Heritage with Related Tags
San Marino Historic Centre and Mount Titano
The Historic Centre of San Marino and Mount Titano covers an area of 55 hectares and includes Mount Titano and the historic centre of the city, dating back to the founding of the Republic as a city-state in the 13th century. San Marino is listed as a testimony to the continuity of a free republic since the Middle Ages. The listed city centre includes defensive towers, walls, gates and fortresses, as well as the 19th-century neoclassical cathedral, 14th- and 16th-century monasteries, the 19th-century Palazzo Comunale and the 18th-century Teatro Titano. The property represents a historic centre that is still inhabited and has preserved all its institutional functions. Due to its location on top of Mount Titano, it has not been affected by the urban transformations that have taken place from the advent of the industrial age to the present day.
Statue of Liberty
This towering monument to liberty was built in Paris by French sculptor Bartholdi in collaboration with Gustave Eiffel (who designed the steel frame) as a gift from France on the occasion of the centennial of American independence. Completed in 1886, the sculpture stands at the entrance to New York Harbor and has welcomed millions of immigrants to the United States ever since.
Independence Hall
The Declaration of Independence (1776) and the U.S. Constitution (1787) were both signed in this building in Philadelphia, and the universal principles of freedom and democracy they enunciated have been fundamental to American history and have had a profound influence on lawmakers around the world.
Monticello and the University of Virginia in Charlottesville
Thomas Jefferson (1743-1826), author of the Declaration of Independence and the third president of the United States, was also a talented architect of neoclassical buildings. He designed Monticello (1769-1809), his plantation home, and his ideal "village of learning" (1817-26), which still serves as the center of the University of Virginia. Jefferson's use of an architectural vocabulary based on classical antiquity symbolized both the aspirations of the new American republic as the heir to European traditions and the expectations that this could be expected as the nation matured.