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This is the view anyone entering the house would have had for over the past hundred years upon entering the front door of the Reese-Peters House.
© 2015 Brian Rodgers
Cropredy has ancient origins, a chapel in the church is dedicated to St Fremund, an anglo-saxon saint thought to be the son of King Offa. It's name combines the Old English croppe or hill and ridig, a small stream. The village is only a few miles from Banbury, in hilly country along the banks of the River Cherwell. Before the Dissolution of the Monasteries Cropredy belonged the Bishop of Lincoln. More recently Brasenose College, Oxford, has become a significant landlord giving it's name to the local pub.
Dramatic changes to centuries of agrarian life were heralded by the excavation of the Oxford canal which runs alongside the Cherwell south-east of the church. This busy waterway was superseded by the Great Western railway, the village even had it's own station until 1956.
Unusually Cropredy retains the ringing of the curfew bell, in Medieval times this was a signal to return home and 'cover their fires'. Roger Lupton local priest between 1487 and 1528 was so lost in dense fog that he could only find his way from nearby Chacombe by the ringing of Cropredy's bells. He founded a fund in gratitude which paid for the daily winding of the clock and tolling the bell morning, noon and night. The bell is still rung Tuesday and Thursday nights for five minutes after eight O'clock.
The village is best known for the Civil War 'Battle of Cropredy Bridge'. A rare Royalist victory at a time when the Parliamentary forces were in the ascendancy. In June 1644 the King slipped out of Oxford to avoid two Roundhead armies which were rapidly approaching. At this point the Earl of Essex chose to lead his army south and relieve the siege of Lyme Regis leaving Sir William Waller to pursue the King with half of the men. Waller shadowed the Royal army to Worcester only for the King to double back towards Banbury where the Parliamentary commander saw an opportunity to split the Royal forces which were strung out along the Daventry road. Waller's artillery crossed Cropredy bridge but were too far ahead of the infantry and were overrun. Fierce fighting followed but neither side achieved a significant advantage and a chance of capturing the King was lost. As children we were told stories of a phantom drummer boy.
Cropredy's most prominent claim to fame is their music festival founded when Fairport Convention played the village fete in 1976. Cropredy Music Festival grew from these modest beginnings and now attracts over 20,000 music fans every year.
St. Mary the Virgin is an impressive building constructed from the local rust-coloured ironstone. While part of the wall of the south aisle has been dated to c1050 the present church begins in the 13th century with significant 14th and 15th century additions. The south wall has two tomb recesses thought to be built for Simon de Cropredy and his son c1200. The church has an interesting 13th century parish chest and the chapel dedicated to the anglo-saxon saint Fremund has two 15th century screens, one of which has the initials AD which may stand for Alice Danvers. The nave arcading, tower and choir arches are Perpendicular in style with no capitals and continuous moulding from ground level. The tower is early 15th century with the belfry and parapets added 80 years later, There are eight bells, six from the late 17th century, two added in 2007 called Fairport and Villager. Fragments of a Doom survive above the chancel arch. The church has a 17th century pulpit and a rare pre-reformation eagle lectern which is said to have been hidden in the river before the Battle of Cropredy where it lost one of it's lion feet. The beak has a slot for collecting 'Peter's Pence'. There is a beautiful 15th century head of the Virgin Mary in stained glass which was found in the churchyard. There are two fonts, one Norman and one Victorian. In the tower is a magnificent clock by John Moore of Clerkenwell dated 1831.
Cropredy is just off the Daventry road a few miles from Banbury about an hour from Stratford-upon-Avon.
The Brihadeshwara Temple at Thanjavur in the Indian state of Tamil Nadu, is a Hindu temple dedicated to Shiva. It is an important example of Tamil architecture achieved during the Chola dynasty. The temple is part of the UNESCO World Heritage Site known as the "Great Living Chola Temples".
This is one of the largest temples in India and one of India's most prized architectural sites. Built by emperor Raja Raja Chola I and completed in 1010 AD. Brihadeshwara Temple, also popularly known as the 'Big Temple', turned 1000 years old in 2010.
Thanjavur Periya Kovil stands amidst fortified walls that were probably added in the 16th century. The vimana (or temple tower) is 66 m high and is among the tallest of its kind in the world. The Kumbam (Kalasha or Chikharam, the apex or the bulbous structure on the top) of the temple is carved out of a single rock and it weighs around 80 tons. There is a big statue of Nandi (sacred bull), carved out of a single rock, at the entrance measuring about 16 feet long and 13 feet high. The entire temple structure is made out of granite, the nearest sources of which are close to Tiruchirappalli, about 60 km to the west of Thanjavur.
HISTORY
The temple had its foundations laid out by the Tamil emperor Arulmozhivarman, popularly called Rajaraja Chola I, in 1002 CE, as the first of the great Tamil Chola building projects.
The Brihadeshwarar Temple was built to grace the throne of the Chola empire in compliance to a command given to him in his dream. The scale and grandeur is in the Chola tradition. An axial and symmetrical geometry rules the temple layout. Temples from this period and the following two centuries are an expression of the Tamils (Chola) wealth, power and artistic expertise. The emergence of such features as the multifaceted columns with projecting square capitals signal the arrival of the new Chola style.
The Brihadeshwarar Temple was built to be the royal temple to display the emperor's vision of his power and his relationship to the universal order. The temple was the site of the major royal ceremonies such as anointing the emperor and linking him with its deity, Shiva, and the daily rituals of the deities were mirrored by those of the king. It is an architectural example showcasing the pure form of the Dravida type of temple architecture and representative of the Chola Empire ideology and the Tamil civilisation in Southern India. The temple "testify to the brilliant achievements of the Chola in architecture, sculpture, painting and bronze casting."
CONSTRUCTION
The wish to build a mammoth temple like this is said to have occurred to Raja Raja while he stayed at Sri Lanka as an emperor.
The esteemed architect and engineer of the temple was Kunjara Mallan Raja Raja Perunthachan as stated in inscriptions found at the temple. The temple was built per ancient texts called Vaastu Shastras and Agamas. He is the ancient ancestor of the doyan of Vaastu Vedic architecture, the late Dr. V. Ganapti Sthapati of Chennai and Mahabalipurim (architect of the 133' granite Thiruvalluvar statue at the tip of south India). Members of his family still live and practice the ancient art and science. The American University of Mayonic Science and Technology was initiated by Dr. V. Ganapati Sthapati to perpetuate the same form of architectural principles used by Kunjara Mallan Raja Raja Perunthachan to build the Brihadeeswarar temple. The temple was built using a measure of 1 3/8-inch called an angula (24 units equalling 33 inches called a hasta, muzam, or kishku). This is the same measure found in ancient Lothal and other sites in the Indus Valley dating back 4000 - 6000 years. This same measure is used to build structures compliant with the Vaastu Shastras and Agamas today. While some builders use a different measure this is considered a standard due to its antiquity.
This temple is the first building fully built by granite and finished within 5yrs [1004AD – 1009AD]. The solid base of the temple raises about 5 metres, above which stone deities and representatives of Shiva dance. The huge kalasam or Vimanam (top portion of the shrine) is believed to weigh 81.28 tonnes of single stone block and was raised to its present height by dragging on an inclined plane of 6.44 km. The big Nandi (bull), weighing about 20 tonnes is made of a single stone and is about 2 m in height, 6 m in length and 2.5 m in width. The presiding deity of lingam is 3.7m tall. The prakaram (outer precincts of the temple) measures 240m by 125m. The outer wall of the upper storey is carved with 81 dance karanas – postures of Bharathanatyam, the classical dance of Tamil Nadu. The shrine of Goddess was added by Pandyas during the 13th century, Subramanya Shrine by Vijayanagara rulers and the Vinayaka shrine was renovated by Maratha rulers.
TEMPLE COMPLEX
The temple complex sits on the banks of a river that was channelled to make a moat around the complex's outer walls, the walls being built like a fortress. The complex is made up of many structures that are aligned axially. The complex can be entered either on one axis through a five-story gopuram or with a second access directly to the huge main quadrangle through a smaller free-standing gopuram. The massive size of the main Vimanam (Shikhara) is ca. 60 meters high, with 16 elaborately articulated stories, and dominates the main quadrangle. Pilaster, piers, and attached columns are placed rhythmically covering every surface of the Vimanam.
The gopuram of the main entrance is 30 m high, smaller than the vimana. It is unusual in the dravidian architecture where the gopurams are generally the main towers and taller than the vimana.
MAIN TEMPLE
A first rectangular surrounding wall, 270 m by 140 m, marks the outer boundary. The main temple is in the center of the spacious quadrangle composed of a sanctuary, a Nandi, a pillared hall and an assembly hall (mandapas), and many sub-shrines. The most important part of the temple is the inner mandapa which is surrounded by massive walls that are divided into levels by sharply cut sculptures and pilasters providing deep bays and recesses. Each side of the sanctuary has a bay emphasising the principle cult icons. The karuvarai, a Tamil word meaning the interior of the sanctum sanctorum, is the inner most sanctum and focus of the temple where an image of the primary deity, Shiva, resides. Inside is a huge stone linga. The word Karuvarai means "womb chamber" from Tamil word karu for foetus. Only priests are allowed to enter this inner-most chamber.
In the Dravida style, the Karuvarai takes the form of a miniature vimana with other features exclusive to southern Indian temple architecture such as the inner wall together with the outer wall creating a pradakshina around the garbhagriha for circumambulation (pradakshina). The entrance is highly decorated. The inside chamber housing the image of the god is the sanctum sanctorum, the garbhagriha. The garbhagriha is square and sits on a plinth, its location calculated to be a point of total equilibrium and harmony as it is representative of a microcosm of the universe. In the center is placed the image of the deity. The royal bathing-hall where Rajaraja the great gave gifts is to the east of the hall of Irumudi-Soran.
The circumambulation winds around the massive lingam in the garbhagriha and is repeated in an upper story, presenting the idea that Chola Empire freely offered access to the gods.
The inner mandapa leads out to a rectangular mandapa and then to a twenty-columned porch with three staircases leading down. Sharing the same stone plinth is a small open mandapa dedicated to Nandi, Shiva's sacred bull mount.
TEMPLE DEITIES
The "moolavar" or prime deity of the Brihadeeswarar Temple is Shiva. All deities, particularly those placed in the niches of the outer wall (Koshta Moorthigal) like Dakshinamurthy, Surya, Chandra are of huge size. The Brihadiswarar temple is one of the rare temples which has idols for "Ashta-dikpaalakas" (Guardians of the directions) – Indra, Agni, Yama, Nirṛti, Varuṇa, Vāyu, Kubera, Īśāna – each of whom was originally represented by a life-sized statue, approximately 6 feet tall, enshrined in a separate temple located in the respective direction. (Only Agni, Varuṇa, Vāyu and Īśāna are preserved in situ.)
ADJOINING STRUCTURES
Surrounding the main temple are two walled enclosures. The outer wall is high, defining the temple complex area. Here is the massive gopuram or gateway mentioned above. Within this a portico, a barrel vaulted gorpuram with over 400 pillars, is enclosed by a high wall interspersed with huge gopurams axially lined up to the main temple.
FEATURES
Another widely held belief is that the shadow of the gopuram (pyramidal tower usually over the gateway of a temple) never falls on the ground. The temple is said to be made up of about 130,000 tons of granite. The Kumbam itself, a 60 ton granite stone carved in one piece, on top of the main gopuram is believed to have been taken to the top by creating an inclined slope to the height of 66m to the top of the gopuram. The prevailing belief is that a mud-slope, which starts at about three miles from the temple site, from Thirukoilore (birthplace of Raja raja's mother) near Sri Virateshvara swamy temple. Elephants might have been used to drag the stone up the slope. This was claimed to be the only part of the gopuram, which does not cast a shadow that fall on the ground, at least not within the temple premises.
MURALS
The temple has Chola frescoes on the walls around the sanctum sanctorum potryaing Shiva in action, destroying demonic forts, dancing and sending a white elephant to transport a devotee to heaven. These frescoes were discovered in the 1940s and portray the mythological episodes of the journey of Saint Sundarar and the Chera King to heaven, the battle scene of Tripurantaka (Lord Siva) with Asuras (demons). The Chola artists have proved their mettle by portraying even the Asura women with a sense of beauty. Some of the paintings in the sanctum sanctorum and the walls in the passage had been damaged because of the soot that had deposited on them. Owing to the continuous exposure to smoke and soot from the lamps and burning of camphor in the sanctum sanctorum over a period of centuries certain parts of the Chola paintings on the circumambulatory passage walls had been badly damaged. The Tanjore Nayak kings replaced them with a few paintings of their own, about 400 years ago. The Archaeological Survey of India, for the first time in the world, used its unique de-stucco process to restore 16 Nayak paintings, which were superimposed on 1000-year-old Chola frescoes. These 400-year-old paintings have been mounted on fibre glass boards, displayed at a separate pavilion.
TEMPLE PERSONNEL
The temple was consecrated in 1010 CE by Raja Raja Chola I & in 2010 a celebration commemorated the temple's thousandth anniversary. The temple maintained a staff of 1000 people in various capacities with 400 being temple dancers Besides the Brahmin priests, these included record-keepers, musicians, scholars, and craftsman of every type as well as housekeeping staff. In those days the temple was a hub of business activities for the flower, milk, oil, and ghee merchants, all of whom made a regular supply of their respective goods for the temple for its poojas and during festival seasons. Moreover as evidenced by the inscriptions that found in the compound wall of this temple, the temple had always been serving as a platform for the dancers who excelled in the traditional dance form of Bharatnatyam. vallamuthu minnadi generation worshipped this temple.
MILLENNIUM CELEBRATIONS
Built in the year 1010 CE by Raja Raja Chola in Thanjavur, Brihadeeswarar Temple popularly known as the 'Big Temple' turned 1000 years old in September 2010. To celebrate the 1000th year of the grand structure, the state government and the town held many cultural events. It was to recall the 275th day of his 25th regal year (1010 CE) when Raja Raja Chola (985–1014 CE) handed over a gold-plated kalasam (copper pot or finial) for the final consecration to crown the vimana, the 59.82-metre tall tower above the sanctum.
BHARATHANATYAM YAJNA
To mark the occasion, the state government organised a Bharathanatyam Yajna, classical dance show under noted dancer Padma Subramaniam. It was jointly organised by the Association of Bharatanatyam Artistes of India (ABHAI) and the Brhan Natyanjali Trust, Thanjavur. To mark the 1000th year anniversary of the building, 1000 dancers from New Delhi, Mumbai, Pune, Tamil Nadu, Andhra Pradesh, Karnataka, Kerala, Singapore, Malaysia and the US danced in concert to the recorded 11 verses of divine music Thiruvichaippa (ninth of Thirumurai) composed by Karuvur Thevar (the guru of Raja Raja Chola) named Tiruvisaippa. The small town turned into a cultural hub for two days beginning 26 September 2010 as street performers and dancers performed throughout the town.
WIKIPEDIA
Left to right: 30 The South Colonnade, One Canada Square, 8 Canada Square, 33 Canada Square, 25 Canada Square.
In Yangon parlance, a building with no elevators (lifts) is called an apartment building and one with elevators is called a condominium.
Condos which have to invest in a local power generator to ensure 24-hour electricity for the elevators are beyond the reach of most Yangonites.
Found throughout the city in various forms, eight-story apartment buildings provide relatively inexpensive housing for many Yangonites. The apartments are usually eight stories high (including the ground floor) mainly because city regulations, until February 2008, required that all buildings higher than 75 feet (23 m) or eight stories install elevators. The current code calls for elevators in buildings higher than 62 feet (19 m) or six stories, likely ushering in the era of the six-story apartment building.
Although most apartment buildings were built only within the last 20 years, they look much older and rundown due to shoddy construction and lack of proper maintenance, like the one the picture shows.
See my selected pics here: www.500px.com/alcuinlai
Dreamland Cinema, Margate. Slated for restoration, this grade 2* listed cinema was designed by Leathart & Granger in 1935. It has been closed since 2007.
Margate Kent, Dreamland Theatre
January 2016
St Paul’s in the dead of night. It takes on a very different character at night after the hordes of tourists have long vanished. St Paul’s just leaps out at you as you round the corner. It’s a bit of a show biz illumination for such a serene and beautiful building. I hope you enjoy my view of it, and thank you for taking the time to look.
I climbed barefoot up 7 flights of marble stairs to photograph this stupa at night, and then descended the 7 flights of stairs to disvcover my shoes had been stolen. Not my finest hour. I didn't keep my feelings to myself, and I don't think an elderly monk standing close by had ever heard anything quite like it.
Les rues d'Albi : la maison romane : Hôtel Fenasse
Cette demeure appelée “maison romane” ou hôtel Fenasse date du XIIe siècle et se situe à l’angle des rues Saint-Étienne et des Foissants, au débouché de la rue de la Grand’Côte.
L’hôtel Fenasse fait partie des rares édifices civils romans de la région Midi- Pyrénées. Elle appartenait à l’origine à une riche famille d’Albi, les Fenasse.
Vers 1 300, Guillaume Fenasse fut condamné pour catharisme et son hôtel fut confisqué. Il devint ensuite propriété d’un frère de l’évêque Béraud de Fargues, puis passa à Pierre-Raymond de Rabastens, vicomte de Paulin, sénéchal de Toulouse, et pour finir devint la propriété d’Étienne Lacombe, riche négociant albigeois.
Cette demeure présente un caractère monumental sous les traits d’une vaste demeure bourgeoise (19/23 mètres), qui occupe trois parcelles de l’actuel plan cadastral. Bien que remaniée en brique au cours des siècles, elle témoigne de l’utilisation de la pierre calcaire en albigeois à la période romane, pour des édifices de qualité.
À l’intersection de deux rues, le bâtiment comportait trois étages avec un dernier niveau à colombages.
La façade la plus importante sur la rue Saint-Étienne témoigne d’un souci décoratif : le rez-de-chaussée se compose de deux grandes arcades, l’une en brique et l’autre en pierre aujourd’hui partiellement murée. Ces deux arcs étaient probablement tous deux en pierre à l’époque médiévale et s’ouvraient sur un espace commercial (boutique ou atelier) donnant sur la rue Saint-Étienne, qui était alors une artère commerciale importante.
À l’étage, la baie romane qui subsiste témoigne d’un certain luxe. Elle appartenait à une série de baies qui éclairaient la pièce principale d’habitation, l’aula, et qui étaient reliées entre elles par un cordon mouluré. Cette baie comprend une large voussure amortie en boudin et en bandeau, qui fait apparaître les vides laissés par des éléments sculptés aujourd’hui disparus.
L’archivolte comporte une moulure biseautée ornée de palmettes et de rinceaux. Deux colonnettes à chapiteaux et bases attiques supportent l’arc en plein cintre. Le soin accordé au décor de cette partie de l’édifice traduit une certaine volonté de magnifier la puissance et la richesse du propriétaire.
À l’inverse, la partie qui s’ouvre rue des Foissants se caractérise par la sobriété du décor. La seule ouverture conservée, une porte donnant sur une artère secondaire, n’a reçu aucun soin particulier. Cette demeure répond à un type de “maison polyvalente” conçue pour répondre aux deux fonctions dominantes : résidentielle et professionnelle.
La maison romane ou hôtel de Fenasse est un exemple des belles demeures du quartier des Combes et des berges du Tarn. La plupart des habitations de ce quartier, qu’elles soient en pierre comme la maison romane ou à pans de bois, font preuve d’une certaine opulence, car elles se dressaient sur des axes essentiels de la cité telles la rue de la Grand’Côte ou la rue Saint-Étienne.
Ces rues situées au débouché du Pont-vieux, seul accès à la rive droite du Tarn, desservaient le centre commercial de la cité, en menant vers les couverts de l’ancienne place de la Pile, vers Sainte-Cécile et Saint- Salvi.(extrait de : www.cite-episcopale-albi.fr/ )
A refurbished Young's gastropub, which has returned to its original name. It has since been rebranded as a Geronimo Inns pub. (It was in the Good Beer Guide as Finch's.)
Address: 190 Fulham Road.
Former Name(s): Finch's.
Owner: Young's; H.H. Finch (former).
The Network Rail PLPR train with power car 43062 "John Armitt" at the rear passes the HS2 work at Aston on 2nd February 2024 with 1Z20 0440 Paddington to Derby. The train had already visited South Wales earlier on its journey.
The massive road bridge can be seen still under construction in the background, designed to replace the nearby one when the main road is diverted.
(famous greek prime minister saying on the works on the olympic projects that wrote history as his accent was funny! Means roughly: 'Are these works a scale model??!!')
gave a try on 'tilt shift PS technique'.. it is supposed to look like a scale model..!
1913 postmarked postcard view of Main Street in Kendallville, Indiana. This view was looking southwest along the west side of Main Street between Williams and Rush Streets. The three-story building is the Keller Building. The 1914 Sanborn™ map set for Kendallville shows the post office in the north half of that building at 220-222 South Main Street. A mailbox stood by the entrance. A pool hall (224 South Main Street) and millinery shop (226 South Main Street) occupied the remainder of the building’s main floor.
The small building north (218 South Main Street) housed a harness shop according to the map set. The lettering on the awning at that address included the word HARNESS, but the remainder of the business name is unclear. The awning on the building at the right (216 South Main Street) advertised the GUTELIUS & MILLER 5 & 10 CENT STORE. Harry Gutelius and Dick Miller were brothers-in-law. The items on the sidewalk by the lamppost appear to be wheeled children's toys.
All three of these buildings were still standing and in use as of 2009. The partially visible advertisement at the right edge of the postcard stood in a vacant lot. It advertised STAR TOBACCO. The 1914 map set shows a bank occupying a building at that location (212 South Main Street).
This image was created by Thomas Keesling from a postcard courtesy of the Indiana Postal History Society.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
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Victoria House on the North side of Lichfield Street between High (near) and Colombo Streets.
Built in 1893, it was originally the Christchurch branch of Ross and Glendinning, a Dunedin clothing manufacturer. By 1898 the building had become the furniture department of Strange and Company; Australasia's largest department store of the late Victorian era.
On the ground floor of this building began the Great Fire of Christchurch on a Summer's evening in 1908 (inset). Sixteen substantial buildings in the block were destroyed and the total loss amounted to almost a billion dollars in the values of 2008.
Strange's went into liquidation in 1930 and the building became the factory and warehouse of Arthur Ellis and Company, bed ware and clothing makers. After another fire in 1967 the Left hand two-thirds of the building were demolished and not replaced. The site has remained a car park ever since, but a 26 storey apartment block is scheduled to be built here soon.
Currently in Korean ownership, the surviving third of Victoria House has been the premises of a private men's club for a couple of decades.
Canterbury Heritage, a journal of the province's social history and cultural heritage.
The Cultural Education Center, on the south side of Empire State Plaza, was completed in 1976 to the design of Wallace Harrison and Max Abramovitz. The eleven story, 1.5 million square foot building houses the main offices of New York State Office of Cultural Education (part of the New York State Education Department), which includes the New York State Museum (Floors 1-4), the New York State Archives, and the New York State Library (Floors 5-8 and 11).
The Governor Nelson A. Rockefeller Empire State Plaza, commonly known as simply the Empire State Plaza or The South Mall, is a complex of government buildings bordered by Madison Avenue and State Street, Swan Street and Eagle Street. Built between 1965 and 1978, it covers 98 acres and houses 11,000 state employees in ten buildings. Conceived by former Governor Nelson Rockefeller in 1959 during a visit from Princess Beatrix of The Netherlands, the plaza is the largest state capital complex of unified architectural conception in the United States. The Plaza has been sharply criticized over the years for its size, cost and design.
Established as a brewery by Chuck Hahn in 1986, a handsome conversion of a 19th century factory building, today it is owned by Lion Nathan. Hahn previously worked for Lion Nathan when it was New Zealand Breweries, in New Zealand, and is credited with developing the highly successful Steinlager brew.
Today Hahn is brew master of Malt Shovel, which occupies a similar market positioning to Coopers although with less capacity.
Building facades in Austin Street at the corner of Continental Avenue in 'Forrest Hills' in Queens
Hausfassaden in der Austin Street an der Ecke zur Continental Avenue in 'Forrest Hills' in Queens
DSC00494
Six Hills House, London Road, Stevenage. This building used to be where Fujitsu was located, but was left empty for many years. It became a target for vandalism and in 2014, travellers moved in. I don't know how much of the damage was caused by them. They've moved on and the building is due to be converted into apartments. See the following news reports for more information: The Comet, 10 July 2014; Mercury, 20 May 2015; The Comet, 29 May 2015; Mercury, 7 June 2015. Photographed by me on 16 July 2014, because I knew the development was coming.
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