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Kasteel VP - explored with eye_art_peter
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Michelangelo Buonarroti is best known for painting the ceiling of the Sistine Chapel in the Vatican. He was also a sculptor, an architect, and a poet. [photo not Sistine]
Nevada, and it's weird betting-tilt, is an abstract place. Quirky. Fun. Unpredictable (unless you think that you can beat the gambling establishment).... Prospector Hotel, Ely, Nevada.
....there was a table....so put camera facing upwards on table on a 10 second delay.
www.ayrshirescotland.com/brodick-castle/Brodick-Castle-Ba...
Vatican Museums Ceiling. This ceiling bears the the symbol of the papacy, which is the image of two crossed keys that represent the keys to the Kingdom of Heaven.
AIMG_2428
Palau Güell (arch. Antoni Gaudì 1885-1889), Barcelona. Catalunya, Spain
CROSSVIEW
To view 3D pics cross your eyes focusing between at the pictures until both images overlap one another in the middle.
Per vedere le foto in 3D incrociare (strabuzzare leggermente) gli occhi fino a che le due immagini si sovrappongono formandone una sola centrale.
explore #320 on may 17, 2008
the ceiling of the desert view watchtower -- a stone building on the south rim of the grand canyon in arizona.
better bigger -- take a closer look
"The Desert View Watchtower, constructed in 1932 as a replica of a prehistoric Indian tower, commands a magnificent view of the Grand Canyon, the Painted Desert to the east and the San Fransico Peaks to the south. This seventy-foot tower is the highest point on the South Rim. The interior walls of the tower feature murals by Hopi artist Fred Kabotie."
more information about the building here: www.nps.gov/grca/planyourvisit/placestogo.htm
This complex image is the ceiling in the main hall of the National Art Gallery in Ottawa, Ontario. This is a massive ceiling, and even with a very wide 10mm shot I was not able to capture it all.
The ceiling of the Great Staircase by John Soane (1790s) at Wimpole Hall, Cambridgeshire, with a domed skylight and four large thermal windows. The gasolier was installed by Soane and dates from 1816.This early eighteenth-century staircase replaced an earlier, seventeenth-century one. Wimpole was largely the creation of Edward Harley, earl of Oxford (1689-1741) who expanded the core of an earlier house. This phase of work was undertaken circa 1719-21 by James Gibbs who was largely responsible for the Great Staircase as it exists today. In 1740, the house was bought by Charles Yorke, first earl of Hardwicke (1690-1764), and a new phase of work was initiated under Henry Flitcroft between 1742 and 1745. He refaced the exterior and did much additional work in the interior, including making several modifications to the Great Staircase, as seen here, which involved removing Gibbs's ceiling and inserting the gallery. Lastly, in the 1790s, John Soane inserted a new ceiling for Philip Yorke, third earl of Hardwicke. The plasterwork on the dome is by John Papworth.
Winchester Cathedral is one of our most rewarding churches, a treasure house of art and history that is also a textbook in stone of architectural styles, from the Romanesque period to the last flowering of Gothic. It also epitomises the English preference for length over height, being the longest medieval church in Europe.
The earliest parts of the present building are 12th century Romanesque, begun in 1079 to replace the smaller Saxon cathedral (whose foundations can be traced in the churchyard) and comprise the unusually squat central tower and both transepts. The Norman crypt also survives under the choir, but suffers frequently from flooding.
The Norman nave also partially survives, but is totally unrecognisble since the late 14th century remodelling of the western limb, which now appears entirely of that date. This Gothic makeover was an immense success internally, beautifully proportioned with a magnificent sweeping vault studded with foliate bosses.
By comparison the choir is much shorter, and is the result of seperate 14th and 15th century rebuildings. It too has delicate vaulting with bosses, though here all is of wood. The dominant feature by far is the towering altar screen reredos dating from 1455-75. It's original statues were destroyed at the Reformation and are now replaced with Victorian figures; fragments of some of the original 15th century figures survive in the cathedral museum and show them to have been of very high quality indeed, a grevious loss.
Behind the great altar screen in the retrochoir stood the shrine of St Swithin, lost at the Reformation but today marked by a more modest modern replacement. This part of the building with it's chapels dates mainly from the 13th century, with the main Lady chapel remodelled in the 15th century (still possessing a sequence of early 16th century murals, hidden today under modern reproductions).
The cathedral is packed with items of interest, from the superb and amazingly preserved choir stalls of c1308 to a sequence of magnificent chantry chapels, mostly ornate late medieval creations and the largest collection in any English cathedral, the Wykeham, Beaufort , Fox and Waynflete chantries being among the finest examples of the English Perpendicular style. The Gardiner chantry is also of interest as the very last, showing a transition from Gothic to Renaissance forms.
Earlier works of art in the cathedral include the 12th century black marble font, carved with scenes from the life of St Nicholas, and some superb late 12th/early 13th century murals in the chapel of the Holy Sepulchre and the vault of the Guardian Angels chapel. Most famous of all is the exquisite Winchester Bible, one of the finest of 12th century illuminated manuscripts, on show in the cathedral library. Visitors to the library can also access the museum in the south transept gallery which contains many superb fragments of medieval sculpture.
Most of the stained glass is Victorian, the medieval glass having been mostly destroyed during the Civil War. The huge west window still shows the patchwork of fragments installed at this time, and other pieces from the 14th and 15th centuries can be found scattered throughout the building. More substantial work however survives in several of the higher choir windows but is very hard to see; the east window is still largely filled with the fine early 16th century glass installed by Bishop Fox, somewhat restored but surprisingly complete (some figures not in situ, brought from other windows to fill gaps) and remains largely unappreciated because of it's inaccessibility.
More recent artworks include some beautiful glass made to designs by Edward Burne Jones by Morris & Co in the north transept chapel. More recent still are the striking series of nave banner paintings that are often hung from the nave pillars with rich batik designs on a theme of Creation and Redemption by the late Thetis Blacker.
The former monastic buildings have mostly disappeared, the site of the cloister is still apparent on the south side (where modern buttresses were built as part of the campaign to secure the cathedral's failing foundations in the 1900s) and a nearby group of Norman arches are all that remain of the chapter house. the cathedral is still fortunate though in being seperated from the city by the relative peace of the Cathedral Close.
The full tour.
Today's is the final post focusing on my recent trek through the great golden spaces and dark corners of the grandest building within the city gray. Here then are the links to each of the three pieces:
Part I, The bells of the Laura Spelman Rockefeller Memorial Carillon.Part II, Dark corners of a gray cityPart III, The Golden Ceiling, and a few choice details of the Chapel
An 800-ton ceiling
It was no wonder that my gracious host at the Rockefeller Chapel was eager for me to document the vaulted ceiling - it is grand and huge and beautiful and unique. It is, according to the Rockefeller Chapel's website, the only example of a Gothic vaulted ceiling tiled with colored glass. It was designed by Hildreth Meiere, a prominent art deco muralist to whom we owe thanks for infusing so much warmth and spirit to these enormous waves of limestone. Much light passes through the great stained glass windows, strikes the work of Meiere and is filtered from white to rich gold on its way to we who wander along the green-stoned and mirror-polished floor. Rich orange and amber rays turn limestone to hues of sandstone and tint a visitor's experience with the same. My memories of many academic convocations are, accordingly, on a backdrop of golden gray. Though the world has no shortage of photographs of the most recognizable spaces of Rockfeller Chapel, I couldn't help but focus a bit on the ceiling and recapture some of these classic views. Here is the view north, from the very first row of pews, looking upward to capture the reredos and fiery rose window:
A quick turn around and here is the view south. You can see clearly how the ceiling, throughout the length of the Chapel, throws off warm light and the great ribs draw your eye straight to the large, circular keystones.
I don't shy from the distortion inherent to photographic media and small-format, wide-angle lenses. Some find images made with these tools an offense to traditionalist photographic sensibilities. Traditionalism has its time and its place, but angle and shape and distortion are a matter of perspective (pun intended) and mine is simple: we are trapped forever by the optical properties of our eyes into one viewpoint, and this viewpoint is no more directly connected to reality than are the shapes paraded back and forth by the standard-bearers of the Platonic cave. Our own eyes generate distortion, create convergence, and force perspective. Camerasight, however, can be manipulated and images created that reveal things difficult to visualize in eyesight. For example, the east and west transects of the Rockefeller Chapel, like those of many Gothic and Neo-Gothic cathedrals, form the shape of a cross; easy to imagine, but hard to visualize with eyesight - this cross is manifest in an image that distorts lines so as to fit a 180-degree view into the space of a sensor.
The King's court.
While making these images of the ceiling, I also made a few photographs of my favorite architectural details. The Chapel is now home to many divergent rituals and traditions, religious, academic and otherwise. A lack of overt symbolism within the masonry of the reredos is therefore a benefit and renders it a favorite to one who feels a removal of gothic styles from conventional religious iconography a goodness. A number of ornate, red leather-clad chairs sit at the base of the reredos - the central one looking for all the world like a throne and the front of the chapel like some Shakespearian court, with the ghost of a wronged monarch pacing behind the red velvet. In a way, the analogy holds water - the tombs of a number of former university presidents lie just beyond.
Dumbledore's podium.
One of the strengths of the Potter books is their shared rhythm. The plot follows a cadence, which serves great effect when it is broken in the final installment. One of the most effective notes to this theme is the address Dumbledore gives to the students upon the start of the school year, standing at the head of a Gothic hall at a podium ornamented with great birds. It has always conjured for me memories of the Aims of Education address, given each year in robes by the President to new students here in Rockefeller Chapel. It so happens that the wizard's podium stands at the front of the Chapel in stone:
Organic
When I began at the University, a musicologist was President, and one of the boons he brought to his neighbor (the President's house being just a stone's throw from the oaken doors of Rockefeller Chapel) was a refurbishment of the most magnificent pipe organ I've ever seen in person. Here it is straight on from the passage between the reredos and the second floor gallery.
Before leaving, I snapped off one or two more images to remember the exit as it was when we bundled back up in in thick wool coats and year-past, Christmas-gifted scarves to dive through large doors and splash into biting winds and the onset of twilight somewhere beyond the pillow-white sky we traded for the golden vault.
The Victoria and Albert Museum (abbreviated as the V&A), London (UK), is the world's largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects. The Museum was established in 1852, following the enormous success of the Great Exhibition the previous year.
Originally designed by Captain Francis Fowke, the museum’s architecture has evolved over its 150 years, with extensions and renovations through the Victorian, Edwardian, post-war and contemporary period.
A set of pictures I took a few years ago at the Cathedral of the Blessed Sacrament in Altoona, Pennsylvania.
Galerías Pacífico is a shopping mall located at the junction of Calle Florida (a major shopping-oriented pedestrian-only street) and Avenida Córdoba. The building was constructed in 1889 by architects Emilio Agrelo and Roland Le Vacher, modelled on Paris’ Le Bon Marché. In 1896, part of the building was converted into the Museo Nacional de Bellas Artes (which has since been relocated). In 1908, British-owned Buenos Aires and Pacific Railway acquired part of the building for offices, resulting in the building becoming known as the “Edificio Pacífico”.
The building was remodelled in 1945 by architects José Aslan and Héctor Ezcurra. The offices were separated from the rest of the building and a large central cupola was built. In 1946 the cupola was decorated with 12 frescos by Argentine artists Lino Enea Spilimbergo, Antonio Berni, Juan Carlos Castagnino, Manuel Colmeiro and Demetrio Urruchúa.
In 1989 the building, which had been abandoned for a number of years, was declared a national historic monument. Further renovations under Juan Carlos López were done at that time and the building re-opened in 1990 as Galerías Pacífico. Four more frescos by Romulo Maccio, Josefina Robirosa, Guillermo Roux and Carlos Alonso were added to the cupola. In addition to major high-end boutique stores, the building has become the home of the contains the Jorge Luis Borges Cultural Centre and the Julio Bocca Dance Studio.