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Wentworth Woodhouse was largely the creation of Thomas Watson-Wentworth, Lord Malton from 1728, earl of Malton from 1734, and marquess of Rockingham from 1746. The building was developed in two main phases. The first, the west side, dates from between 1724 and 1728 and is constructed of brick. The design has been attributed to William Thornton, even though he died as early as 1722, because it makes use of ideas from Rossi's 'Studio di architettura civile' (1702), a source used in other buildings by Thornton, including Beningbrough Hall. (The second phase was focussed on the east side - which is gigantic in scale - dating from between 1731 and 1751 and faced in stone. It was begun by Ralph Tunnicliffe and completed by Henry Flitcroft). The earlier west front is brick in Flemish bond. The centre section is faced with ashlar sandstone, which is also used for the dressings. This front is two storeys high with single storey wings above half-basements. On either side of the central section are curved Venetian windows (seen here).
Completed in 1739, the church was built in a proto-Baroque style a façade of azulejo tilework. Approximately 11,000 azulejo tiles cover the façade of the church, which were created by artist Jorge Colaço and installeded in November 1932. The tiles depict scenes from the life of Saint Ildefonso and figurative imagery from the Gospels.
Porto, Portugal
November, 2017
20171115_110148
Fournier Street, originally Church Street, was developed in the area around Christ Church, Spitalfields, previously a tenter ground and market garden. The land was bought by two lawyers, Charles Wood and Simon Mitchell who leased out plots from 1718 onwards. No. 2, the Rectory, is seen here at the right (next to the church). The Rectory was designed and built by Nicholas Hawksmoor between 1726 to 1729. It cost the Commissioners £1,456. Leases for the neighbouring houses, nos 4 and 6, were granted in 1726 and were built by Marmaduke Smith, a carpenter.
Felbrigg Hall was built for Thomas Windham between 1621 and 1624. Many of the same craftsmen worked there as at Blickling in the 1620s. The west wing was designed in 1674 by William Samwell († 1676), a gentleman architect, for William Windham I (1647-89), but it may not have been constructed until the 1680s, after Samwell's death, because one of the rainwater heads is dated 1686. This wing is built of brick, with brick quoins, has eight bays and is two storeys high, with a hipped roof and pedimented dormers, the last-mentioned being added in 1751. There are two segmental pediments on ground-floor windows in the second and seventh bays. These are recorded as a window and a door, respectively, in a drawing by Samwell of the west elevation datable c.1675. Each window also has a moulded brick surround with a lugged architrave and a pulvinated frieze. The pediments cut into the platband. The windows originally had casements and the present sashes were inserted later.
The church of Santa Maria della Salute and St Mark's Basin, as seen from the top of the bell tower of San Giorgio Maggiore.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
Clock on the frontispiece to the Board Room for Officers of the Ordnance Board at the Royal Arsenal, Woolwich. The building is attributed to Sir John Vanbrugh and Nicholas Hawksmoor. It is datable to 1718-20 and was extended around 1741. It is constructed in red brick. The front is symmetrical with a frontispiece that has heavy rusticated piers, or banded jambs, with narrow, deeply set windows, supporting a lintel with statues of a lion and a unicorn on pedestals (cut off here at left and right). The upper level has a large arch with balcony, and a recessed round headed window beneath a clock, as seen here. The interior is a large hall with a stone and slate floor leading to rooms at either end. The one to the left became the Royal Military Academy in 1741 and later the Model Room. The one to the right became a chapel and more recently an officer's mess.
The Chapelle Royale (Royal Chapel) was the fifth and final chapel built for Louis XIV, and dedicated to St Louis, patron saint of the Bourbons.
The chapel was built during the fourth (and final) phase of construction.
Designed by architect Jules Hardouin-Mansart (1646-1708), construction on the chapel began in 1689, but work was delayed due to war between France and the Grand Alliance (a coalition between the Anglo-Dutch William III, Holy Roman Emperor Leopold I, Charles II of Spain, Victor Amadeus II of Savoy, and other princes); work resumed after France's victory, running from 1699–1710.
The ceiling of the nave is decorated with 'God the Father in His Glory Bringing to the World the Promise of Redemption' by Antoine Coypel; the half-dome of the apse with 'The Resurrection of Christ' by Charles de la Fosse; and above the royal tribune is 'The Descent of the Holy Ghost upon the Virgin and the Apostles' by Jean Jouvenet.
The Palace of Versailles was created at the instruction of Louis XIV, and was the centre of French government and power from 1682, when Louis XIV moved from Paris, until Louis XVI and the royal family was forced to return to the capital in 1789.
The chateau is built around a hunting lodge established by by Louis XIII, and was created in four phases: 1664–68, 1669–72, 1678–84 and 1699–1710, by the architects Le Vau, Le Nôtre, and Le Brun.
Great Ormond Street was developed by Nicholas Barbon from 1686 onwards, and continued after his death by Sir William Millman. The houses at the east end of the street date from 1710-15. No. 7 was built by John Cooper and Edward Chapman. It is of brown brick with red brick dressings, and has four storeys with a basement. The windows have gauged brick flat arches and later recessed sash windows. There are brick bands at first- and second-floor levels, and a stone cornice at third-floor level. The wooden Doric doorcase has fluted pilasters and an entablature. The hood is carried by foliated console brackets. The door is panelled and has a rectangular radial overlight. The railings have a cast-iron lamp holder.
Valletta Harbour. Beautiful place and a huge very deep water harbour. You can see why us British used is as a base for the HQ for the Royal Navy's Mediterranean Fleet back in the day
a k a "Church of the Vladimir Icon of the Mother of God"- two major Vladimir Churches- how many names?
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Completed in 1783, the beautiful and historic the Vladimir Icon of the Mother of God Cathedral is one of the oldest churches in St. Petersburg and presents a truly fascinating combination of baroque and classical architectural styles. The church is crowned with five onion-shaped cupolas, which rise into the sky above Vladimirskaya Ploschad in one of the most historic areas of the city. An impressive four-tiered bell tower stands adjacent to the church. The church is also home to one of the oldest and most elaborate iconostases in Russia.
Because the construction of the current stone church dragged on for more than 20 years and several different architects were involved in its design and construction, the cathedral is not credited to any one architect.
In 1831, a stone portico was added to the main building with two stairways leading to the second floor, designed by A. Melnikov. In 1833, another two-story portico was built on the northern and southern facades of the church including a two-story room for a staircase, designed by A. Golm. In 1848-1849 a fourth tier was added to the bell tower to a plan by architect F. Rusk. In 1850-1851 a fence was installed around the church, and two stone chapels were also added. The Vladimir Icon of the Mother of God Church, bell tower and chapels were also gilded at this time.
Although most of the church's treasures were looted during the Revolution, the incredible iconostasis on the church's upper level survived. It is one of only a very few of its kind in Russia is now an architectural monument and well worth seeing, and was created in the middle of the 18th century by Italian sculptor Bartolomeo Rastrelli.
www.saint-petersburg.com/churches/church-vladimir-icon-mo...
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Augustusstraße - 24,000 Meissen tiles depict the rulers of Saxony in a 102 metre procession. It's known as the Fürstenzug and is mounted on the back wall of the Johanneum - formerly the royal stables.
Rome, oval dome of the church Sant' Andrea al Quirinale.
One of the Baroque masterpieces from Gian Lorenzo Bernini, built between 1658 and 1670.
15, Fournier Street, London, was built by William Tayler, carpenter, in 1726. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. No. 15 was built under a lease granted by Wood and Michell on 30 March 1725 to Tayler, witnessed by Marmaduke Smith of Princes (Princelet) Street, a carpenter. No. 15 is of yellow brick with red brick dressings. However, this house was much altered internally in the nineteenth century, and the chanelled stucco at ground-floor level is of that date. In 1879 this house and its neighbour, no. 17, were combined as a mission for converting Jews ('Christ's Mission to the Jews'), at which time the staircase was removed from No. 15 and internal walls were taken out to create a Gospel Hall linking the two houses. No. 15 has only recently been reconstructed by Spitalfields Historic Buildings Trust in a programme of work that has returned the house to its original footprint.
Great Ormond Street was developed by Nicholas Barbon from 1686 onwards, and continued after his death by Sir William Millman. The houses at the east end of the street date from 1710-15. No. 3 was built by John Cooper and Edward Chapman. It is of brown brick with red brick dressings, and has four storeys with a basement. The windows have gauged brick flat arches and later sash windows in flush frames with exposed boxing. There are brick bands at first- and second-floor levels, and a stone cornice at third-floor level. The wooden Doric doorcase has fluted pilasters and an entablature. The door is panelled and has a rectangular overlight.