The building of the kingdom's chief architect,  João Frederico  Ludovice, occupies an approximate area of four hectares  (37,790 m²). Built in abundant Lioz stone in the Mafra region consists of 1200 divisions, more than 4 700 doors and windows, 156 staircases and 29 courtyards and halls.
It is classified as a Declared National Monument and the 2019 World Heritage Site  by UNESCO, being part of the set designated royal building of Mafra, composed of the palace, basilica (with set of 6 organs and 2 chimes), convent (which includes the library), Garden of the Siege and covered.

Today the museum has more than a million exhibits. It holds annual sessions of fieldwork for researchers of ethnic culture and historians, and organises archaeological excavations. More than a half of all exhibits restored in Lithuanian museums are being conserved and restored at the Museum’s Restoration Centre. The Museum also has a specialised library, archive and photo laboratory.

The museum’s work is carried out through specialised departments managing the collections of Archaeology, Medieval and Modern Archaeology, Ethnic Culture, History, Modern History, Iconography and Numismatics.

 The National Historical Museum also functions as a research center for modern Greek history. Since 1960, the Museum has been permanently housed in the Palace of the Old Parliament on Stadiou Street (Kolokotroni Square). The same building houses the Archive of Historical Documents, the library and the photographic archive of the Historical and Ethnological Society of Greece.
From Badseed - Self-photographed, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=2174963

 Most of the exhibition concerns the Greek Revolution of 1821. Portraits of the Fighters of 1821 are hosted and many personal items, weapons and military equipment of fighters of the Revolution are exhibited.

The exhibition concludes with national and local costumes from various parts of Greece, embroidery, jewelry and ceramics, as well as furniture from 19th-century historical figures. In most of the rooms there are also paintings by Greek and foreign painters that depict several of the important figures of each period.

The Sansevero Chapel Museum in the historic heart of Naples is a jewel of the world’s artistic heritage. Here, baroque creativity, dynastic pride, beauty and mystery blend to create a unique and almost timeless atmosphere.

With its masterpieces such as the famous Veiled Christ, renowned world over for the remarkable tissue-like quality of the marble, feats of virtuosity such as Disillusion, and enigmatic creations such as the Anatomical Machines, the Sansevero Chapel is one of the most impressive monuments that the human mind has ever conceived.

A noble mausoleum, a temple of initiation, which admirably reflects the multi-faceted personality of its ingenious architect, Raimondo di Sangro, seventh Prince of Sansevero.

https://www.museosansevero.it/cappella-sansevero/

Sanmartino’s Veiled Christ is one of the greatest sculptures of all time. Since the eighteenth century, travellers of all levels of distinction have come to contemplate this artistic miracle, to be disconcerted and enraptured by it. The fame of the Veiled Christ is growing every day. A survey carried out during the seventeenth edition of the Galassia Gutenberg Book Fair (April 2006) raised it to the level of monument symbolising Naples. Lastly, in the spring of 2008, the Campania Regional Authority chose the photo of Sanmartino’s Christ for its publicity campaign aiming to give new impetus to the city’s image, severely damaged by the well-known refuse emergency.

https://www.museosansevero.it/la-statua/

 

The high relief, or marble picture, of the Deposition was carved by Francesco Celebrano, but it had been entrusted to Queirolo (and Corradini had already made a clay model). This work, considered by critics to be the best of Celebrano, is a unique exemplar in Naples of a high relief on a high altar, even if the technique can be found in the city in various other contexts.

Celebrano shows his skill by combining late-baroque elements with the rich and fertile elements of the Depositions of the seventeenth century in the Neapolitan area and makes the scene remarkably complex, narratively dramatic, and almost constrained in the limited spaces, including the tabernacle inserted within a shroud supported by two putti and closed by the metal face of Christ.

Signed and dated by Francesco Maria Russo, the fresco – known as the Glory of Heaven or the di Sangro Paradise – is one of the first works that the Prince of Sansevero commissioned for the Chapel. Of the artist we have little information, but archive sources confirm that Russo had already come into contact with di Sangro in 1743, when – under the direction of the Prince – he had frescoed the ante-sacristy to the Chapel housing the Treasure of San Gennaro. From the symbolic point of view, of particular interest is the triangle which – with the dove – dominates the centre of the scene. This geometrical figure is rich in meaning. If in the Christian sphere it represents the Trinity, in the Pythagorean system the capital letter delta, in the shape of a triangle, is the symbol of cosmic birth, while in Masonic culture it is the symbol of the Venerable Master.

There are no elements to allow attribution or a date for this painting representing the Pietà. The author was presumably a mediocre Neapolitan mannerist, and the work was created before 1590. It was around this date, according to the remarkable story of the historian d’Engenio Caracciolo, that the first miracle worked by the sacred image took place. The oval is framed in a fine starburst of stucco angels by Paolo Persico in 1769.

Much more than for its artistic quality, the Pietà is important because of the role it had in the foundation of the di Sangro Chapel. It was around this painting, in fact, that at the end of the sixteenth century, the Duke of Torremaggiore Giovan Francesco would build the first chapel, the enlargement of which would lead to the construction of Santa Maria della Pietà, the Sansevero Chapel’s other name. During the whole of the seventeenth century, the painting must have been in the place occupied by the Deposition, and it was Raimondo di Sangro who moved it up over the Altar and inserted it in Persico’s starburst.

https://www.museosansevero.it/pieta/

The Wawel Royal Castle and the Wawel Hill constitute the most historically and culturally important site in Poland. For centuries the residence of kings and the symbol of Polish statehood, the castle is now one of the country’s premier art museums. Established in 1930, the museum encompasses ten curatorial departments responsible for collections of paintings, including an important collection of Italian Renaissance paintings; works on paper; sculpture; textiles, among them the Sigismund II Augustus tapestry collection; goldsmith’s work; arms and armor; ceramics, with significant holdings of Meissen porcelain; and period furniture. The museum’s holdings in Asian and Middle-Eastern art include the largest collection of Ottoman tents in Europe. For conservation reasons the tents are not on permanent display. The collections of the Wawel Royal Castle are presented in several permanent exhibitions that evoke the historic appearance of the royal residence in the 16th, 17th, and 18th centuries.

Home to the internationally acclaimed permanent photographic exhibition, Traces of Memory, the Museum also shows an exciting range of temporary exhibitions, both curated in-house and sourced from around the world. The Museum’s Cultural and Education Programme is one of the most extensive in Poland, providing a range of services for both individual and group visitors, and the Media Resource Centre houses a growing archive of films on Jewish and Holocaust-related subjects. As well as engaging in primary research and publishing, the Museum also operates one of the largest Jewish bookshops in Poland, and the Museum café serves a range of hot and cold drinks and snacks, and offers a range of catering options for visiting groups.