Liminal Spaces - The Land of the In-between
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The elegance of nature
With their ornamental fountains, rows of enormous trees, numerous sculptures and plants from French landscape gardening of the 20th century, it is no surprise that the Joan Maragall Gardens are considered to be among the most elegant in Barcelona. What’s more, they surround the Neoclassical Albéniz Palace, the official residence of the royal family on their visits to Barcelona.
Designed by Jean-Claude-Nicolas Forestier in 1929 for the Barcelona International Exposition, the Joan Maragall Gardens are a place of serenity where silence and the gentle bubbling water are the main sounds. The extensive lawns with typical Mediterranean trees such as olives and holm oaks are interspersed with more exotic species such as Cycas revoluta. The granite sand paths enable us to explore the garden and its different corners. At the main entrance, a large avenue of magnolias featuring a large pond with water jets in the centre lead to the foot of the hill in front of the palace. Above, a semicircular square, surrounded by Cyprus trees and dominated by the Statue of Serena is the antechamber to a small amphitheatre.
Music and poetry
The palace, also built in 1929 by Joan Moya,is a neo-classical style building of great architectural value that was remodelled and refurbished in 1970, giving it the appearance it has today. The palace is named after the musician Isaac Albéniz, as, for a while, the option of establishing the Museum of Music there was considered, although in the end this did not happen. Also in 1970, the gardens were extended and became known as the Joan Maragall Gardens, in honour of the Catalan poet.
Walking through these royal parks, which are not always open to the public, is to enter another world, an experience that enables visitors to observe what the man idealised as a paradise on earth.
The first references to the Château de Fontainebleau date back to the 12th century. Since then, all the kings of France have lived in the palace, and have continuously enlarged and embellished it. It is a unique example of a royal residence, loved and cherished for over eight centuries.
State Apartments
The château was one of the major artistic centres of 16th-century Europe. The Renaissance Rooms, unique in France, have retained their stunning fresco and stucco décor created by the Italian artists Rosso and Primaticcio under the reigns of François I and Henri II.
The apartments of the sovereigns evoke all the pomp and splendour of the French court ; antechambers, drawing rooms, ceremonial rooms, the Council Room and the Throne Room all paint a vivid picture of the life of the monarchy. The carved woodwork, paintings, tapestries and furnishings provide evidence of the apartments occupancy from the 16th to the 19th century.
Refurbishment of Napoleon I’s interior apartments began in 1804. Comprised of a series of rooms for the Emperor’s private use (bedchamber, office, private drawing room, bathroom, aide-de-camp’s common room and antechamber). From here, Napoleon I abdicated on 6 April 1814.
Private Apartments
Located on the ground floor of the château, they complete the changes made for Napoleon I, who wanted two private adjoining apartments, one for himself, and the other for Josephine (later occupied by Marie-Louise). There are also rooms that were reserved for the use of the Emperor’s close advisors and the Stag Gallery.
Biserica Stavropoleos was built in 1724 as a chapel for the nearby inn. It was founded by the Greek monk Joanikide. Around the building was placed in a blind arcades frescoes depicting saints. The antechamber has beautiful columns and Moorish arches. Inside is a beautiful courtyard of the today's monastery . Many residents consider it the most beautiful church in Bucharest.
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Cerkiew Stavropoleos została wybudowana w 1724 roku jako kaplica dla pobliskiego zajazdu. Ufundował ją grecki mnich Joanikide. Naokoło budowli w ślepych arkadach umieszczono freski przedstawiające świętych. Przedsionek posiada piękne kolumny oraz mauretańskie arkady. Wewnątrz znajduje się piękny dziedziniec dzisiejszego klasztoru. Wielu mieszkańców uważa ją za najpiękniejszą cerkiew Bukaresztu.
Después de tantas agitaciones en los días pasados, toca un día de tranquilidad, un largo paseo por todo el Bósforo sin el cual no tendría sentido la existencia de Estambul. Arranca en el mar de Mármara, justo detrás de la torre de la Doncella. Este no es solo un mar interior: es un cruce de caminos mítico. Su nombre proviene de la isla de Mármara, rica en mármol blanco ya explotado por los antiguos griegos, y cuyas canteras dieron forma a palacios, templos y mezquitas. Según una leyenda antigua, por estas aguas vagó Io, transformada en vaca por Zeus para escapar de la ira de Hera. Al atravesar el estrecho que une el Mármara con el mar Negro, su llanto habría dado nombre al Bósforo —el “paso de la vaca”.
Hoy, el Mármara es una antesala tranquila, una inmensidad serena que parece contener en sus reflejos siglos de historia. Desde aquí, un flujo incesante de barcos se encamina hacia el Bósforo.
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After so many restless days, it’s time for calm —a long journey up the Bosphorus, without which Istanbul would lose its very meaning. It begins in the Sea of Marmara, just behind the Maiden’s Tower. This is not merely an inland sea: it is a mythical crossroads. Its name comes from the island of Marmara, rich in white marble already quarried by the ancient Greeks, and whose stone shaped palaces, temples and mosques. According to an old legend, Io wandered through these waters, transformed into a cow by Zeus to escape Hera’s wrath. As she crossed the strait linking the Marmara to the Black Sea, her tears are said to have given the Bosphorus its name —the “ox-ford.” Today, the Marmara is a tranquil antechamber, a serene expanse that seems to hold centuries of history in its reflections. From here, an endless stream of ships flows into the Bosphorus.
Two strangers encounter one another in an otherworldy waiting room at the edge of time and space.
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This build should not have taken five years to finish. But here we are, I guess.
Largely inspired by the Metroid Prime series.
Big thanks to Huw from Brickset for the photography, and the folks here on Flickr and Discord for the advice, crit and kind words on various WIP photos over the years.
On design and workmanship,this bedroom,consisting of an antechamber with an alcove,is one of the finest of Its period.The decoration is in stucco and carved wood.In the antechamber, fluted Corinthian pilasters support an entablature out of which fly amorini bearing garlands of flowers.Other amorini bear the gilded frame of a painting by Gasparo Diziani,depicting dawn triumphing over night.Above the entry to the alcove seven amorini frolic,holding a shield with the monogram of Zaccaria Sagredo.A paneled wood dado with a red and white marble base runs around the room.The unornamented portions of the the walls are covered with seventeenth century brocatelle.The bed alcove has it's original marquetry floor.The stuccowork is almost certainly done by Abbondio Statio and Carpofo Mazetti Tencalla.The amorini are beautifully modeled and the arabesques of the doors are exquisitely executed.Everything in this bedroom forms a buoyant and joyful ensemble.
a. The
Biserica Stavropoleos was built in 1724 as a chapel for the nearby inn. It was founded by the Greek monk Joanikide. Around the building was placed in a blind arcades frescoes depicting saints. The antechamber has beautiful columns and Moorish arches. Inside is a beautiful courtyard of the today's monastery . Many residents consider it the most beautiful church in Bucharest.
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Cerkiew Stavropoleos została wybudowana w 1724 roku jako kaplica dla pobliskiego zajazdu. Ufundował ją grecki mnich Joanikide. Naokoło budowli w ślepych arkadach umieszczono freski przedstawiające świętych. Przedsionek posiada piękne kolumny oraz mauretańskie arkady. Wewnątrz znajduje się piękny dziedziniec dzisiejszego klasztoru. Wielu mieszkańców uważa ją za najpiękniejszą cerkiew Bukaresztu.
The Royal Palace of Caserta (Italian: Reggia di Caserta) is a former royal residence in Caserta, Southern Italy, constructed by the House of Bourbon-Two Sicilies as their main residence as kings of Naples. It is the largest palace erected in Europe during the 18th century. In 1997, the palace was designated a UNESCO World Heritage Site; its nomination described it as "the swan song of the spectacular art of the Baroque,
The Alexander Room in The Reggia di Caserta is the third antechamber of the King's apartments, dedicated to the famous Macedonian warrior. The frescoes on the ceiling were created in 1787 by Mariano Rossi with The Marriage of Alexander the Great and Roxana, to exalt the peace and prosperity of the kingdom.
The first references to the Château de Fontainebleau date back to the 12th century. Since then, all the kings of France have lived in the palace, and have continuously enlarged and embellished it. It is a unique example of a royal residence, loved and cherished for over eight centuries.
State Apartments
The château was one of the major artistic centres of 16th-century Europe. The Renaissance Rooms, unique in France, have retained their stunning fresco and stucco décor created by the Italian artists Rosso and Primaticcio under the reigns of François I and Henri II.
The apartments of the sovereigns evoke all the pomp and splendour of the French court ; antechambers, drawing rooms, ceremonial rooms, the Council Room and the Throne Room all paint a vivid picture of the life of the monarchy. The carved woodwork, paintings, tapestries and furnishings provide evidence of the apartments occupancy from the 16th to the 19th century.
Refurbishment of Napoleon I’s interior apartments began in 1804. Comprised of a series of rooms for the Emperor’s private use (bedchamber, office, private drawing room, bathroom, aide-de-camp’s common room and antechamber). From here, Napoleon I abdicated on 6 April 1814.
Private Apartments
Located on the ground floor of the château, they complete the changes made for Napoleon I, who wanted two private adjoining apartments, one for himself, and the other for Josephine (later occupied by Marie-Louise). There are also rooms that were reserved for the use of the Emperor’s close advisors and the Stag Gallery.
The first references to the Château de Fontainebleau date back to the 12th century. Since then, all the kings of France have lived in the palace, and have continuously enlarged and embellished it. It is a unique example of a royal residence, loved and cherished for over eight centuries.
State Apartments
The château was one of the major artistic centres of 16th-century Europe. The Renaissance Rooms, unique in France, have retained their stunning fresco and stucco décor created by the Italian artists Rosso and Primaticcio under the reigns of François I and Henri II.
The apartments of the sovereigns evoke all the pomp and splendour of the French court ; antechambers, drawing rooms, ceremonial rooms, the Council Room and the Throne Room all paint a vivid picture of the life of the monarchy. The carved woodwork, paintings, tapestries and furnishings provide evidence of the apartments occupancy from the 16th to the 19th century.
Refurbishment of Napoleon I’s interior apartments began in 1804. Comprised of a series of rooms for the Emperor’s private use (bedchamber, office, private drawing room, bathroom, aide-de-camp’s common room and antechamber). From here, Napoleon I abdicated on 6 April 1814.
Private Apartments
Located on the ground floor of the château, they complete the changes made for Napoleon I, who wanted two private adjoining apartments, one for himself, and the other for Josephine (later occupied by Marie-Louise). There are also rooms that were reserved for the use of the Emperor’s close advisors and the Stag Gallery.
La Piazza Ducale di Vigevano è una vasta piazza in stile rinascimentale. La sua costruzione iniziò nel 1492 per volere di Ludovico il Moro come anticamera del Castello e fu ultimata nel 1494.Lunga 134 metri e larga 48, è edificata su tre lati (il quarto è occupato dalla Chiesa Cattedrale di Sant'Ambrogio) con edifici omogenei con facciata e portici uniformi a contorno di un forum che ricalca il modello romano descritto da Vitruvio.
The Piazza Ducale of Vigevano is a large Renaissance-style square. Its construction began in 1492 at the behest of Ludovico il Moro as an antechamber of the Castle and was completed in 1494. 134 meters long and 48 wide, it is built on three sides (the fourth is occupied by the Cathedral Church of Sant'Ambrogio) with homogeneous buildings with uniform façade and arcades surrounding a forum that follows the Roman model described by Vitruvius.
La Piazza ducale est le nom donné à la place principale de la commune de Vigevano en Lombardie. Véritable joyau de la Renaissance, elle est construite sous le règne de Ludovic Sforza dit il Moro, qui la considère comme l'antichambre de son château.
(Wikipédia)
"I read and am liberated. I acquire objectivity. I cease being myself and so scattered. And what I read, instead of being like a nearly invisible suit that some times oppresses me, is the external world’s tremendous and remarkable clarity, the sun that sees everyone, the moon that splotches the still earth with shadows, the wide expanses that end in the sea, the blackly solid trees whose tops greenly wave, the steady peace of ponds on farms, the terraced slopes with their paths overgrown by grape-vines.
I read as one who abdicates. And since the royal crown and robe are never as grand as when the departing king leaves them on the ground, I lay all my trophies of tedium and dreaming on the tiled floor of my antechambers, then climb the staircase with no other nobility but that of seeing.I read as one who’s passing through. And it’s in classical writers, in the calm-spirited, in those who if they suffer don’t mention it, that I feel like a holy transient, an anointed pilgrim, a contemplator for no reason of a world with no purpose, Prince of the Great Exile, who as he was leaving gave the last beggar the ultimate alms of his desolation."
Fernando Pessoa - The Book of Disquiet
Yiruma - Dream
Conciergerie, Paris, France.
La Conciergerie (del francés, concierge, conserje) o también, Palais de la Cité, es un edificio histórico de París que ocupa el muelle del Reloj, en la Isla de la Cité, en el primer arrondissement. El palacio fue residencia de los reyes de Francia de los siglos X a XIV. Terminó convertido en prisión del Estado en 1392, tras el abandono del palacio por parte de Carlos V y sus sucesores.
La prisión ocupaba la planta baja del edificio que bordea el muelle del Reloj y las dos torres. Los pisos superiores estaban reservados para el Parlamento. La Conciergerie designaba, en principio, la vivienda del conserje; después, por extensión, la prisión en la cual él vigilaba a los prisioneros. El conserje tenía a su cargo las llaves del Palacio Real y el alumbrado a base de velas y cirios.
La prisión de la Conciergerie estuvo considerada, durante el Terror, como la antecámara de la muerte. Pocos fueron los que salieron libres de la prisión. Entre los que no, la reina María Antonieta, encarcelada aquí en 1793.
The Conciergerie (of the French, concierge, concierge) or also, Palais de la Cité, is a historic building in Paris that occupies the Clock dock, on the Isle de la Cité, in the first arrondissement. The palace was the residence of the kings of France from the X to XIV centuries. It ended up turned into a state prison in 1392, after the abandonment of the palace by Charles V and his successors.
The prison occupied the ground floor of the building that borders the clock dock and the two towers. The upper floors were reserved for Parliament. The Conciergerie designated, in principle, the dwelling of the concierge; then, by extension, the prison in which he guarded the prisoners. The concierge was in charge of the keys of the Royal Palace and the lighting based on candles and candles.
The prison of the Conciergerie was considered, during the Terror, as the antechamber of death. Few were those who left prison free. Among those who did not, Queen Marie Antoinette, imprisoned here in 1793.
I can't stand the noise of silence. I need silence to create, it's true, then I have to go into noise. How many people live in the antechamber of madness?
Não suporto o barulho do silêncio.
necessito do silêncio para criar, é certo, depois tenho que partir para o barulho.
Quantas pessoas vivem na antecâmara da loucura?
I was again trying to find that elusive probably gone jazz bar I found long ago, but the club here Satyrs was not it, though it was really cool looking inside. I cammed around some before realizing I was looking at a "pay to go by the hour " sim and spotted this strange little scene. Was pretty cute so I snapped a quick shot.
Visit this location at AGARRAME Join the group here! in Second Life
Capped by green-and-gold domes, La Compañía de Jesús is Quito’s most ornate church and a standout among the baroque splendors of the Old Town.
Free guided tours in English or Spanish highlight the church’s unique features, including its Moorish elements, perfect symmetry (right down to the trompe l’oeil staircase at the rear), symbolic elements (bright-red walls are a reminder of Christ’s blood) and its syncretism (Ecuadorian plants and indigenous faces are hidden along the pillars).
Construction on this marvelously gilded Jesuit church began in 1605 but wasn't completed for another 160 years; the main altarpiece alone took 20 years (former president Gabriel García Moreno is buried here). The made-in-the-USA organ is circa 1889. Check out the chiaroscuro-style series of paintings called the 16 Prophets by Nicolás Javier de Goríbar and the large canvas Hell and Final Judgement from 1879 – it's still a mystery what happened to the original, painted by Hermano Hernando de la Cruz in 1620. Quiteños proudly call it the most beautiful church in the country, and it’s easy to see why.
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Over the 160 years of its construction, the architects of La Compañía incorporated elements of four architectural styles, although the Baroque is the most prominent. Mudejar (Moorish) influence is seen in the geometrical figures on the pillars; the Churrigueresque characterizes much of the ornate decoration, especially in the interior walls; finally the Neoclassical style adorns the Chapel of Saint Mariana de Jesús (in early years a winery).
The floorplan of La Compañía makes a Latin Cross, with central, northern and southern arms; it has the conventional nave, transept, crossing, presbytery, antechamber to the sacristy, sacristy, and chapel. The central nave is topped by a 26-meter high barrel vault constructed of pumice and brick. This vault is decorated with plaster, polychrome and Mudéjar figures in gold leaf. The skyline is capped by two green and gold domes.
The carvings of La Compañía’s main façade were executed entirely of Ecuadorian andesite stone. (Begun in 1722 by Father Leonardo Deubler, work was suspended in 1725 and taken up again in 1760 by Brother Venancio Gandolfi who finished it in 1765.) According to José María Vargas: “A simple comparison of dates explains the difference in styles between the body of the Church and the façade. While the structure of the Church reveals the Renaissance influence (that of Italy brought to Quito by Brother Marcos Guerra), that of the façade reflects the dynamism of the 18th century Baroque, instigated by Bernini’s solomonic columns of the Baldachin of the Basilica of Saint Peter in Rome”. La Compañía’s columns, statues and larger details were executed in the quarry which the Jesuits had in the Hacienda de Yurac (in the nearby parish of Pintag). The rest of the material was brought from a quarry on the western slopes of El Panecillo, adjacent to the city. That façade, as it has come down to us, has more of the Italian Baroque than of the Spanish Plateresque and, with its high pilasters, a certain accent of the French Baroque.
Design elements include a near symmetrical facade, Moorish influence in the nave, and artwork by artists of the Quito School. A sarcophagus with the remains of Ecuador's patron saint, Mariana de Jesús de Paredes, is located in the base of the central altar.
The interior of La Compañía strongly resembles that of the Church of San Ignacio in Bogotá. This similarity, particularly evident in the design of the stuccos, baseboards, molding and vaults, represents an enhancement of the scheme first employed in the older Bogotá church.
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When I entered the main nave, I had to ask my guide for some time alone, before his explanations, to appreciate the stunning detail of this Baroque Jesuit church.
It's impressive.
Too bad I couldn't photograph it. I did, but no time to focus on it. I don't understand these dumb rules.
A place of legends and lore. Definitely not the huge interior space as depicted in the Indiana Jones movie, but the exterior is even more impressive in person.
More photos and peeks into the past to come!
See my album 2023 Egypt and Jordan www.flickr.com/photos/25171569@N02/albums/72177720306889694
Al-Khazneh (Arabic: الخزنة; "The Treasury") is one of the most elaborate temples in Petra, a city of the Nabatean Kingdom inhabited by the Arabs in ancient times. As with most of the other buildings in this ancient town, including the Monastery (Arabic: Ad Deir), this structure was carved out of a sandstone rock face.
The structure is believed to have been the mausoleum of the Nabatean King Aretas IV in the 1st century AD. It became known as "Al-Khazneh", or The Treasury, in the early 19th century by the area's Bedouins as they had believed it contained treasures.
Many of the building's architectural details have eroded away during the two thousand years since it was carved and sculpted from the cliff. The sculptures are thought to be those of various mythological figures associated with the afterlife.[4] On top are figures of four eagles that would carry away the souls. The figures on the upper level are dancing Amazons with double-axes. The entrance is flanked by statues of the twins Castor and Pollux who lived partly on Olympus and partly in the underworld.
In contrast to the elaborate facade, the interior comprises a plain main chamber and three antechambers with interior volume of around 2,000 m3 (71,000 cu ft).[ (Wikipedia)
Jenny Pansing photos
This rather extraordinary parish church, set on a spacious green hill above the River Severn, stands in stark contrast to Shrewsbury's medieval streets and mainly Tudor townscape.
Dating from 1790-92, it is a classical church, and is built from a pale stone that sets it quite apart from the red sandstone and half-timbering that are the usual materials of Shropshire. What is more, it is a classical church with a difference: the nave is completely round.
Opinions differ as to how successful a building this is. The tower, from some angles, looks almost unrelated to the rest of the church, being separated from it by a rounded antechamber. But the interior is light, bright and uncluttered. Slender white columns (made of local cast iron) support a gallery that sweeps right round the church.
In the churchyard is the grave of Ebenezer Scrooge
It is thought that the site on which St Nicholas’ Church in the Wiltshire village of Bromham stands may well have been a site of religious worship prior to the founding of the present church, as in 1086 the Domesday Book records a priest as having “lands and messuages” in Bromham. The building of the church we see today was begun between 1086 and 1094 during the latter years of the reign of William I (William the Conquer) and the early years of his son William II, and has been extensively added to and altered over the centuries. However, there remain considerable areas of original Norman and medieval as well as later 17th, 18th and 19th century alterations and re-construction.
St. Nicholas’, Bromham, is considered to be one of the finest parish churches in Wiltshire. The church sits on a prominent site in the centre of the village overlooking the Avon valley towards Melksham, Trowbridge and Westbury. St Nicholas church was originally built in the linear form consisting of nave, a tower or crossing (no spire) and chancel. In the 14th century a transept was built to the south of the tower or crossing and was completed by 1380 not visible from this angle). At this time the tower or crossing was increased in height. The south transept was substantially altered during the 15th century and rebuilt as an antechamber to the newly built chantry chapel completed in 1491. There is no evidence or records of a north transept ever being built. Major additions and alterations to the church were carried out in the late 14th, 15th and early 16th centuries. This work resulted in the addition of a south aisle completed in 1390 together with a new south entrance and porch, re-fenestration (the redesign) of some of the windows in the gothic style and the addition of an octagonal spire in 1510. In the 17th century the parvis chamber for the Assistant Curate was built over the entrance porch and in the19th century the chancel was rebuilt and a new vestry constructed. At the same time a new pulpit and reading desk were installed and a re-ordering of the pews was carried out.
This description incorporates, with gratitude, information from the church’s website.
Le bassin d’ablutions de l’antichambre dans le somptueux mausolée de Moulay Ismaïl, avenue Bab Marrah, Meknès, Maroc.
Cette ancienne mosquée construite en 1703 par Ahmed Eddahbi est devenu un mausolée où repose le sultan Moulay Ismaïl (1645-1727) aux côtés d'une de ses épouses et deux de ses fils. C'est un des rares monuments religieux du Maroc ouvert aux non-musulmans. Après plusieurs cours dont la dernière comporte un bassin pour les ablutions et où les visiteurs doivent se déchausser, l'on accède à la superbe antichambre du mausolée. De là on peut voir sans y pénétrer (accès réservé aux musulmans) la chambre funéraire richement décorée.
La ville de Meknès a été fondée au 11e siècle par les Almoravides en tant qu'établissement militaire. Elle fut la capitale du pays durant le règne d'Ismaïl ben Chérif (1672-1727), fondateur de la dynastie alaouite. Il en fit une impressionnante cité de style hispano-mauresque ceinte de hautes murailles entourant le cœur historique de la ville et percées par 70 portes monumentales qui montre aujourd'hui l'alliance harmonieuse des styles islamique et européen dans le Maghreb du 17e siècle.
Meknès est ainsi l'une des quatre villes impériales du Maroc et sa médina est inscrite à la liste du patrimoine mondial de l'UNESCO (WHL-793) depuis 1996.
view of old town and Kostel Svatého Víta (Saint Vitus Church) from Hrad Český Krumlov (Český Krumlov Castle) and Plášťový Most (Cloak Bridge)
Český Krumlov (German: Krumau or Böhmisch Krumau, also spelt Krummau) is a town in the South Bohemian Region of the Czech Republic. It has about 13,000 inhabitants. It is known as a tourist centre, which is among the most visited places in the country. The historic centre with the Český Krumlov Castle complex is protected by law as an urban monument reservation, and since 1992, it has been a designated UNESCO World Heritage Site because of its well-preserved Gothic, Renaissance and Baroque architecture.
The Saint Vitus Church in Český Krumlov is a significant sight of the late Gothic from 1407-1439 with later modifications. In 1995, the Church was declared part of the National Cultural Heritage.
The Church of St. Vitus is a Gothic three naval construction from the period of 1407-1439. It was built on the foundations of an older building from the year 1309. The Gothic entrance portal was erected in 1410. In the 17th and 18th centuries, the Church continued to be extended and modified.
The Church is formed by three parallel arcades merged with a five-sided elongated presbyterium; there are rectangular multistoried sacristies on both sides with the Chapels of Resurrection and the St. John of Nepomuk Chapel, and the antechamber situated on the northern side. The occidental façade of the church incorporates a tower with quadrangular Roman window openings on the landing level changing to eight-sided openings higher up. The uppermost part of the spire is pseudogothic in style, dating to 1893-1894.
Longtemps salle de la Reine et salle des Gardes de la reine (au XVIe siècle), puis première antichambre de la reine à partir de 1768, cette pièce devint le premier salon de l'impératrice en 1804, de nouveau salle des Gardes de la reine en 1814, et fut transformée en salon de réception sous Louis-Philippe. Elle prend son nom actuel en 1837, lorsqu'elle est tendue de tapisseries, remplacées au Second Empire. Les tapisseries de la première moitié du XVIIe siècle décorant le salon représentent l'Histoire de Psyché et proviennent d'ateliers parisiens, d'après un modèle créé dans l'entourage de Raphaël. La cheminée date de 1731. L'essentiel du mobilier a été installé au Second Empire.
For a long time the Queen's Room and the Queen's Guard Room (in the 16th century), then the Queen's first antechamber from 1768, this room became the Empress's first salon in 1804, the Queen's Guard Room again in 1814, and was transformed into a reception room under Louis-Philippe. It took on its present name in 1837, when it was hung with tapestries, which were replaced in the Second Empire. The tapestries of the first half of the 17th century decorating the salon represent the Story of Psyche and come from Parisian workshops, after a model created in the entourage of Raphaël. The fireplace dates from 1731. Most of the furniture was installed during the Second Empire.
(Cut to the sun filtering low behind the trees surrounding the golf course. Cut to the entrance of the country club where valets park cars and doormen check people through, or wave them away. Cut inside the club to where Dyanna is on the arm of a young man, both of them dressed in lavish formal wear, like the other attendees.)
Dyanna: I wasn't sure I would ever see the inside of this place. I can't believe I'm here.
Date: It's a special night. I wanted to share it with someone special.
Dyanna: (smiles) I wasn't sure you'd want to see me again, after our last date. I've never fainted before. It's so embarrassing.
Date: I blame myself entirely for being too liberal with the Domaine Jean Yves Bizot Echezeaux Grand Cru, Cote de Nuits. 2014 was a precocious year.
Dyanna: (gives a small laugh) Yes, of course. (music changes to Perfect - Ed Sheeran) Oh, I love this song!
Date: Then we must dance.
(Dressed in an impeccable tux, Lucas enters from a side door - spotting Dyanna, he smiles; slowly crossing the dance floor, reaching her when the song ends, and blocking Date's way when he turns)
Lucas: (to Date) Why don't you bring the lady and I some champagne?
Dyanna: (surprised) Lucas? What do you think you're doing?
Lucas: (turns to Dyanna as Date takes a hike) Dancing with the most beautiful woman in the ballroom.
Dyanna: Are you drunk, high, or just regular crazy? And where did you get those clothes?
Lucas: Tom Ford. Do you approve?
Dyanna: I don't approve of -- Tom Ford? (Lucas nods) Then you must have stolen it.
Lucas: (shakes his head) I inherited it. Come on, dance with me.
(Lady Gaga, Bruno Mars - Die With A Smile begins and Lucas pulls Dyanna close)
Dyanna: Hey, 1950s toxic masculinity much?
Lucas: They don't let people in here who don't belong here, and here I am. So, why don't you just dance and enjoy the smell of money?
Dyanna: (glancing around, sees that nobody is at all curious about Lucas' presence) I guess one dance won't matter, as long as it doesn't leave the ballroom.
Lucas: That's the plan. (they dance)
(Cut to ballroom antechamber where lavishly dressed Lilitus, Trajan, and an entourage gather to make their entrance into the ballroom.)
(to be continued)
Thank you to the cast!
Dyanna: Bailey
Lucas: B
Costume designer: Bailey
Set Designer: Bailey
For my video; youtu.be/16R9_rbRq1A?si=-WZJkNm9XE-c9DDR
Lashmar Conservation Park is a protected area located on the north coast of Dudley Peninsula on Kangaroo Island in South Australia about 40 kilometres (25 miles) south-east of Penneshaw. It was proclaimed under the National Parks and Wildlife Act 1972 in 1993. The Lashmar Lagoon which is considered to be a significant wetland is located within the boundaries of the conservation park. The conservation park is classified as an IUCN Category III protected area.
Antechamber Bay, South Australia, Australia
This rather extraordinary parish church, set on a spacious green hill above the River Severn, stands in stark contrast to Shrewsbury's medieval streets and mainly Tudor townscape.
Dating from 1790-92, it is a classical church, and is built from a pale stone that sets it quite apart from the red sandstone and half-timbering that are the usual materials of Shropshire. What is more, it is a classical church with a difference: the nave is completely round.
Opinions differ as to how successful a building this is. The tower, from some angles, looks almost unrelated to the rest of the church, being separated from it by a rounded antechamber. But the interior is light, bright and uncluttered. Slender white columns (made of local cast iron) support a gallery that sweeps right round the church.
Charles Darwin was baptised in St Chad's church in 1809, and as a young boy attended the church with his mother Susannah
In the churchyard is the grave of Ebenezer Scrooge.
Text source - www.nationalchurchestrust.org/church/st-chad-shrewsbury
It is thought that the site on which St Nicholas’ Church in the Wiltshire village of Bromham stands may well have been a site of religious worship prior to the founding of the present church, as in 1086 the Domesday Book records a priest as having “lands and messuages” in Bromham. The building of the church we see today was begun between 1086 and 1094 during the latter years of the reign of William I (William the Conquer) and the early years of his son William II, and has been extensively added to and altered over the centuries. However, there remain considerable areas of original Norman and medieval as well as later 17th, 18th and 19th century alterations and re-construction.
St. Nicholas’, Bromham, is considered to be one of the finest parish churches in Wiltshire. The church sits on a prominent site in the centre of the village overlooking the Avon valley towards Melksham, Trowbridge and Westbury. St Nicholas church was originally built in the linear form consisting of nave, a tower or crossing (no spire) and chancel. In the 14th century a transept was built to the south of the tower or crossing and was completed by 1380 not visible from this angle). At this time the tower or crossing was increased in height. The south transept was substantially altered during the 15th century and rebuilt as an antechamber to the newly built chantry chapel completed in 1491. There is no evidence or records of a north transept ever being built. Major additions and alterations to the church were carried out in the late 14th, 15th and early 16th centuries. This work resulted in the addition of a south aisle completed in 1390 together with a new south entrance and porch, re-fenestration (the redesign) of some of the windows in the gothic style and the addition of an octagonal spire in 1510. In the 17th century the parvis chamber for the Assistant Curate was built over the entrance porch and in the19th century the chancel was rebuilt and a new vestry constructed. At the same time a new pulpit and reading desk were installed and a re-ordering of the pews was carried out.
This description incorporates, with gratitude, information from the church’s website.