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Ormiston Gorge forms part of the West MacDonnell National Park. It is located in the desert contry west of Alice Springs in central Australia.
En la mañana del sábado 15 de abril, se realizó el lanzamiento del libro "Formas Fugaces" de Maggie Smith Ferrer, socia de nuestra institución.
#EstadioEspañol #YoQuieroMiEstadio
Shot in 2006 with a Nikon D50
All Rights Reserved © 2012 by Rob Steer Photography.
No part of this picture may be reproduced or transmitted in any form or by any means
(on websites, blogs etc ) without prior permission and a full disclosure of where and how the images will be used.
Saw a group of 4 Ringed Plovers (possibly parents & juveniles) on the sea wall along the Exe.
(Love reading your comments but please, no stock images, badges and pictures unless you add a personal comment. Thank you. Don)
Credit: InOldNews | tanka dhakal
These rivers originate from the base of the Mt. Everest and flow downstream to meet Imja river and then Dudhkoshi River and becomes Saptakoshi river which meets Ganga in India.
According to scientists, because of rapid retreat of glaciers in the region, water level in these rivers will be affected in near future. This region is experiencing lack of enough snowfall, and mountains and glaciers are losing ice at a faster rate, which according to scientists, is connected to climate change.
Because of this, the risk of glacier lake outburst flood (GLOFs) is growing, which may affect these rivers and villages along the way and infrastructure including hydropower projects.
Location & Date: Khumbu, Solu Khumbu District In Nepal on May 07, 2024
This CC-BY-licensed footage of climate change was published with support from Internews' Earth Journalism Network and The Swedish International Development Cooperation Agency (Sida).
"Imitation is the sincerest form of flattery that mediocrity can pay to greatness." (Oscar Wilde)
Lately I have been reading a lot about Daido Moriyama and some other photographers associated with him, and of course I've looked at many pictures. I have known Moriyama's work for a decade or two, but it seems only now these photos are starting to speak to me. Some things need time.
I find it fascinating how they work, and it’s interesting to read about the degree of awareness they had of what they were doing. They were really up to date theoretically and somehow worked with that. Well, possibly the 60s, 70s and still part of the 80s were a good time for this, when modernism turned to post-modernism and all kinds of stuff.
Maybe it’s anachronistic to mimic a style 60 years old. I mean, we all know that’s long gone for better or worse … but still, I tried.
Doing this has already taught me at least three things that are quite valuable:
1.
I consider myself an "advanced" photographer, after doing it for almost 40 years and basically doing nothing else for 25 years now. But in this field I am an absolute beginner. It’s humbling in a good way to see (and to feel) that I don’t know anything about this.
2.
It’s surprisingly hard to let go of the "conventional" photographic qualities most of us learned the hard way. Now it feels so strange to make blurry, underexposed, tilted photos. You really need to trick yourself to give up control.
3.
This kind of photography seems to be at least as much about "feeling the scene" as "seeing the scene". It’s hard to put in words that are not clichéd, but it’s more seeing with the imagination than with your eyes. It’s another way to approach previsualization, I guess – possibly quite useful for other genres, even if those pictures are not so great.
Barry originally was designed as a mouflon sheep mannikin for taxidermy. After talking to a few sculptors about the best way to approach him, they suggested this method. He came cut in half.
To use this concept, make a text prompt in the form of '[scene you want], 1980s grainy color film photo'. For example: 'person in forest, 1980s grainy color film photo'. This must be in the Bing Image Creator/ChatGTP. This will not work for other AI models.
This ending part of the text prompt is how I am able to use DALL-E 3 (through the Bing Image Creator) to create images that have the same realism level as actual photos.
One issue however is that elements of the scene may take on a 1980s quality to them, like the 1980s rally cars in this image for example.
This is especially important when creating images of people, where simply specifying 'photo' at the end of the prompt won't create this level of realism.
This is in terms of both the image quality, and the issue of having one coherent face, instead of a bunch of faces mixed together into some kind of zombie person.
- Josh
Autor: Rafael Mulas (Profesor Titular de Universidad, Área de Edafología y Química Agrícola, ETSIIAA Palencia, Universidad de Valladolid).
Las cuatro universidades públicas de Castilla y León (Burgos, León, Salamanca y Valladolid) han iniciado una colaboración para ofrecer de forma coordinada diferentes actividades de divulgación científica el viernes 27 de septiembre, en el marco de la Noche Europea de los Investigadores. Los actos (como talleres, charlas, espectáculos u otras actividades lúdicas) se llevarán a cabo en Burgos, León, Palencia y Salamanca. Esta oferta se suma a la del Centro Nacional de Investigación sobre la Evolución Humana (CENIEH) en Burgos y a la del Museo de la Ciencia de Valladolid, que presenta su programación el lunes 23 de septiembre. La Noche Europea de los Investigadores es un evento promovido por la Comisión Europea en el que los investigadores de más de 300 ciudades europeas acercan de forma amena el valor del conocimiento científico y técnico a adultos y menores.
La primera edición de la Noche Europea de los Investigadores en la ciudad de Palencia la conforman nueve talleres divulgativos para todos los públicos ofrecidos de forma libre y gratuita por personal investigador de la Universidad de Valladolid (UVa). Los talleres se llevarán a cabo en la casa Junco entre las 18.00 y las 20.00 horas. Los investigadores mostrarán de forma amena sus trabajos científicos en los campos de Ciencias Agroforestales, Producción Vegetal, Ingeniería Agrícola y Forestal y Sociología y Trabajo Social. La UVa ha diseñado el programa a través de la Unidad de Cultura Científica y de la Innovación (UCC+i), UVadivulga, y del vicerrectorado del campus de Palencia, en colaboración con el Parque Científico de la Universidad de Valladolid.
En concreto, los asistentes podrán participar en los siguientes talleres:
- ‘Análisis genético en plantas y alimentos’, a cargo de Elena Hidalgo, Rodrigo Herrera y Ana López Montes;
- ‘Observación de plagas y enfermedades de plantas’, a cargo de Fernando Alves;
- ‘Gestión forestal ante el cambio climático: el papel del carbono en nuestros bosques’, a cargo de Ana Martín Ariza y José Harvey Galvis;
- ‘Funcionalidad de los ingredientes. Productos horneados a base de cereales’, a cargo de Ángela Bravo y Candela Paesani;
- ‘¿Cómo influye el estado del combustible en un incendio forestal?’, a cargo de Olaya Mediavilla y Pablo Martín Pinto.
- ‘Amigos para siempre: los árboles y sus compañeros los hongos’, a cargo de Juan Andrés Oria de Rueda y Rocío Silva;
- ‘Los secretos del suelo’, a cargo de Belén Turrión, Ruth Martín y Marina Getino;
- ‘El dilema del prisionero’, a cargo de José Ignacio García-Valdecasas;
- ‘Cuidemos nuestro medio ambiente evitando las emisiones de amoniaco’, a cargo de Mercedes Sánchez Báscones, María Soto Herranz y Ernesto Gómez Sobrino. Este último taller forma parte del proyecto Life Ammonia Trapping en el que también participa el Instituto Tecnológico Agrario de Castilla y León (ITACYL).
Además, el Parque Científico de la Universidad de Valladolid, ofrecerá información sobre los distintos programas de apoyo al emprendimiento accesibles en la ciudad de Palencia. Asimismo, ofrecerá un taller para que adultos y menores puedan dibujar su potencial idea de negocio.
Junto a estas actividades, los asistentes podrán ver en el interior de la casa Junco un vídeo explicativo sobre un proyecto de restauración forestal después de erosión realizado en el municipio de Saldaña.
Más información sobre la Noche Europea de los Investigadores en Castilla y León: www3.ubu.es/ubuinvestiga/nochecyl
ROMA ARCHEOLOGICA & RESTAURO ARCHITETTURA 2024. Aggiornamento: ROMA - Roberto Meneghini, "Nuovi dati e osservazioni sulla Forma Urbis severiana" & "Roma, Foro di Traiano e Basilica Ulpia e Forma Urbis"; in: Archeologia Classica No. 74 (2023): 537-560. S.v., Roberto Meneghini & Riccardo Santangeli Valenzani et al., "I Fori Imperiali"; in: Roma - Museo Nazionale Etrusco di Villa Giulia / YouTube (23/02/2024 [01/03/2024]). wp.me/pbMWvy-4LP
FOTO: ROMA – Roberto Meneghini, “Nuovi dati e osservazioni sulla Forma Urbis severiana”; in: Archeologia Classica No. 74 (2023): 537-560.
www.flickr.com/photos/imperial_fora_of_rome/53566546976
1). ROMA - Roberto Meneghini, "Nuovi dati e osservazioni sulla Forma Urbis severiana"; in: Archeologia Classica No. 74 (2023): 537-560.
FOTO: ROMA – Una passeggiata dentro la Roma Imperiale: il Parco archeologico del Celio e il museo Forma Urbis sono realtà; in: ROMA TODAY / VIDEO (11/01/2024). S.v., Manuel Giuliano, PARCO ARCHEOLOGICO del CELIO e il MUSEO della FORMA URBIS”; Foto & Video. ROMA: GIORNALISTA INDIPENDENTE (11/01/2024).
www.flickr.com/photos/imperial_fora_of_rome/53565688022
FOTO: ROMA – Roberto Meneghini, “Nuovi dati e osservazioni sulla Forma Urbis severiana”; in: Archeologia Classica No. 74 (2023): 537-560.
www.flickr.com/photos/imperial_fora_of_rome/53566863479
This essay aims to present new data related to the Forma Urbis severiana and to deepen and update some specific aspects of it. In the first part, after the point on the recent findings of specimens from the area of the Imperial Fora, there is a new one from the excavations of the Templum Pacis.
FOTO: ROMA, GOOGLE EARTH (04/06/2023) & Roberto Meneghini, “Nuovi dati e osservazioni sulla Forma Urbis severiana”; in: Archeologia Classica No. 74 (2023): 537-560.
www.flickr.com/photos/imperial_fora_of_rome/53566543651
The second part concerns the problem of identification Porticus Aemilia=Navalia, proposed in 2006 and still under discussion. Some important excavation data, dating back to the 80s of the twentieth century and never previously taken into consideration, seem to contrast with this identification.
FOTO: ROMA, GOOGLE EARTH (04/06/2023) & Roberto Meneghini, “Nuovi dati e osservazioni sulla Forma Urbis severiana”; in: Archeologia Classica No. 74 (2023): 537-560.
www.flickr.com/photos/imperial_fora_of_rome/53566864149
Finally, the essay examines and deepens, in the third part, the marked differences between the sur- viving planimetric representations of the Imperial Fora, in the slabs 15-16 and 29 and the available archaeological evidence.
FOTO: ROMA – Il Foro di Traiano e Basilica Ulpia e Forma Urbis, 2024; in: R. Meneghini (2023-24). Fonte / source / foto’s =
1). Roma, Foro di Traiano e Basilica Ulpia; in GOOGLE EARTH (04/06/2023) [03/03/2024]; 2). Roma, Foro di Traiano e Basilica Ulpia e Forma Urbis; in: RARA 2024 / ROMA (27/01/2024); 3). Roma, gli antichi Fori Imperiali – nuova planimetria della ricostruzione dell’assetto topografico (nota: area del Foro di Traiano senza il Tempio); in: Museo Nazionale Etrusco di Villa Giulia / YouTube (23/02/2024 [= Roberto Meneghini & Riccardo Santangeli Valenzani. I Fori Imperiali. I luoghi dell’Archeologia. ROMA: Carocci Editore (2023), Pag. 132]); 4). & 5). Roberto Meneghini, “Nuovi dati e osservazioni sulla Forma Urbis severiana.” Archeologia Classica No. 74 (2023): 555 & 557.
www.flickr.com/photos/imperial_fora_of_rome/53566981435
Keywords: Forma Urbis; Templum Pacis; Porticus Aemilia; Navalia; Imperial Fora.
Fonte / source:
--- Roberto Meneghini, Archeologia Classica No. 74 (2023): 537-560.
FOTO: ROMA – Roberto Meneghini & Riccardo Santangeli Valenzani et al., “I Fori Imperiali”; in: Roma – Museo Nazionale Etrusco di Villa Giulia / YouTube (23/02/2024 [01/03/2024]).
www.flickr.com/photos/imperial_fora_of_rome/53566863209
2). ROMA - Roberto Meneghini & Riccardo Santangeli Valenzani et al., "I Fori Imperiali"; in: Roma - Museo Nazionale Etrusco di Villa Giulia / YouTube (23/02/2024 [01/03/2024]).
Appena concluso l'incontro a partire dal volume "I Fori Imperiali" di Roberto Meneghini e Riccardo Santangeli Valenzani.
Hanno partecipato, assieme agli autori, Carlo Pavolini, Università degli Studi della Tuscia, e Domenico Palombi, Sapienza Università di Roma, con introduzione di Vincenzo Bellelli, Direttore del Museo.
Grazie a tutti i partecipanti che hanno sfidato un piovoso pomeriggio romano per essere presenti.
FOTO: ROMA – Roberto Meneghini & Riccardo Santangeli Valenzani et al., “I Fori Imperiali”; in: Roma – Museo Nazionale Etrusco di Villa Giulia / YouTube (23/02/2024 [01/03/2024]).
www.flickr.com/photos/imperial_fora_of_rome/53566736538
Fonte / source / foto:
--- ROMA - Vincenzo Bellelli, Direttore del Museo Nazionale Etrusco di Villa Giulia / Fb (23/02/2024).
www.facebook.com/VillaGiuliaRm/posts/pfbid02AhXejyZPWN3uw...
3). ROMA - Roberto Meneghini & Riccardo Santangeli Valenzani et al., "I Fori Imperiali"; in: Roma - Museo Nazionale Etrusco di Villa Giulia / YouTube (23/02/2024 [01/03/2024]).
Presentazione del Libro "I fori imperiali" - 23 febbraio 2024 = Roberto Meneghini & Riccardo Santangeli Valenzani. I Fori Imperiali. I luoghi dell'Archeologia. ROMA: Carocci Editore (2023), Pag. 132.
Venerdì 23 febbraio alle 17 in Sala Fortuna abbiamo ospitato l'incontro a partire dal volume edito da Carocci I Fori imperiali di Roberto Meneghini e Riccardo Santangeli Valenzani.
www.youtube.com/watch?v=dR_fTmF-bNI&ab_channel=MuseoE...
Facendo ricorso alle più recenti acquisizioni degli scavi archeologici e degli studi, il volume presenta in maniera sintetica ma completa i Fori imperiali: oltre alla storia delle indagini del sito, si espongono le vicende legate alla trasformazione della sua immagine e del suo assetto urbanistico nel corso dei secoli, senza tralasciare il valore simbolico che talvolta fu attribuito ad alcuni dei complessi che vi si trovano. Particolare attenzione è riservata allo stato attuale dell'area, alla sua accessibilità e all'offerta rivolta ai visitatori in termini di fruibilità.
Ha Introdotto:
Vincenzo Bellelli, Direttore del Museo Nazionale Etrusco di Villa Giulia
Hanno dialogato con gli autori:
Carlo Pavolini, Università degli Studi della Tuscia
Domenico Palombi, Sapienza Università di Roma
Roberto Meneghini è stato funzionario archeologo alla Sovrintendenza ai Beni culturali di Roma Capitale.
Riccardo Santangeli Valenzani è professore ordinario di Archeologia medievale e di Archeologia urbana di Roma all’Università degli Studi Roma Tre.
Fonte / source:
--- ROMA - Vincenzo Bellelli, Direttore del Museo Nazionale Etrusco di Villa Giulia; in: "Presentazione del Libro "I fori imperiali" - 23 febbraio 2024"; MuseoETRUtv / YouTube (01/03/3024).
S.v.,
FOTO: ROMA – I Fori Imperiali – Dagli scavi la “Fotografia” del Foro di Augusto; in: Il Messaggero (16/04/1999: 28 = [ RARA 2024 / ROMA – Online 20/03/2007]).
www.flickr.com/photos/imperial_fora_of_rome/427836558
--- ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2024. Una passeggiata dentro la Roma Imperiale: il Parco archeologico del Celio e il museo Forma Urbis sono realtà; in: ROMA TODAY / VIDEO (11/01/2024). S.v., Manuel Giuliano, PARCO ARCHEOLOGICO del CELIO e il MUSEO della FORMA URBIS”; Foto & Video. ROMA: GIORNALISTA INDIPENDENTE (11/01/2024). wp.me/pbMWvy-4Dd
Cambrai (Nord, France) -
Cette "curiosité" (épi de faîtage en forme de cigogne) se trouve "rue des Liniers", pratiquement en face de la vitrine/boutique "Art nouveau" de la charcuterie.
www.google.fr/maps/@50.1734324,3.2335194,3a,15y,195.42h,1...
(Désolé ! cliché vraiment "difficile" ... fort contre-jour et cette antenne de télé !)
Small but Perfectly Formed, St Marks Church, London. 12-3-11
Phil Minton (voice) / Guillaume Viltard (double bass) / John Russell (guitar)
Tapestry is a form of textile art, traditionally woven by hand on a loom. Normally it is used to create images rather than patterns. Tapestry is relatively fragile, and difficult to make, so most historical pieces are intended to hang vertically on a wall (or sometimes in tents), or sometimes horizontally over a piece of furniture such as a table or bed. Some periods made smaller pieces, often long and narrow and used as borders for other textiles. Most weavers use a natural warp thread, such as wool, linen, or cotton. The weft threads are usually wool or cotton but may include silk, gold, silver, or other alternatives.
Tapestry Room from Croome Court, moved to the Metropolitan Museum of Art, hung with made to measure 18th-century Gobelins tapestries, also covering the chairs. 1763-71
In late medieval Europe tapestry was the grandest and most expensive medium for figurative images in two dimensions, and despite the rapid rise in importance of painting it retained this position in the eyes of many Renaissance patrons until at least the end of the 16th century, if not beyond. The European tradition continued to develop and reflect wider changes in artistic styles until the French Revolution and Napoleonic Wars, before being revived on a smaller scale in the 19th century.
Technically, tapestry is weft-faced weaving, in which all the warp threads are hidden in the completed work, unlike most woven textiles, where both the warp and the weft threads may be visible. In tapestry weaving, weft yarns are typically discontinuous (unlike brocade); the artisan interlaces each coloured weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design. European tapestries are normally made to be seen only from one side, and often have a plain lining added on the back. However, other traditions, such as Chinese kesi and that of pre-Columbian Peru, make tapestry to be seen from both sides.
Tapestry should be distinguished from the different technique of embroidery, although large pieces of embroidery with images are sometimes loosely called "tapestry", as with the famous Bayeux Tapestry, which is in fact embroidered. From the Middle Ages on European tapestries could be very large, with images containing dozens of figures. They were often made in sets, so that a whole room could be hung with them.
The success of decorative tapestry can be partially explained by its portability (Le Corbusier once called tapestries "nomadic murals"). The fully hand-woven tapestry form is more suitable for creating new figurative designs than other types of woven textile, and the looms could be much larger. Kings and noblemen could fold up and transport tapestries from one residence to another. Many kings had "wardrobe" departments with their own buildings devoted to the care, repair, and movement of tapestries, which were folded into large canvas bags and carried on carts. In churches, they were displayed on special occasions. Tapestries were also draped on the walls of palaces and castles for insulation during winter, as well as for decorative display. For special ceremonial processions such as coronations, royal entries and weddings, they would sometimes be displayed outside. The largest and best tapestries, designed for more public spaces in palaces, were only displayed on special occasions, reducing wear and fading. Presumably the smaller personal rooms were hung permanently.
Many smaller pieces were made as covers for furniture or cushions, or curtains and bed hangings. Others, especially in the case of those made for patrons outside the top of the elite, were cut up and reused for such functions when they, or tapestries in general, came to seem old-fashioned. Bags, and sometimes clothing were other re-uses. The Beauvais Manufactory became rather a specialist in furniture upholstery, which enabled it to survive after the French Revolution when this became the main remaining market. In the case of tapestries with precious metal thread, they might be burned to recover the metal, as Charles V's soldiers did to some of the Sistine Chapel tapestries, and the French Directory government did in the 1790s to most of the royal collection from the Renaissance.
In the Middle Ages and the Renaissance, a rich tapestry panel woven with symbolic emblems, mottoes, or coats of arms called a baldachin, canopy of state or cloth of state was hung behind and over a throne as a symbol of authority. The seat under such a canopy of state would normally be raised on a dais.
As paintings came to be regarded as more important works of art, typically by the 17th century, tapestries in palaces were moved less, and came to be regarded as more or less permanent fittings for a particular room. It was at this point that many old tapestries were cut to allow fitting around doors and windows. They also often suffered the indignity of having paintings hung on top of them. Some new tapestries were made to fit around a specific room; the design of the Gobelins set from Croome Court, now in New York, has a large field with an ornamental design that could easily be adjusted in size to fit the measurements of the customer's room.
Eddie was seized form a farm in PA in a neglect case. Once he arrived at the Poplar Spring Sanctuary he received the care that was needed and made a full recovery.
Poplar Spring Animal Sanctuary is in Poolesville MD>
Esta linda camada la forman dos hermanitas, EDITH y SENA, dos hembritas panteras, muy cariñosas y caseras.
Fueron recogidas del piso de una señora que las encontró en la calle y las tuvo en su baño cuidándolas junto a su hermano ARTHEMIS, que ya fue adoptado.
Pero al poco le dieron la mala noticia de que la desahuciaban y nos dio el aviso.
Y aquí están ellas, siempre juntas, sanas y felices, esperando que alguien se fije en ellas y les ofrezca un hogar como merecen estas dos angelitas negras. Nunca nadie ha preguntado por ellas...
EDITH: defensafelina.org/ficha/115
14 Arch Flower
Cyril Lancelin (France)
Location: Raffles Place Park
Tubular forms twist upward and outward, creating an archway that is at once a flower in bloom, an architectural passage and a body caught mid-movement.
Featuring gradients drawn from Singapore's tropical gardens, the installation’s surfaces transition subtly from pink to green, generating a soft and vibrant atmosphere where colour becomes a material in itself.
Arch Flower functions as a gathering place in Raffles Place, where monumentality reveals itself with unexpected lightness and open passage. Visitors are encouraged to move through, pause within, and photograph themselves basking in the gradient light. Like flowers, the structure opens outward, creating space at its centre for shared experience through colour and form.
Ely Cathedral is in the top rank of the great English cathedrals, and indeed earns its place among the best of medieval churches internationally for its unique architecture and astonishing beauty. It is a church I've visited several times over the years and never fails to impress, its form at once imposing and strikingly individual. Owing to the flatness of the surrounding countryside it is visible from afar as a major landmark, which makes approaching this tiny city all the more enticing.
The church was founded as an abbey by St Etheldreda in 672 and didn't achieve cathedral status until the foundation of the diocese in 1109. Much of the present building dates from the following years, with the nave and transepts still substantially as they were built (aside from a few altered windows and later ceilings) and a fine example of Norman / Romanesque architecture. A little later during the 1170s the soaring west tower and western transepts were added which would have created a magnificent facade when complete and of a type rarely seen in this country. The style is richer with more use of ornamentation than before, but also many of the arches (particularly the upper parts of the tower) are pointed, making it an early example of the transition to Gothic (the octagonal top storey is from two centuries later, but follows the original overall plan in form, if not detail). The north-west transept however collapsed in the late 15th century and was never rebuilt, leaving the front of the cathedral will the curiously lopsided but not unattractive west front we see today. The Galilee porch that projects from the base of the tower dates from the beginning of the 13th century, only a few decades later but now fully Gothic in style.
The Norman eastern limb had been fairly short so the next major building phases saw the great eastward extension of the presbytery built in Gothic style in 1234-50. It makes an interesting contrast with the earlier parts of the building being so rich in style, externally punctuated with pinnacles and flying buttresses and profusely ornamented withing, making the Romanesque nave and transepts seem somewhat austere by comparison. Then in 1321 an ambitious new lady chapel was begun at the north-east corner, but soon afterwards work was delayed by unforeseen events.
In 1322 the old Norman central tower collapsed, bringing down with it most of the old Romanesque choir (but not the recently built presbytery beyond). The aftermath left the cathedral with a gaping hole at its heart, but this must have inspired those charged with its recovery, and under the direction of Alan of Walsingham the crossing was rebuilt in a unique way; rather than build a new tower of a similar form the central piers that supported it were entirely cleared away along with the adjoining bay of nave, transepts and choir to create a much larger octagonal central space. This then rose to become the unique central tower that Ely is so famous for, the Octagon, a combination of a lower octagonal tower built of stone crowned by a delicate lantern built of wood and covered with lead externally. The result is an incredible, piece of architecture, and the view inside of the open space rising to the curved vaults above on which the glazed lantern appears to float is unforgettable.
After the Octagon and beautifully spacious and richly adorned Lady Chapel were completed there was no more major work at the cathedral. The transept roofs were replaced in the 15th century with the wooden hammerbeam structures we see today, adorned with large angel figures in the East Anglian tradition. The most significant late medieval additions are the two sumptuously decorated chantry chapels built within the end of each choir aisle, each a riot of later medieval ornament and Bishop West's also being remarkable for its fusion of Gothic and Renaissance detail. The cloister appears to have been rebuilt at a similar stage though sadly very little of it survives today.
Sadly the Reformation saw a wave of iconoclasm of particular ferocity unleashed here in Ely. The most telling reminder is the Lady Chapel with its richly ornamented arcading carved with hundreds of small scenes and figures, all brutally beheaded (not a single head survives). Free standing statues in niches have all gone without trace, but in the case of Bishop West's chantry chapel the topmost figures were carved in relief, so these were hammered away leaving the mutilated remains as a testament to zealotry and intolerance. Most of the stained glass appears to have also been removed around this time, so there was surprisingly little damage here during the Civil War a century later as the Puritan frenzy had already been unleashed.
A corner of the north transept collapsed in 1699 but was rebuilt almost identically, a rare early example of such an exacting approach to reconstruction. The classical form of a window and doorway below are the only reminders of the rebuilding, some say with advice from Christopher Wren whose uncle had been bishop here decades earlier (Wren knew the cathedral as a result, and the Octagon is believed to have inspired his plans for St Paul's, as the ground plans of the Octagon and his domed central space at St Paul's are remarkably similar).
The cathedral saw further changes in the 18th century when the structure was in need of repair. James Essex was called in to repair the Octagon and the wooden lantern was stabilised but its external was appearance simplified by stripping away much of its original detail. The medieval choir stalls had originally sat directly underneath the Octagon with painted walls on either side, but these were removed at this time and the stalls relocated further east to the position they are in now. Sadly the Norman pulpitum screen at the end of the nave was also removed (the earliest of its kind to survive in any cathedral).
By the mid 19th century tastes had changed again and the Victorian preference for richness over Georgian austerity saw the cathedral restored under the direction of George Gilbert Scott. He restored the Octagon lantern to something much closer to its original appearance and added new screens at the crossing and behind the altar. Stained glass gradually filled the cathedral again and it remains one of the richest collections of Victorian glass in the country. The ceiling of the nave which had been left plain for centuries was given a new richly painted finish with scenes from the Old & New Testaments, begun by Henry le Strange but finished by Thomas Gambier Parry after the former had died halfway through the project. Gambier Parry also undertook the lavish redecoration of the interior of the Octagon lantern.
The cathedral has remained little changed since and is one of the rewarding in the country. There is much of beauty to enjoy here beyond the architecture, with many interesting tombs and monuments from the medieval and post-Reformation periods. There is a wealth of stained glass of unusual richness; not everyone appreciates Victorian glass (indeed Alec Clifton Taylor was quite scathing about the glass here) but while it is very mixed I find much of it is of remarkably high quality.
Since 1972 the Stained Glass Museum has been housed in the nave triforium (originally on the north side, it was later transferred to the south where it currently remains). This is the only collection in the country solely devoted to the medium and is a great ambassador for it, with fine pieces covering a range of styles and illustrating the development of the art through the various backlit panels on show in the gallery.
Visitors can usually take tours to ascend the Octagon and even the west tower on more select days. Tours do get booked up though so it took me many visits before I could make my ascent, but happily this time I finally managed it and it was a wonderful experience I won't forget. Frustratingly I was unable to ascend the west tower since I was at a symposium on the day when tours were held so I hope to have better luck next time.
For more historical detail and context see below:-
en.wikipedia.org/wiki/Ely_Cathedral
For entry fees and tower tours see the cathedral's website below:-
Architectural Femininity: Sculptural Women in Modern Forms
This art series redefines feminine beauty through bold, geometric abstractions. Combining sculptural lines with human anatomy, these figures evoke strength and elegance, balancing modern minimalism with classical sensuality.
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"Modern abstract sculpture" "Geometric female figures" "Contemporary figurative art" "Feminine sculpture art" "Sculptural female forms" "Minimalist art of women" "Abstract female sculptures" "Art of geometric femininity" "Modern art of women" "Architectural abstraction in art"
This is a different bird and it looks to me like a Dunlin but I'm dubious about the plumage - possibly still hanging on to the summer colours