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Built in 1882, the Dock Clock Tower and Tide Gauge House in Cape Town has been an icon on the docks for more than a century. This much loved National Monument was used as the Port Captain's centre of operations until 1904, when his offices moved across the cut to the Pierhead.
Beneath the Clock Tower is a well-like shaft, which is linked to the sea by a tide gauge mechanism. This indicates the exact state of the tide to vessels entering the docks. The second floor of the building houses the mirror room. Lined wall to wall with mirrors, this room allowed the Port Captain a 360 degree view of all the activities in the docks.
The restoration of the Clock Tower took place in 1997/8 under the skilful leadership of architect Gabriel Fagan. The original clock that was made by Ritchie & Son of Edinburgh remains in use today thanks to the restoration.
In fact, since all photographs of the old building were in black and white, the only way to find the original red coloured paint was to peel the white paint off by hand in order to find out what was underneath. - Source V&A Waterfront, Cape Town. - *BEST VIEWED LARGE*
Heading down Via Diacceto in Siena, towards Siena Cathedral. Having left Piazza Indipendenza. On the guided walking tour of Siena.
In the middle of this road is a viewpoint on a bridge.
Via Fontebranda goes under the bridge.
The Viewpoint from the bridge.
bell tower of Siena Cathedral.
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
Typ: AB 2
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Nr.: 4761
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Farbe/ colour/ color: blau/ blue/ azul
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Jahr/ year / año: 1984
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Designer: Greubel/ Rams
This is an unusually large size battery driven swinger clock which stand at 26" in height. This is unusual in a way that the entire swinger together with the clock moves. Most of which the clock itself remains stationary while only the arm extend below the clock moves.
Two sexy loosely clad lady tirelessly holding up a swinging clock structure. The time movement is quartz and the swinging action is electromagnetic. Bought this in a small novelty shop at Hay street during my trip to Perth in 2003AD The 2 ladies got nice bodies.....:)
Turn me on sometimes :)))
Not an easy clock to handle however. The 2 ladies are very temperamental To set the swinger in motion requires a little mess around with the counter weight so as to delicately offset the balance mechanically, a tricky undertaking indeed. Once the balance on the pivot is set correctly, the electromagnetic impulse would then keep it swinging back and forth. However, due to its massive construction, the swinging motion can't be sustained.
This one is extremely delicate. I don't have much luck (despite replacing the electronic circuitry) persuading the 2 ladies to set the swinger in motion for long until 2015 feb when I finally cracked the code. The problem (in addition to the counter weight adjustment) lies in the position of the coil (attached to the swinger) The original factory position was installed a little too far away from the stationary permanent magnet. The magnetic interaction between the two was not sufficient to cope with the fictional loses thus could not keep the swinger in motion for long. I adjusted the position of the coil to reduce the gap by about 1.5mm and that fixed the problem. The swinger works perfectly ever since.
Only Time will tell and every clock tells a story....
The problem with clock is, once you got two they start to multiply..
It all started when I acquired my first clock a 1960's jap 7-day wall clock from a colleague of mine by the name of Wong Mun Lai, a clock collector
www.flickr.com/photos/lonesomecrow/3975601137/in/set-7215...
It was a non-working clock which I wanted to hang up for display. After a while, I felt something amiss. A clock is not a clock if it does'nt work! So I took it apart and do some fixing, to my surprise I managed to get it ticking again ! I was totally fascinated From there I got my second, third and so on....
My favourite has to be the 400 day clock
Amazing time piece and fun to repair Next in line is those of the electromechanical design type
I love the working principles
At the time of writing, my collection is still growing....but has grind to a halt as my interest is now focus on nature photography and music
I had an old Winchester Chime movement clock which I'd been threatening to make a case for for years. So I thought I'd combine my new found interest in Intarsia with a bit f basic wood work to make this.
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The clock in Downtown Forest City, NC was restored in 2014 by Gene Volk, a clock repairman from the National Association of Watch and Clock Collectors, of Hendersonville, NC.
Whittlesey (historically known as Whittlesea or Witesie) is an ancient Fenland market town.
Whittlesey appears in the Cartularium Saxonicum (973 A.D.) as Witlesig, in the Domesday Book as Witesie, and in the Inquisitio Eliensis[2] (1086 A.D.) as Wittleseia. The meaning is "Wit(t)el’s island", deriving from either Witil, "the name of a moneyer", or a diminutive of Witta, a personal name; + "eg", meaning "'island', also used of a piece of firm land in a fen."
Before the draining of the fens, Whittlesey was an island of dry ground surrounded by the marshy fens. Excavations of nearby Flag Fen indicate thriving local settlements as far back as 1000 BC. At Must Farm quarry, a Bronze Age settlement is described as 'Britain's Pompeii' due to its relatively good condition
This work by Rhonda Surman is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.
© Rhonda Surman 2018