance to the university features symmetry reflective of the ancient Romans and Greeks.

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The angel over the door indicates that a member of the clergy resided here.

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The emblem of the university shows King Charles IV bowing before King Wenceslas.

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Following closely behind the Rococo period in the late 1700s, was a shift to Neoclassical architecture. It's strong and symmetrical lines call to mind ancient Rome and Greece. Added to enhance this effect are laurel leaves. In the US, we call this style "Federalist" and the British call it "Regency."

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With much softer and more delicate lines than the previously popular Baroque, Rococo buildings are often lighter in color and feature the clamshell motif (above the upper windows).

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Before there was an "address system," residences and businesses are marked by symbols which indicated the profession of whomever was inside. In this case, you can see a Czech lion with a barrel. This was (and still is) a pub.

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Often described as more of an architectural fad rather than an era, this former department store illustrates the early 20th century style of straight lines and right angles. This style eventually evolved into what we now recognize as the industrial style of office buildings and sky scrapers.

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Interestingly, inside the Cubist building is this flowing staircase which combines natural lines with the cubist elements seen in the railings.

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This symbol indicates that a magistrate or judge of some sort lived at this residence.

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Legend has it that Queen Libuse founded Prague in the 8th century and prophesied it to become a great city. She is the reason that only women are portrayed in the art inside the Municipal House.

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Although extremely ornate, the inside of the Municipal House was designed and created on a budget. Through all the grandiosity, various money-saving design elements are incorporated. Shown below are varying degrees of marble and stone. The darker the marble, the less expensive it was, and so the lightest marble is only used in the small pedestal and the bottom of the column (which itself is made of granite).

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Attached to the Powder Tower to the right is the Art Nouveau Municipal House which sits on the site of the former palace.  It was built in 1908 and in response to the structural rigidity of the Gothic tower, the design of this building uses more natural lines repetitive motifs.  All of the portraiture is of women, derived from the example of the image of the "mother" of Prague from the myth of the city's origins.

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On the side of the tower you can observe the quantities of sandstone that were necessary (and in abundant supply at the time) to build a structure this large.

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This 15th c tower is all that remains of the wall that protected what is now known as "Old Town." Soon after its completion, civil unrest and riots forced the King Vadislav II to leave the adjoining palace and flee to Prague Castle.

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The architectural style of the tower is Gothic, as illustrated by the symmetry and pointed arches. This tower marks the beginning of the route followed by the king for coronation at St. Vitus Cathedral at Prague Castle. The adjoining bridge to the right enabled the nobility (including royalty) to commute to the tower from the palace without having to encounter the riff raff on the street.