Loggia in the context of "Horses of Saint Mark"

The Feldherrnhalle ("Field Marshals' Hall") is a monumental loggia on the Odeonsplatz in Munich, Germany. Modelled after the Loggia dei Lanzi in Florence, it was commissioned in 1841 by King Ludwig I of Bavaria to honour the tradition of the Bavarian Army.

In 1923, it was the site of the brief battle that ended Hitler's Beer Hall Putsch. During the Nazi era, it served as a monument commemorating the deaths of the 15 Nazis and one bystander killed during the revolt.

An arcade is a succession of contiguous arches, with each arch supported by a colonnade of columns or piers. Exterior arcades are designed to provide a sheltered walkway for pedestrians; they include many loggias, but here arches are not an essential element. An arcade may feature arches on both sides of the walkway. Alternatively, a blind arcade superimposes arcading against a solid wall.

Blind arcades are a feature of Romanesque architecture that influenced Gothic architecture. In the Gothic architectural tradition, the arcade can be located in the interior, in the lowest part of the wall of the nave, supporting the triforium and the clerestory in a cathedral, or on the exterior, in which they are usually part of the walkways that surround the courtyard and cloisters.

Elizabethan architecture refers to buildings in a local style of Renaissance architecture built during the reign of Queen Elizabeth I of England from 1558 to 1603. The style is very largely confined to secular buildings, especially the large prodigy houses built for the newly-risen nobility close to the court. Many ordinary buildings continued vernacular styles with little decoration. New religious building had ended abruptly at the Dissolution of the Monasteries from c. 1536. English architecture was late in adopting Renaissance standards compared to the rest of Europe, and in the Elizabethan style northern Europe rather than Italy was the main influence. After Elizabeth a new court culture of pan-European artistic ambition under James I (1603–1625) saw the style morph into Jacobean architecture. Stylistically, Elizabethan architecture is notably pluralistic. It came at the end of insular late Gothic traditions in design and construction called the Perpendicular style in church building, the fenestration, vaulting techniques, and open truss designs of which often affected the detail of larger domestic buildings. In the late part of the 16th century, illustrated continental pattern-books introduced a wide range of architectural exemplars, fueled by the archaeology of Ancient Rome.

As church building turned to the construction of great houses for courtiers and merchants, these novelties accompanied a nostalgia for native history as well as huge divisions in religious identity, plus the influence of continental mercantile and civic buildings. Insular traditions of construction, detail and materials never entirely disappeared. These varied influences on patrons who could favor conservatism or great originality confound attempts to neatly classify Elizabethan architecture. This era of cultural upheaval and fusions corresponds to what is often termed Mannerism and Late Cinquecento in Italy, French Renaissance architecture in France, and the Plateresque style in Spain.

The John Golden Theatre, formerly the Theatre Masque and Masque Theater, is a Broadway theater at 252 West 45th Street (George Abbott Way) in the Theater District of Midtown Manhattan in New York City, New York, U.S. Opened in 1927, the Golden Theatre was designed by Herbert J. Krapp in a Spanish style and was built for real-estate developer Irwin S. Chanin. It has 800 seats across two levels and is operated by the Shubert Organization. Both the facade and the auditorium interior are New York City landmarks.

The facade is designed in a Spanish style with golden brick, terracotta, and stone. The ground floor, which contains the theater's entrance, is clad in rusticated blocks of terracotta above a granite water table. Above are a set of three double-height arches, as well as two terracotta plaques. The facade is topped by a loggia. The auditorium contains Spanish-style detailing, a large balcony, and a rib-arched ceiling. Due to the theater's small size, it lacks box seats. The balcony, proscenium arch, and exit arches are ornately decorated, with geometric panels and twisting colonettes.

The Bernard B. Jacobs Theatre (formerly the Royale Theatre and the John Golden Theatre) is a Broadway theater at 242 West 45th Street (George Abbott Way) in the Theater District of Midtown Manhattan in New York City, New York, U.S. Opened in 1927, the theater was designed by Herbert J. Krapp in a Spanish style and was built for real-estate developer Irwin S. Chanin. It has 1,100 seats across two levels and is operated by The Shubert Organization. Both the facade and the auditorium interior are New York City landmarks.

The facade is designed in a Spanish style with golden brick, terracotta, and stone and is divided into two sections. The western portion of the facade contains the theater's entrance, with five double-height arched windows and a curved pediment above. The eastern portion is the stage house and is topped by a loggia. The auditorium contains Spanish-style detailing, a large balcony, and an expansive vaulted ceiling. The auditorium's interior features murals by Willy Pogany as well as several box seats.

Poznań Town Hall (Polish: ratusz w Poznaniu) is a historic city hall in the city of Poznań, Poland, located at the Poznań Old Town in the centre of the Old Market Square. It used to serve as the seat of local government until 1939, and now houses a museum. The town hall was originally built in the late 13th century following the founding of the medieval city in 1253; it was rebuilt in roughly its present-day form, in mannerist style, with an ornate loggia, by Giovanni Battista di Quadro from 1550–1560. The display of mechanical fighting goats, played out daily at noon above the clock on the front wall of the building, is one of the city's main tourist attractions.

Venetian Gothic is the particular form of Italian Gothic architecture typical of Venice, originating in local building requirements, with some influence from Byzantine architecture, and some from Islamic architecture, reflecting Venice's trading network. Very unusually for medieval architecture, the style is at its most characteristic in secular buildings, with the great majority of surviving examples of the style being secular.

The best-known examples are the Doge's Palace and the Ca' d'Oro. Both feature loggias of closely spaced small columns, with heavy tracery with quatrefoil openings above, decoration along the roofline, and some coloured patterning to plain wall surfaces. Together with the ogee arch, capped with a relief ornament, and ropework reliefs, these are the most iconic characteristics of the style. Ecclesiastical Gothic architecture tended to be less distinctively Venetian, and closer to that in the rest of Italy.