Gothic Britain
View allAll Photos Tagged PERPENDICULAR
Created for the Vivid Art Group Contest Urban Surrealism
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ⓒRebecca Bugge, All Rights Reserved
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The church is mostly known as Bath abbey - but the full name is the Abbey Church of Saint Peter and Saint Paul. It is now an Anglican church, but it started out as an abbey church to a Benedictine monastery. A church was first built on this spot in the 7th century - but the current building dates from the 12th to the 16th century (with some major restorations made in the 1860s, including to the ceiling and finishing the vaulting that had been partly abandoned back in the day - probably for financial reasons) and one of the better examples of the Gothic perpendicular style.
The lines and colours caught my eye when I was walking around. It was a photo that begs to be taken.
The Cathedral and Metropolitical Church of Saint Peter in York, commonly known as York Minster, is the cathedral of York, North Yorkshire, England, and is one of the largest of its kind in Northern Europe. The minster is the seat of the Archbishop of York, the third-highest office of the Church of England (after the monarch as Supreme Governor and the Archbishop of Canterbury), and is the mother church for the Diocese of York and the Province of York. It is run by a dean and chapter, under the Dean of York. The title "minster" is attributed to churches established in the Anglo-Saxon period as missionary teaching churches, and serves now as an honorific title; the word Metropolitical in the formal name refers to the Archbishop of York's role as the Metropolitan bishop of the Province of York. Services in the minster are sometimes regarded as on the High Church or Anglo-Catholic end of the Anglican continuum.
The minster was completed in 1472 after several centuries of building. It is devoted to Saint Peter, and has a very wide Decorated Gothic nave and chapter house, a Perpendicular Gothic quire and east end and Early English North and South transepts. The nave contains the West Window, constructed in 1338, and over the Lady Chapel in the east end is the Great East Window (finished in 1408), the largest expanse of medieval stained glass in the world. In the north transept is the Five Sisters window, each lancet being over 53 feet (16.3 m) high. The south transept contains a rose window, while the West Window contains a heart-shaped design colloquially known as The Heart of Yorkshire.
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
This Cambridge church is the church of the University of Cambridge. The church's actual name is St Mary the Great - but not even the church's own website calls it that. The current building dates to 1478-1519 (the first church here was built in 1209) and is in the Gothic perpendicular style. It has been restored several times from the 18th century and onwards.
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
This is both the cathedral for the diocese of Oxford, and the chapel for the college of Christ Church. It's one of the smallest cathedrals in England (but for a chapel it is really quite big). The church actually predates the college it is now a part of. It used to be the church belonging to St Frideswide's Priory, and was built in the second half of the 12th century in Romanesque style (you might note the Gothic Perpendicular style of the ceiling - the church has had some remodelling).
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
Part of Oxford university, the building (which is attached to the Bodleian library) was built in 1427 and 1483 - with the stunning ceiling, with lierne (rib) vaulting, made in the Gothic perpendicular style, designed in the 1480s by William Orchard.
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Looking east from Hyams Beach towards Point Perpendicular, New South Wales, Australia
f/22 30sec ISO 80 50 mm Pentax DA 16-50 f/2.8 Pentax K-5
Catching up after a short break
A breaking wave taken using a variable neutral density filter - something new for me. Point Perpendicular, at the northern entrance to Jervis Bay, can be seen in the background.
Please view enlarged. Type "L".
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f/4 1/4 ISO 400 200mm Pentax 70-200mm Pentax K-1
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
(An old favourite from my archives. Originally uploaded to Flickr in June 2011, just a few days after my stay in this lovely town.)
A night shot in the town of Bath which quite well sums up my recent stay there: the 18th century Georgian building over the Roman baths, next to the late medieval abbey built in the perpendicular Gothic style.
The Abbey Church of Saint Peter and Saint Paul, commonly known as Bath Abbey, is a parish church of the Church of England and former Benedictine monastery in Bath, Somerset, England. Founded in the 7th century, it was reorganised in the 10th century and rebuilt in the 12th and 16th centuries; major restoration work was carried out by Sir George Gilbert Scott in the 1860s. It is one of the largest examples of Perpendicular Gothic architecture in the West Country.
King's College Chapel in Cambridge is said to have the world's largest fan vault (here seen from below along one of the columns). Since College and Chapel were established by English royalty the ubiquitous presence of the symbols of royalty (such as the Tudor Rose, fleur-de-lis or the crown) do not come as a surprise. British royalty has always, up to this very day, been absolutely rigorous with its self-representation. Fuji X-E2.
All Saints Church is a Grade 1 listed building in Oaksey, Wiltshire, on the county boundary with Gloucestershire. All Saints was built in the middle of the 13th Century. The architecture is Early English and Perpendicular in style. Prominent features include 3 early 15th Century wall paintings depicting Christ of the Trades, St. Christopher and the Sunday Christ, a 15th Century stained glass window beside the pulpit.
Sturdy Cotswold stone walls surround this isolated chapel of ease, dedicated to St Faith, which is thought to be nearly 1,000 years old. It is certainly a Norman and possibly a Saxon building built on the Cotswold escarpment with commanding views across Gloucestershire and beyond.
The beautiful timbers of the roof were placed by medieval builders. The entrance is by the south door which is late Perpendicular, a style characterised by strong vertical lines.
The two major pendants of the 16th century plaster ceiling in the Great Hall of Trerice House (not far from Newquay) in Cornwall. Natural light, raw image processed in Fuji's raw converter and other editing programmes.
Plateau des Glières, Haute-Savoie, Auvergne-Rhône-Alpes, France.
La meseta de Glières es una meseta de piedra caliza situada en el macizo de Bornes, en el departamento de Alta Saboya, en la región de Auvernia-Ródano-Alpes. Situada respectivamente a 29 y 15 kilómetros de La Roche-sur-Foron y Thorens-Glières, la meseta se extiende sobre los municipios de Glières-Val-de-Borne y Fillière. Alberga el monumento nacional de la Resistencia.
La meseta de Glières es un valle encaramado enmarcado por la montaña de Auges (1.822 metros), la cresta de Ovines (punta Québlette, 1.915 metros) y la montaña de Frêtes (1.910 metros). La altitud media es de 1.450 metros. La meseta limita al este con el valle del Borne, al noroeste con el valle de Fillière y al suroeste con el valle de Fier. Los principales puntos de acceso son la carretera de Glières desde Thorens-Glières o el valle del Borne.
El tablero consta de varios conjuntos. El extremo suroeste corresponde a la gran pradera de montaña de la llanura del Dran, que se transforma en un valle que conduce a Balme-de-Thuy. Limita al norte con el arroyo Paccot que drena la meseta perpendicularmente, hacia el valle de Fillière. Más allá, la meseta se ensancha en el sector del paso que marca el centro de Glières. Los bosques que cubren las laderas de las montañas de Auges y Frêtes dan paso en las partes más bajas a pastos de montaña y humedales que dan origen a numerosos ríos. Aquí termina la carretera de Glières desde Thorens-Glières y donde la Casa del Plateau y el Monumento Nacional de la Resistencia atraen a la mayoría de los visitantes. Hacia el noreste, una vez pasado el chalet alpino de Chez la Jode, la parte norte de la meseta queda excavada por el Nant du Talavé, vía de acceso natural desde el valle del Borne, mientras que un pequeño valle se abre hacia el sur. al noreste hasta el chalet Frêchet y termina en el puerto de Spée.
The Glières plateau is a limestone plateau located in the Borne massif, in the Haute-Savoie department, in the Auvergne-Rhône-Alpes region. Located respectively 29 and 15 kilometres from La Roche-sur-Foron and Thorens-Glières, the plateau extends over the municipalities of Glières-Val-de-Borne and Fillière. It is home to the national monument of the Resistance.
The Glières plateau is a perched valley framed by the Auges mountain (1,822 metres), the Ovines ridge (Queblette point, 1,915 metres) and the Frêtes mountain (1,910 metres). The average altitude is 1,450 metres. The plateau is bordered to the east by the Borne valley, to the north-west by the Fillière valley and to the south-west by the Fier valley. The main access points are the Glières road from Thorens-Glières or the Borne valley.
The board consists of several sets. The south-west end corresponds to the large mountain meadow of the Dran plain, which turns into a valley leading to Balme-de-Thuy. It is bordered to the north by the Paccot stream which drains the plateau perpendicularly, towards the Fillière valley. Beyond, the plateau widens in the sector of the pass which marks the centre of Glières. The forests that cover the slopes of the Auges and Frêtes mountains give way in the lower parts to mountain pastures and wetlands which give rise to numerous rivers. This is where the Glières road from Thorens-Glières ends and where the Maison du Plateau and the National Monument of the Resistance attract most visitors. To the north-east, once past the Chez la Jode alpine chalet, the northern part of the plateau is carved out by the Nant du Talavé, a natural access route from the Borne valley, while a small valley opens out to the south, north-east to the Frêchet chalet and ends at the Col de Spée.
Had to be quick with this, just took it with settings already in camera, luckily they weren't too bad. Managed to get the focus about right, but was more concerned getting the shot fired off! Lucky for me I was faster than he was.
Perpendicular, interrupted strips of bricks form the facade of Goes town hall. They play a role in the complex energy management system of this building.
Design (2001): Rudy Uytenhaak.
Groynes, breakwaters and artificial reefs
A groyne is a shore protection structure built perpendicular to the shoreline of the coast (or river), over the beach and into the shoreface (the area between the nearshore region and the inner continental shelf), to reduce longshore drift and trap sediments. A groyne field or system is a series of groynes acting together to protect a beach. Rock is often used as construction material, but wooden groynes, steel groynes, rubble-mound and sand-filled bag groynes, or groynes made of concrete elements can also be found.
Groynes trap sediments from longshore drift so that the coast behind the sand layer is protected from erosion. Their effectiveness depends on their extension into the river or sea. As any other systems acting on the long-shore drift, they can negatively affect the transportation and sedimentation pattern of underflow areas, causing downdrift erosion. Other adverse effects (especially for rivers) can be an increase in current velocity in the constricted flow area, with increasing bed erosion and a deepening of the bed level. Groynes can also be used in estuaries to decrease tidal flow velocities at the shoreline. Rock groynes can be more effective in this case, as wooden groynes tend to reflect energy rather that absorb it. This depends on the type of wooden structures; in general screens are less effective.
To build groynes, breakwaters and reefs, rock size, face slopes, crest elevation and crest width and toe protections and aprons should be designed according to the natural characteristics of the sites as these factors have an important impact on the shoreline. Sand may build up behind breakwaters and artificial reefs to form salients. Sand can accumulate enough to connect with the breakwater and form a tombolo (a stretch of sand developed by wave refraction, diffraction and longshore drift forming a ‘neck’ connecting the structure to the shore). Considering the significant impact these structures have on the coastal environment, they should only be considered as part of a global adaptive management policy, taking into account the characteristics of the specific site and the potential effects on the whole coast. The construction of groynes and breakwaters could also be linked to a beach nourishment programme, and groynes and breakwaters can be used in a protected beach nourishment approach.
Bardejov was based on an irregular checkerboard floor plan. The basic floor plan of the town consists of blocks of houses divided by a regular street network connected to the square. The centre of the town consists of a rectangular square with an area of 260 x 80 meters, surrounded on three sides by 46 burgher houses, built on typical narrow medieval plots of land, perpendicular to the square. The fourth, northern side is defined by the dominant feature of the town – the Gothic parish church – the Basilica Minor of St. Giles, which is connected by a common wall with the historic renaissance building of the town – humanitarian school. Its counterpart is the centrally located representative early Renaissance building of the Town Hall. The main traffic artery connecting the lower and upper gates also passed through the square. All major streets of the historic centre are directed to the square. In the Middle Ages, the square itself had the hallmark of a market square, on which fairs were held on the basis of the privileges granted. One of the most important privileges was the granting of the right to hold an annual eight-day fair in the town. The privilege was granted in 1320 by King Charles Robert. The paving of the square was originally formed by cobble’s stones, set in a sand bed. In the years 1963-1966, this was replaced by paving made of pebbles, which were laid in a concrete bed.
One of Norfolk’s finest churches. Huge for what is now a small village. Middle Ages Norfolk was very rich from its wool trade with mainland Europe and Cley was an important port. St Margaret’s reflects all this.
It was partially rebuilt starting in the 1320s by master mason William Ramsey whose family worked the Palace of Westminster and parts of Norwich Cathedral. The Perpendicular style nave was completed.
Then the Black Death of the late 1340s arrived. Possibly half of Cley's population succumbed including the rebuilding sponsor and his son. Trade was disrupted and the port impoverished. Further rebuilding, including that of the chancel and the old tower, was abandoned. St Margaret’s somehow brings home to us those days – especially poignant in current times.
The internal lighting is brilliant and here a shaft touches the seven sacrament font.
Another nave view: www.flickr.com/photos/lesc/51954680724/in/photostream/
Cley windmill
Lying on my back in a tight space at the base of a spiralling staircase I pointed my camera skyward to capture this image.
Taken at Thainstone House Hotel near Inverurie in Aberdeenshire.
I used bracketing to create an HDR image of this stunning staircase.
Moth (ID unknown)
I only spotted this one because it flew past me in the garden to land between two leaves on the Ivy.
IN ENGLISH BELOW THE LINE
L'abadia de Bath, ara només una parroquia anglicana, tot i el seu aspecte catedralici, és una de les esglésies més boniques d'Anglaterra. Fou construida com a abadia d'un monastir benedictí, d'aquí el nom que l'hi ha quedat, i, de fet, servir durant alguna temporada com a catedral conjuntament amb la de Wells. D'aquí el titol de Bisbe de Bath i Wells... que els fans de l'Escurçó Negre bé recordareu!
És un exemple espectacular de gotic perpendicular britanic, on la superficie de finestrals arriba a representar el 80% del interior, pel que és extraordinariament lluminosa.
=====================
Bath Abbey, now only an Anglican parish, despite its cathedral appearance, is one of the most beautiful churches in England. It was built as the abbey of a Benedictine monastery, hence the name that has remained, and, in fact, served for some time as a cathedral together with that of Wells. Hence the title of Bishop of Bath and Wells... which fans of the Black Adder will well remember!
www.youtube.com/watch?v=rBhTIoIXoTI
It is a spectacular example of British Perpendicular Gothic, where the area of windows represents 80% of the interior, which is why it is extraordinarily bright.
The Point Perpendicular Lighthouse at Jervis Bay
Built to replace the Cape St George Lighthouse, the Point Perpendicular Lighthouse is believed to be the first lighthouse in New South Wales to be built of concrete blocks, which were cast on the ground, then lifted into place.
The lighthouse was recently restored by the Department of Defence, saving it from dilapidation and bringing it back to pristine condition.
IN ENGLISH BELOW THE LINE
L'abadia de Bath, ara només una parroquia anglicana, tot i el seu aspecte catedralici, és una de les esglésies més boniques d'Anglaterra. Fou construida com a abadia d'un monastir benedictí, d'aquí el nom que l'hi ha quedat, i, de fet, servir durant alguna temporada com a catedral conjuntament amb la de Wells. D'aquí el titol de Bisbe de Bath i Wells... que els fans de l'Escurçó Negre bé recordareu!
És un exemple espectacular de gotic perpendicular britanic, on la superficie de finestrals arriba a representar el 80% del interior, pel que és extraordinariament lluminosa.
=====================
Bath Abbey, now only an Anglican parish, despite its cathedral appearance, is one of the most beautiful churches in England. It was built as the abbey of a Benedictine monastery, hence the name that has remained, and, in fact, served for some time as a cathedral together with that of Wells. Hence the title of Bishop of Bath and Wells... which fans of the Black Adder will well remember!
www.youtube.com/watch?v=rBhTIoIXoTI
It is a spectacular example of British Perpendicular Gothic, where the area of windows represents 80% of the interior, which is why it is extraordinarily bright.
Thank you for taking the time to visit, comment, fave or invite. I really appreciate them all.
All photos and textures used are my own.
All rights reserved. This photo is not authorized for use on your blogs, pin boards, websites or use in any other way.
366: The 2016 Edition - week 5 theme 'Perpendicular'
Since the start of the week I've been seeing perpendicular lines all around me, wondering what I could use for this theme. I tried a few different ideas but kept coming back to this old grate on a window of the disused basement under the house. This was my favourite image, which I converted to sepia and I think it works quite well. I've added the vignette to hide a shadow in the top right corner, and I think it adds to the atmosphere of the picture.