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The Grade I Listed Ashby de la Zouch Castle is a ruined fortification which is managed by English Heritage, in the town of Ashby-de-la-Zouch, Leicestershire.
The castle was built by William, Lord Hastings, a favourite of Edward IV, after 1473, accompanied by the creation of a 3,000-acre park. Constructed on the site of an older manor house, two large towers and various smaller buildings had been constructed by 1483, when Hastings was executed by Richard, Duke of Gloucester. The Hastings family used the castle as their seat for several generations, improving the gardens and hosting royal visitors.
During the English Civil War of the 1640s, Henry, a younger son in the Hastings family, became a Royalist commander in the Midlands. He based himself out of the castle until he was forced to surrender it after a long siege. A fresh rebellion occurred in 1648, leading Parliament to slight the castle to prevent it being used militarily: the two towers were badly damaged with gunpowder and undermining. Parts of the remaining castle were turned into a new house and continued to be used by members of the Hastings family for many years, although they moved their main residence to Donington Hall.
The castle became famous after it featured in Sir Walter Scott's novel Ivanhoe in 1819, and its owner, Francis Rawdon, opened the ruins to visitors. Restoration work was carried out over the course of the next century, but by 1932 the Rawdon family could no longer afford to maintain the castle. It passed into the guardianship of the Ministry of Works, who carried out extensive repairs and opened the castle gardens before ownership was later transferred to English Heritage.
Information Sources:
en.wikipedia.org/wiki/Ashby_de_la_Zouch_Castle
britishlistedbuildings.co.uk/101073591-castle-ruins-inclu...
Our Daily Challenge ... travel
Thanks everyone for your views, comments and faves over the last week. Sorry I'm a bit behind with my comments ... can't keep my eyes open after dinner lately! Hope to get caught up in the next day or so.
Listed Building Grade II
List Entry Number : 1138259
Date First Listed : 30 January 1985
Built around 1782, a pair of houses in a terrace, in stone on a limestone plinth. They have three storeys and cellars, and a symmetrical front of three bays. Steps lead up to two central recessed doors in a doorway with a semicircular-headed stuccoed arch. The windows are sashes, and the cellar windows have segmental heads.
historicengland.org.uk/listing/the-list/list-entry/1138259
en.wikipedia.org/wiki/Listed_buildings_in_Kendal#cite_ref...
Years ago, when I listed out the lifetime dreams I wanted to chase, completing my journal was one of those dreams. I have since completed it, started another which will itself be finished in the next few weeks. But I thought about collecting a representation of all the writing that I do- besides just the pages of my journal.
I told myself it would be neat to collect all the pens that I go through as I write. I thought if I could collect say 500 pens, surely that would take a lifetime to complete. To be exact it took twelve years. Yesterday I used my 500th pen to complete the collection, and sitting back looking at them all I am a bit astonished at what 500 pens looks like when you put them all together. That’s a lot of writing…
Those who know me know that I will only write with a Pilot G-2 pen because of their quality and consistency- it plays into my OCD. Those who know me, also know I’ll also build some sort of a display case to showcase all of these which is coming after a few other projects get completed.
Thanks Pilot pens- best pens ever! How about a sponsorship?!?!
Theme: Dream A Little Dream
Year Nine Of My 365 Project
Listed Building Grade II
List Entry Number : 1270208
Date First Listed : 20 June 1972
Originally a mid 19th century water-powered corn mill, later converted into a public house. It is stone with a slate roof, and has an east front of three storeys ad three bays, and a south front of two storeys and two bays. The windows in the east front are casements, those in the lower two floors having segmental heads. In the centre of the ground floor is a doorway, and in the top floor is a loading door and a steel crane beam.
Listed Building Grade II
List Entry Number : 1270222
Date First Listed : 21 November 1972
A mid 19th century shop with living accommodation above, on a corner site, containing material from earlier periods. It is rendered with a slate roof, and has two storeys with attics. There are two bays with a gable facing King Street, and one bay facing Market Place. There are shop fronts on both faces, with a doorway on a canted corner between them, and above these is a continuous inscribed entablature. Over the doorway is a curved signboard, and in the upper floors are sash windows. The attic window in the gable has a round head with Gothic glazing.
The Grade I Listed The Stonebow & Guildhall, the original south gate of the lower medieval city of Lincoln. On High Street, Lincoln, Lincolnshire.
The name "stonebow" is from the Old English Stein-bogi - meaning stone arch. Situated on the site of the original south gate of the lower Roman city, it replaced an earlier gate which may have been the Roman one or possibly a Norman replacement, which was taken down in the late 14th century.
The East pedestrian passage was opened up in 1758 (west side already open by then Corporation Registers). Moulded string-course, crenellation and turrets, central segmental arch with roll mouldings on south side. north side less original fabric. Kingpost and bossed tie beams.
On west of arch, 16th century, on east 15th century doorways and windows. Buttresses added, two on south, one on north sides in early 19th Century to arrest movement. Carved stone and sculptural elements are: - North side; projecting bird at parapet level; crowned rose panel; crowned fleur-de-lis panel; clock in square panel with four corner stone spandrils. South side; clock in square panel with four corner stone spandrils; royal coat of arms of James I, dated 1605; city coats of arms, one each on east and west sides; standing angel in a niche on the left side of south arch; standing queen in a niche on the right side; ten grotesque head label stops and a rainwater head; thorough restoration 1885-1887 by architect J L Pearson and Szerelmey and Co. London NE 14 Further work by the same company in 1930-31.
A new sundial set up in 1687 is shown on the south side in Grimms 1784-6 drawing. The first clock was fixed in 1835, a gift of J Fardell MP.
The building has been used by the Council since around 1500, possibly also as an assize-court and sessions house. There is a reference to The Tavern under the Stonebow in 1523.
Mold Blues and Soul Festival. Aynsley Lister is a British blues-rock guitarist/singer and songwriter, Also does a great cover of Prince's Purple Rain.
I took this photograph at Lodge Corner during the HSCC Pre ’60 Historic Sports Car Championship race at the HSCC Spring Historic Race Meeting at Oulton Park in May 1987. It's a 3.8 litre Lister Jaguar driven by Aidan Mills-Thomas and has the 'knobbly' body which featured on the early Lister Jaguars. The car was apparently severely damaged at one point, to the extent that it's registration number (WTM 446) and chassis number (BHL126) were transferred to another Lister Jaguar. This change of identity was subsequently disputed, and the result was an extremely expensive court case in which the judge finally decided that it was not his place to decide such a matter.
Listed Building Grade II
List Entry Number : 1270183
Date First Listed : 20 June 1972
A mid 19th century shop with accommodation above, rendered with a slate roof, it has four storeys and one bay. In the ground floor is a shop front with a doorway at the left, and in the upper floors are sash windows, one rising to form a gabled dormer.
The Grade I Listed Waddesdon Manor a country house in Buckinghamshire
In 1874, Baron Ferdinand de Rothschild bought the Waddesdon agricultural estate from the Duke of Marlborough with money inherited from his father Anselm. Rothschild was familiar with the estate from fox hunting in the locality. At the time of purchase, the estate had no house, park or garden. The site of the future Manor House was a bare hill. Known as Lodge Hill, it had been stripped of its timber by the impoverished Duke of Marlborough prior to the sale.
The manor is built in Neo-Renaissance style, copying individual features of several French châteaux for Baron Ferdinand de Rothschild as a weekend residence for entertaining and to house his collection of arts and antiquities.
The first house party was held in May 1880 with seven of Rothschild's close male friends enjoying a fireworks display. When, finally, the main house was ready in 1883, Rothschild invited 20 guests to stay. Before his premature death in 1898, on weekends between May and September Rothschild was host to many important guests including the future king Edward VII. House parties usually involved 14 to 20 guests.
Guests commented on the level of luxury service provided by the 24-house staff. In 1890, Queen Victoria unusually requested to pay a visit. She was impressed with the beauty of the house and grounds as well as Rothschild's ability to quietly manage the day's events. She was struck by the newly installed electric lights designed to look like candles in the chandeliers, and it is reported that she asked for the room to be darkened to fully witness the effect.
As the manor and estate have passed through three generations of the Rothschild family, the contents of the house expanded to become one of the most rare and valuable collections in the world.
In 1957, James de Rothschild bequeathed the house and its contents to the National Trust, opening the house and gardens for the benefit of the public. Unusually for a National Trust property, the family of James Rothschild, the donor, manage the house. The Rothschild Foundation, chaired by Jacob Rothschild, 4th Baron Rothschild, acts as custodian and continues to invest in the property.
Information source:
Listed Building Grade II
List Entry Number : 1270182
Date First Listed : 20 June 1972
A late 18th century shop with living accommodation above, it is rendered with a slate roof, and has three storeys and two bays. In the ground floor is a shop front with a recessed central doorway and a timber fascia, and to the right is a yard entry with a flat lintel. In the upper floors are sash windows.
These old kitty litter containers come in handy for gardening projects. Yeah, right...as if you were wondering about the bucket. 😉
Listed Building Grade II
List Entry Number : 119783
Date First Listed : 21 August 1991
Navigation beacon. c1875. Red and yellow brick. Slender, square tower approx 20m in height. Clasping, red brick pilaster strips and yellow brick side panels with iron straps that project up from concrete foundation; iron access door and small slit windows. Corbelled brickwork beneath yellow brick lantern housing with iron strapping and rectangular panels on each side. More corbelling beneath brick, pyramidal roof. Similar leading lights were built on Foulney Island and off Carr Lane, Walney Island (both now demolished). The alignment of the lights assisted the approach to Barrow-in-Furness.
The Elutherian College, Jefferson County, Indiana.
Students attending school in this historic building would autograph the cloak room as classes. This class chose an illuminated location.
The Grade I Listed Norwich Cathedral, in Norwich, Norfolk.
In 672 the Archbishop of Canterbury, Theodore of Tarsus divided East Anglia into two dioceses, one covering Norfolk, with its see at Elmham, the other, covering Suffolk with its see at Dunwich. During much of the 9th century, because of the Danish incursions, there was no bishop at Elmham; in addition the see of Dunwich was extinguished and East Anglia became a single diocese once more.
The structure of the cathedral is primarily in the Norman style, having been constructed at the behest of Bishop Herbert de Losinga who had bought the bishopric for £1,900 before its transfer from Thetford. Building started in 1096 and the cathedral was completed in 1145. It was built from flint and mortar and faced with cream coloured Caen limestone.
The cathedral was damaged after riots in 1272, which resulted in the city paying heavy fines levied by Henry III, Rebuilding was completed in 1278 and the cathedral was reconsecrated in the presence of Edward I on Advent Sunday of that year.
A large two-storey cloister, the only such in England, with over 1,000 ceiling bosses was begun in 1297 and finally finished in 1430 after the Black Death had plagued the city.The Norman spire was blown down in 1362. Its fall caused considerable damage to the east end, as a result of which the clerestory of the choir was rebuilt in the Perpendicular style.
In 1463 the spire was struck by lightning, causing a fire to rage through the nave which was so intense it turned some of the creamy Caen limestone a pink colour. In 1480 the bishop, James Goldwell, ordered the building of a new spire which is still in place today. It is of brick faced with stone, supported on brick squinches built into the Norman tower. At 315 feet (96 metres) high, the spire is the second tallest in England. Only that of Salisbury Cathedral is taller at 404 feet (123 metres).
The cathedral was partially in ruins when John Cosin was at the grammar school in the early 17th century and the former bishop was an absentee figure. In 1643 during the reign of Charles I, an angry Puritan mob invaded the cathedral and destroyed all Roman Catholic symbols. The building, abandoned the following year, lay in ruins for two decades.
The mob also fired their muskets. At least one musket ball remains lodged in the stonework.
Only at the Restoration in 1660 would the cathedral be restored under Charles II.
Information Source:
Listed Building Grade II
List Entry Number : 1206557
Date First Listed : 11 April 1994
Prebendal house. Probably late C17 and C18 with extensive C19 alterations; some C20 demolition of rear extensions.
Flemish bond brickwork with light headers on chamfered plinth (all dressings of red sandstone, partly painted); angle brick pilasters. Graduated greenslate roof, partly sandstone flags at rear; C19 end brick chimney stacks. 2 storeys, 5 bays, with rear right-angle left extension forming overall L-shape. Originally 2 houses, now one. Off-centre panelled door and overlight in bolection surround with pulvinated frieze. Segmental-headed sash window over door and for stair window to right (with glazing bars). Further right, sash windows in brick reveals with flat brick arches. At the extreme left and right are full height bay windows, that at left is squared and of red sandstone under gable; that at right is canted under a pent roof. The right return wall and rear is partly of red sandstone and is earlier than the facade. The left return and extension have sash and canted bay windows.
Train tracks heading towards the Grade II Listed Lincoln Central Railway Station, in Lincoln, Lincolnshire.
It is now the only station in Lincoln, following the closure of Lincoln St. Marks in 1985. However, it has retained its "Central" suffix, like Rotherham Central.
Lincolns Central, the city’s second station, was opened by the Great Northern Railway in 1848. It was designed by Architect John Taylor, and constructed by Contractors Samuel Morton Peto and Edward Ladd Betts, while the GNRs engineer was Joseph Cubitt.
The land appears from a Padleys 1842 map to have been a large paddock to the east of a house on the High Street which stretched back to Sincil Dyke.
The station buildings chief material is grey brick, and the general style is mock Tudor. The main buildings are on the north side dominated by a square tower on the platform on the east of the buildings. The main entrance building is 2 storied and H shaped with gables facing the frontage with a modern canopy between.
On the west side are single storey parcel offices, the first with wide arched door and flanking windows, the next with gable and flat frontage, repeated. A feature of the station is the inclusion of many tall thin ornate chimney stacks.
On the north east of the station is an enclosed car park, with a boundary wall of yellow brick. At the east end of the station was a footbridge, dating from the 1880s, for crossing the tracks. It was cast iron with diamond lattice parapets.
This bridge was dismantled and replaced in 1999, with new lifts, partly reusing elements of the old bridge. There was also an earlier covered footbridge at the west end of the station built in 1869 surviving until the 1980s. It was popularly used as a public way from High Street to St Marys Street when the crossing gates were closed, as the station could be entered from this end via Station yard off High Street by the side of the GNR Stables.
A turntable was positioned on the north side of the station on the site of the enclosed car park. In 1884 canopies were built over the platforms and adjacent track supported on rows of slender columns on the platforms and between the tracks. Glass panes on the ridge gave light. They were removed in the 1960s.
Information Sources:
Town Centre Mall, Powell River, B.C., Canada.
75 of 365 for 2022.
Nikon D700
Tamron 35-70mm f/3.5-4.5 Adaptall-2
Listed Building Grade II
List Entry Number : 1272220
Date First Listed : 12 January 1967
This 18th century building is in roughcast stone, with a slate roof, two storeys and three bays. In the ground floor are two doorways, and to the right is a shop window with pilasters, a fascia and a cornice. The upper floor contains sash windows. It was previously occupied by Brown's Coaches as a booking office.
The Grade I Listed Bishop's Palace, Wells, Somerset.
Construction began around 1210 by Bishop Jocelin of Wells but principally dates from 1230. Bishop Jocelin continued the cathedral building campaign begun by Bishop Reginald Fitz Jocelin, and was responsible for building the Bishop's Palace, as well as the choristers' school, a grammar school, a hospital for travellers and a chapel within the liberty of the cathedral. The chapel and great hall were built between 1275 and 1292 for Bishop Robert Burnell. The windows had stone tracery. Stone bosses where the supporting ribs meet on the ceiling are covered with representations of oak leaves and the Green Man. The building is seen as a fine example of the Early English architectural style.
In the 14th century, Bishop Ralph of Shrewsbury continued the building. He had an uneasy relationship with the citizens of Wells, partly because of his imposition of taxes, and surrounded his palace with crenellated walls, a moat and a drawbridge. The 5 metres (16 ft) high three-storey gatehouse, which dates from 1341, has a bridge over the moat. The entrance was protected by a heavy gate, portcullis and drawbridge, operated by machinery above the entrance, and spouts through which defenders could pour scalding liquids onto any attacker. The drawbridge was still operational in 1831 when it was closed after word was received that the Palace of the Bishop of Bristol was subject to an arson attack during the Bristol riots. These took place after the House of Lords rejected the second Reform Bill. The proposal had aimed to get rid of some of the rotten boroughs and give Britain's fast growing industrial towns such as Bristol, Manchester, Birmingham, Bradford and Leeds greater representation in the House of Commons; however there was no rioting in Wells. The water which filled the moat flowed from the springs in the grounds which had previously chosen its own course as a small stream separating the cathedral and the palace and causing marshy ground around the site. The moat acted as a reservoir, controlled by sluice gates, which powered watermills in the town.
The north wing (now the Bishop's House) was added in the 15th century by Bishop Beckington, with further modifications in the 18th century, and in 1810 by Bishop Beadon. It was restored, divided, and the upper storey added by Benjamin Ferrey between 1846 and 1854. Following the Dissolution of the Monasteries in 1548, Bishop Barlow sold Edward Seymour, 1st Duke of Somerset the palace and grounds. These were recovered after the Duke's execution in 1552.
In the 1550s, Bishop Barlow sold the lead from the roofs of the great hall. This resulted in it falling into a ruined state. It can be seen in an engraving of 1733 but was largely demolished around 1830 by Bishop Law. He created a "more picturesque ruin" by removing the south and east walls and laying out and planting the area previously occupied by the great hall. The palace was used as a garrison for troops in both the English Civil War and Monmouth Rebellion after which it was used as a prison for rebels after the Battle of Sedgemoor.
Bishop Kidder was killed during the Great Storm of 1703, when two chimney stacks in the palace fell on him and his wife, while they were asleep in bed. A central porch was added around 1824 and, in the 1840s and 1850s, Benjamin Ferrey restored the palace and added an upper storey. He also restored the chapel using stained glass from ruined French churches.
The palace now belongs to the Church Commissioners and is managed and run by The Palace Trust. The main palace is open to the public, including the medieval vaulted undercroft, chapel and a long gallery, although the Bishops House is still used as a residence and offices. There is a cafe overlooking the Croquet Lawn. The palace is licensed for weddings and used for conferences and meetings. The croquet lawn in front of the palace is used on a regular basis. The palace was used as a location for some of the scenes in the 2007 British comedy Hot Fuzz, and more recently in the 2016 film The Huntsman.
The Grade II* Listed Queen Victoria Memorial, in Dalton Square, facing Lancaster Town Hall, in Lancaster, Lancashire.
It was erected in 1906, being commissioned and paid for by James Williamson, 1st Baron Ashton. The monument was designed by Herbert Hampton a prolific sculptor and stone carver who also designed the exterior of the Ashton Memorial in Lancaster
The memorial is of Portland stone with bronze sculpture. A statue of Queen Victoria stands on a tall pedestal facing South, “looking a little pensively over the square” Nikolaus Pevsner. The pedestal sits on a tall square plinth with rounded corners accompanied by four bronze lions at the ordinal points. Around the plinth is an unbroken bas relief frieze of bronze. At the corners, facing ordinal points, are four figurative sculptures, each depicting an allegory of Freedom (northeast), Truth (southeast), Wisdom (southwest) and Justice (northwest). On the four cardinal faces are near life size likenesses of fifty three prominent British figures from the Victorian era. Of the fifty three persons depicted upon the plinth of the Queen Victoria Monument only two are women: George Eliot and Florence Nightingale. Five of those depicted were born in Lancaster or the surrounding area: William Turner, Edward Frankland, Richard Owen, William Whewell, James Williamson, 1st Baron Ashton.
At the time of construction, of the people featured on the monument, six were still alive: William Turner, Luke Fildes, Joseph Lister, 1st Baron Lister, William Thomson, 1st Baron Kelvin, Florence Nightingale and James Williamson, 1st Baron Ashton himself, the author of the monument. Amongst the people of Lancaster, the monument is also known as “King Victoria”, because of the shape of the silhouette against the Western sky at dusk.
Only listed as a Historic Landmark in 1993, the Saint Gunthiern chapel hides at the deep end of a private property, near River Blavet and the hamlet of Locoyarn, not too far from the town of Hennebont in the département of Morbihan. No one knows it’s there, and I would like to thank Messrs. Jean-Pierre Henry and Emmanuel Jaffré for letting me access and photograph it.
The chapel first appears as modest; built in small to medium apparel, essentially with local pebbles, squared off as one could with little knowledge and imperfect tools, at the hands of people more used to sickle and scythe, working under the loose supervision of a simple mason. Only the corner stones and those framing the doors and the rare windows have been cut, the rest were simply put together with lots of mortar. Nevertheless, the construction is robust, even massive. It was built to last, and last it did for almost a thousand years, as the oldest parts are from the early 1000s, possibly even a little before Year 1000. Archaisms abound, as the photos will show.
The chapel is dedicated to the Welsh saint Gunthiern, come to live a hermit’s life on the island of Groix, off the coast of Morbihan. It is very interesting, as it features, in an extremely faithful manner (given the alterations of subsequent centuries), a Roman basilica floor plan with three naves, of a surprising size for a domus Dei so isolated nowadays. The choice of such a floor plan denotes an architectural culture and a historical background beyond that of the simple mason I mentioned above; therefore, we should not hesitate to add a qualified architect to the team, at least for the drawing of the plans.
Inside, if it seems possible to date the choir and the side walls to Year 1000 or so, it appears obvious that the walls above the high arches that separate the main nave from the aisles, have been remodeled later during the Romanesque Age: their apparel is of much better quality, allowing for the opening, maybe around 1120–50, of the high windows that did not exist earlier. Was this remodeling caused by structural deformations? It is possible, because although this church was, without a doubt, never vaulted, the triumphal arch has also been subjected to marked skewing, as the photos will also show. Generally, the reason behind such a phenomenon, when not the weight of the vault, would be unstable terrain.
The Saint Gunthiern chapel is sparsely decorated. One of the photos, featuring the eastern end of the southern aisle, gives a good idea of what this church looked like originally: simple and functional... with, however, unusual traces of sophistication, such as the engaged small column that stands right nearby, in sharp contrast with the rustic apsidiole and the widely splayed little window, so typical of what has been called “the First Romanesque Art”.
Likewise, the nave is devoid of any sculpted decor, but one can find, on one of the pillars, a naive and touching Crucifixion which transports us back through the night of times to the very early days of Christianity, including the positioning of the arms of Christ which are set in the traditional attitude of the very old “orants”, or praying figures...
Besides that naïve depiction, which attests to the purest faith, unmitigated by any æstheticism, the nave is bare, as one would expect —and here, I purposefully discard the two Romanesque capitals added later to support the triumphal arch. Except that... and in the same vein as the remark I made above about the slim engaged column next to the southern apsidiole, the easternmost row of the nave is punctuated by two surprising and very unusual square columns, cut in a beveled manner, with bases decorated with motifs more Pagan than anything else, and crowned by sculpted capitals featuring strange monsters or frieze-like geometric motifs...
Next to the other six pillars of the nave, those two demonstrate a level of originality and sophistication difficult to explain, as mysterious in their inspiration as they are in the technical expertise they required, which appears nowhere else in the monument, very far from that...
Showcased by the deep woods that surround it, this little chapel is a humble abode of God and a place of quiet meditation and prayer, but it also retains riddles to which we will never in this world know the answer...
General view of the chapel from the south-west.
Grade II listed. London Underground Station 1939 by Charles Holden and L H Bucknell as the terminus of the Northern Line. . Stairs up to twin platforms.
Platform buildings with wide cantilever concrete roofs and round glazed ends to north. Double-height glazed rounded ends at south housing spiral stairs to offices in overbridge. At the south end of the bridge is a metal statue of a kneeling archer by Eric Aumonier. The station is on the edge of the site of the Royal Forest of Enfield, where the court and commoners used to hunt.
To the untrained eye it might look like a UFO filling station.
But these six giant white and red pods are actually a relic from the golden age of motoring.
The iconic Mobil station designed by U.S. architect Eliot Noyes in the 1960s is the last remaining one of its kind in the UK.
English Heritage has now granted the building on the A6 at Red Hill in Leicestershire Grade II listed status.
Read more: www.dailymail.co.uk/news/article-2140777/UKs-space-age-st...
Who would have thought that the one of the most innovative and distinctive petrol stations in the world is on the A6, in Birstall, on the outskirts of Leicester’s city centre.
The garage, now owned by BP, has made the top ten list featuring the best designed gas stations in the world.Which was voted by architects of DesignCurial magazine, which is based in London.
The structure, which consists of six large mushroom-like canopies, that form a symmetrical cover for pumps on the forecourt, was voted 6th on the list that contains the most iconic gas stations in the world, including the winner, the Pops Arcadia Station that sits alongside the famous Route 66, in the USA.
During the 1960s, Texas oil giants Mobil hired the architect Eliot Noyes, who was tasked to redesign all the companies gas stations during “Operation Pegasus” a major process to rebrand the company.
Whilst enlisting the help of graphic design firm Chermayeff & Geismar, the company who had designed the iconic Mobil sign, Noyes came up with the bold red, white and blue colour schemes that became instantly recognisable, particularly on the side of a highway.
Successfully meeting the design brief of being immediately identifiable, he designed a structure that fitted the golden age of motoring perfectly. The futuristic flying saucer-like parasols were created.
The circular canopies – unique for their overlapping design – were first built in New haven, Connecticut in the USA in 1966.
The stations were originally accompanied by Noyes’ cylindrical shaped pumps with brushed aluminium casings.
The design was used in 19,000 new and remodelled Mobil stations around the world. This particular petrol station in Birstall was built and finished in 1978/79.
Stations over the years have often been refurbished and replaced with new covers. Many stations have closed down and been demolished as larger supermarkets have bought up forecourts. Experts say ‘it is extremely rare to find any remaining canopies of this design’.
The Norman Grade I Listed Church of St Genewys which dates from the 12th Century in Scotton, a village in West Lindsey, Lincolnshire
It is not clear why the church was dedicated to St Genewys. The name is thought to be derived from St Genesius, a 7th Century Bishop of Clermont Ferrand in France but why a church in in Lincolnshire is named after him is a mystery. There is a portrait of him in the 19th Century stained glass window in the north wall of the chancel.
It stands on the edge of the village, overlooking farmland. It is an attractive building with a small square battlemented tower, nave, side aisles and chancel. There are round pillars on the north arcade and octagonal pillars on the south arcade, both with pointed arches above. The church was heavily restored by the Victorians and the fittings are all Victorian. It is unusual as there are two small windows above the chancel arch.
At the end of the south aisle is a 13th Century effigy of a cross legged knight in chain mail and wearing a surcoat. His feet rest on a lion and it is thought this could be Robert de Neville who went to Jerusalem in 1290. Against the south wall is a 15th Century effigy of a lady in flowing robes with a dog at her feet. This is thought to be another member of the Neville Family, who were Lords of the manor during the Middle Ages. At the end of the north aisle is the tomb stone of a 15th Century priest with his head, shoulders and arms shown in relief in a recessed panel at the head of the stone slab.
Information Source:
wasleys.org.uk/eleanor/churches/england/lincolnshire/linc...
Burton Agnes Hall
Grade I Listed
List Entry Number: 1346451
Details
BURTON AGNES MAIN STREET TA 1063-1163 (north side, off) 11/15 Burton Agnes Hall 11.1.52 GV I
Country house. c1601-10, dated "HF 1601" above door, "1602" on porch, "ANO 1602" and "ANO 1603" on rainwater heads, probably by Robert Smythson for Sir Henry Griffith, with later additions and alterations including those of c1730 for Sir Griffith Boynton, 5th Bart, and mid-late C20 restorations for Marcus Wickham-Boynton by Francis Johnson. Pinkish-orange brick in English bond with ashlar dressings and Welsh slate roof. Approximately square on plan with inner courtyard. South front: 3 storeys with attics to gables, 8 bays: bays 3 and 6 project slightly; bays 1 and 8 project further and are gabled and have 3-storey bow windows; bays 4 and 5 share a gable. Moulded ashlar plinth. Quoins. Flight of 5 steps across 2 central bays, with goats carrying shields on plinths to ends. Entrance to inner return of third bay a C17 studded panelled door with massive bronze knocker within full-height ashlar architrave. Architrave of panels of strapwork decoration between fluted columns with Ionic capitals on pedestals supporting frieze and moulded cornice at first-floor level. To first floor are fluted columns with Corinthian capitals on pedestals, with heraldic band between and plaque with family motto, frieze with guilloche moulding, cornice. Second floor has order of composite capitals on pedestals with Elizabethan coat of arms between, guilloche frieze, moulded cornice surmounted by strapwork cresting. To facing return of sixth bay a balancing ashlar decoration to full height in more Classical style with niches containing statues to each floor, and surmounted by similar cresting. Bays 1 and 8 have rounded 10-light ovolo- moulded mullion-and-transom bay windows to each storey surmounted by balconies with fluted balustrades. Gables have casement windows within ashlar architraves. Otherwise ground floor has full-height 24-pane sashes in moulded architraves with hoodmoulds which break continuous moulded first- floor string course, except to second bay which has 4-light ovolo-moulded mullion window with 6-pane casements. First floor: second and seventh bay have 24-pane sashes otherwise central bays have 8-pane fixed lights, all within tooled ashlar architraves. Continuous moulded first-floor string course. Second floor has unequally-hung 20-pane sashes in moulded architraves to 6 centre bays. Continuous moulded second-floor string course. To centre a gable containing 12-pane fixed-light casement window in tooled ashlar architrave. Battlements to second and seventh bays. Ashlar copings and finials. Strapwork cresting to bays 3 and 6. Groups of 3 star- shaped stacks to inner returns of bays 1 and 8, similar side and rear stacks. Rear (north facade): 2 storeys with attics, 5 bays of which bays 1, 3 and 5 project and all but centre bay have gables. Quoins. Ground floor has 6-, 5-, 3-, 5- and 6-light mullion-and-transom windows within double- chamfered surrounds. First-floor band. Mainly 12-pane sashes to first floor with one casement window, all within ovolo-moulded, double-chamfered architraves. Attics have 3-light, ovolo-moulded, double-chamfered mullion windows under hoodmoulds with quoined jambs. Battlements. Ashlar copings. West facade: irregular facade of 2 storeys with attics to gables and 7 bays, of which third and fifth project slightly. Northern bay has a 6-sided canted bay and southern bay has 5-sided, 3-storey bay window. Quoins. Entrance a 6-fielded-panel door within tooled surround. Ground floor has 4-, 3-, 5-, 4- and 2-light mullion-and-transom windows. 2-light mullion window to northern canted bay and 3-light mullion window above door. 10- light double-chamfered ovolo-moulded mullion and transom windows to each floor of southern bay. Moulded first-floor string course. First floor: sixth bay has 8-light mullion-and-transom window within ovolo-moulded, double-chamfered surround. Otherwise long 12- and 18-pane sashes in double- chamfered architraves. Second-floor string course. 3-light mullion window to first bay. To sixth bay a Venetian window, the centre a 35-pane unequally-hung sash with radial glazing to head and long 12-pane sashes to sides. Architrave has Ionic pilasters. Ashlar copings. Star stacks. East facade: 2- and 3-storeys with attics, 10 bays, the southernmost a 5-sided, 3-storey bay, the northernmost a 2-storey canted bay. Garden entrance to sixth bay: steps to glazed door with overlight in bolection-moulded, eared architrave. South bay, canted,with 10-light, double-chamfered, ovolo-moulded mullion-and-transom windows to each floor. North bay has 8-light double- chamfered ovolo-moulded mullion-and-transom windows to both floors. Otherwise ground and first floors have 18-pane sashes within moulded architraves. Continuous hoodmoulds. To third floor a Venetian window complementing that to west facade. Attics have 2- and 3-light mullion windows in ovolo-moulded, double-chamfered surrounds under hoodmoulds. Battlements. Ashlar copings, star-shaped stacks. Interior retains many C17 and C18 features including Great Hall with magnificent Elizabethan plaster screen with biblical, allegorical and mythological figures, dated 1603, elaborately carved oak panelling, also a massive alabaster chimney-piece carved with the Wise and Foolish Virgins and incorporating the arms of Sir Thomas Boynton and his 3 wives, this latter brought from the now demolished Barmston Hall. Ceiling plasterwork c1720-30. Drawing room has Elizabethan oak panelling carved with decorative blind arches between pilasters, strapwork frieze, overmantel has allegorical Dance of Death; early C18 ceiling. Chinese Room has wall covered in laquer panels c1700 and brought in c1732; Rococo pine chimney-piece installed late C20. Dining room has early C17 chimney-piece, overmantel with Virtues and Vices from Long Gallery and early C18 cornice. Inner hall has carved Elizabethan panelling; continuous newel staircase with newel posts linked by a series of elaborately carved arches, bobbin balusters. First floor has early-mid C18 panelled drawing room. King's State Bedroom has carved panelling and ribbed stucco ceiling c1603 and Queen's State Bedroom has panelling following a geometrical pattern taken from Serlio, chimney-piece and overmantel with allegorical figures of Patience, Truth, Constance and Victory dated 12 July 1610, stucco ceiling decorated with intertwining leaf and flower patterns. Justice's Room has painted linenfold panelling c1530 with portrait medallions from Kilnwick Hall, Driffield (demolished 1951) and previously at Leconfield Castle, Beverley. To second floor a long gallery restored by Francis Johnson, 1974. West wing (not fully inspected) has further early C17 panelled rooms, some with overmantels carved with allegorical figures, and with decorative plaster ceilings. Some rooms have linenfold panelling, others have early C18 bolection-moulded panelling. Pevsner N, Yorkshire, York and the East Riding, 1978, pp 207-210. Girouard M, Robert Smythson and The Elizabethan Country House, 1985, pp 169, 185-8. Arthur Oswald, Burton Agnes Hall, Yorkshire, I, II, III", Country Life, 6 June 1953, pp 1804-7; 11 June 1953, pp 1886-9; 18 June 1953, pp 1972-5.
Listing NGR: TA1027763265
A South Shore westbound passes a highly visible detour listing along the Indiana Toll Road between Gary and East Chicago, Indiana.
The view from the top of the Grade II Listed 105 feet (32 m) tall Cabot Tower, Brandon Hill Park, Bristol, Avon.
The tower stands on the site of a medieval chapel which may have belonged to St James' Priory. During the 16th century the chapel was replaced by a windmill.
The tower was constructed in memory of John Cabot, 400 years after he set sail in Matthew from Bristol and landed in what was later to become Canada. It was paid for by public subscription. The foundation stone was laid on 24 June 1897 by the Marquis of Dufferin and Ava and the tower was completed in July 1898. The architect was William Venn Gough and it was built by Love and Waite of Bristol. A lift was originally planned but never installed. The tower gives its name to the area and Council ward of Cabot.
After closure to the public in 2007, the tower reopened on 16 August 2011 following completion of repair works costing an estimated £420,000 to cracked stonework, caused by corroded reinforcing steel in the floor of the viewing platform, which had made the tower unsafe. Planning consent for the repairs was granted by Bristol City Council in November 2010. The final stage of the restoration was completed in 2014 when a light flashing the word "Bristol" in Morse code was turned back on.
The tower is built from red sandstone with cream Bath Stone for ornamentation and emphasis. It consists of a spiral staircase and two viewing platforms where balconies with wrought iron railings overlook the city, the higher of which is approximately 334 feet (102 m) above sea level. The tower is supported by diagonal buttresses. The top of the tower is supported by flying buttresses and surmounted by an octagonal spirelet topped with a ball finial and carved winged figure, which represents commerce.
The 18th Century Grade II Listed Pigeoncote in Scotter a village in West Lindsey, Lincolnshire.
Scotter has its own unique potato, known as the ‘King Edward Potato’. It was bred by a gardener who called it ‘Fellside Hero’ and passed into the hands of a grower in Yorkshire and in turn a potato merchant in Manchester who having no use for it passed it onto John Butler of Scotter in Lincolnshire. He in turn purchased all the seed stocks available and multiplied the variety on 50 aces of land before renaming the variety King Edward on the advice of a potato merchant. It is claimed Butler wrote to Buckingham Palace seeking permission to name his potato after the monarch and that a reply was received granting royal assent. It is one of the oldest surviving varieties in Europe.
In 1890 Scotter lost both doctors, Robert Eminson Senior and Robert Eminson Junior, when they became ill and died as a result of attending patients in the pleuro-pneumonia epidemic of that year. Dr. Thomas Benjamin Franklin Eminson followed his father and older brother as our village doctor. His patients knew him as ‘Doctor Tommy’ and he served the community for over 50 years. Doctor Tommy was interested in local history and became a published author. It seems that every Christmas he would write an article about the past year. One from 1939 survives.
Scotter memorial is an obelisk of Portland Stone situated in the middle of The Green in the centre of the village. It was unveiled in 1921 to commemorate the Thirteen men who died and the eighty who served in and survived the great war. Sadly, eight more names had to be added for the men who lost their lives in World War II.
Information source:
Listed Building Grade II
List Entry Number : 1210006
Date First Listed : 16 June 1988
Built in the 1890's. this was originally the city treasurer's office, and has since been used for other purposes. It is in brick with a Welsh slate roof. The Fisher Street front has two storeys and three bays. A segmental archway leads through to a rear block of three storeys and ten bays. Most of the windows are sashes, with some casement windows on the Fisher Street front. Other features include a wooden oriel window, and doorways with fanlights.
The Grade I Listed Salisbury Cathedral, (formally known as the Cathedral Church of the Blessed Virgin Mary), one of the leading examples of Early English architecture. The main body of the cathedral was completed in only 38 years, from 1220 to 1258. The cathedral is the mother church of the Diocese of Salisbury and seat of the Bishop of Salisbury. In Salisbury, Wiltshire.
As a response to deteriorating relations between the clergy and the military at Old Sarum Cathedral, the decision was taken to resite the cathedral and the bishopric was moved to Salisbury. The move occurred during the tenure of Bishop Richard Poore, a wealthy man who donated the land on which it was built. The new cathedral was paid for by donations, principally from the canons and vicars of southeast England who were asked to contribute a fixed annual sum until it was completed. A legend tells that the Bishop of Old Sarum shot an arrow in the direction he would build the cathedral but the arrow hit a deer that died in the place where Salisbury Cathedral is now. The cathedral crossing, Old Sarum and Stonehenge are reputed to be aligned on a ley line, though Clive L.N. Ruggles asserts that the site, on marshland, was chosen because a preferred site several miles to the west could not be obtained.
The foundation stone was laid on 28 April 1220. Much of the freestone for the cathedral came from Teffont Evias quarries. As a result of the high water table in the new location, the cathedral was built on only four feet of foundations, and by 1258 the nave, transepts and choir were complete. The only major sections built later were the cloisters in 1240, the chapter house in 1263, tower and spire, which at 404 feet (123 m) dominated the skyline from 1320. Because most of the cathedral was built in only 38 years, it has a single consistent architectural style, Early English Gothic.
Although the spire is the cathedral's most impressive feature, it has proved to be troublesome. Together with the tower, it added 6,397 tons (6,500 tonnes) to the weight of the building. Without the addition of buttresses, bracing arches and anchor irons over the succeeding centuries, it would have suffered the fate of spires on later great ecclesiastical buildings (such as Malmesbury Abbey) and fallen down; instead, Salisbury remains the tallest church spire in the UK. The large supporting pillars at the corners of the spire are seen to bend inwards under the stress. The addition of reinforcing tie beams above the crossing, designed by Christopher Wren in 1668, arrested further deformation. The beams were hidden by a false ceiling, installed below the lantern stage of the tower.
Significant changes to the cathedral were made by the architect James Wyatt in 1790, including replacement of the original rood screen and demolition of a bell tower which stood about 320 feet (100 m) north west of the main building. Salisbury is one of only three English cathedrals to lack a ring of bells, the others are Norwich Cathedral and Ely Cathedral. However it does strike the time every 15 minutes with bells. In total, 70,000 tons of stone, 3,000 tons of timber and 450 tons of lead were used in the construction of the cathedral.
Listed Building Grade II
List Entry Number : 1292379
Date First Listed : 31 May 1949
Originally an early 19th Century house, later used as shops and an office, in brick on a chamfered plinth, with dressings in calciferous sandstone, quoins, and a Welsh slate roof. There are two storeys and four bays. On the front is an engaged Roman Doric porch that has an entablature with a paterae frieze and cornice. In the ground floor are shop bow windows, and in the upper floor the windows are sashes. At the rear is an extension with a bowed bay window.