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Built in 1903-1905, this Prairie-style mansion was designed by Frank Lloyd Wright for Larkin Company executive Darwin D. Martin, whom built the house as a way to bring his family, which had been scattered in various parts of the United States when his mother had died early in his childhood. The house was the culmination of immense personal wealth and professional success that Martin had enjoyed in his life despite his difficult childhood, starting as a soap seller in New York City, being hired by the Larkin Company in 1878, before moving to Buffalo and becoming the single office assistant to John D. Larkin in 1880, and in 1890, replaced Elbert Hubbard, who was a person that Martin immensely admired, as the Corporate Secretary of the Larkin Company. When the Larkin Company was seeking a designer for a major new office building for the company at the turn of the 20th Century, Martin, whom had witnessed Wright’s work in Chicago and Oak Park, wished to hire the architect as the designer of the new building, but needed to convince the skeptical John D. Larkin and other executives at the company of Wright’s suitability for the project. As a result, Martin decided to have Wright design his family estate. Darwin D. Martin became such a close friend of Wright that he commissioned the family’s summer house, Graycliff, located south of Buffalo on the shores of Lake Erie, to be designed by Wright in 1926, and spearheaded the effort to assist Wright with his finances when his personal residence, Taliesin, was threatened with foreclosure in 1927.

 

The main house is made up of four structures, those being the house itself, which sits at the prominent southeast corner of the property closest to the intersection of Summit Avenue and Jewett Parkway of any structure on the site, the pergola, which is a long, linear covered porch structure that runs northwards from the center of the house, the conservatory, which sits at the north end of the pergola and features a statue of the Winged Victory of Samothrace, which is visible from the front entrance to the house down the long visual axis created by the pergola, and the carriage house, which sits immediately west of the conservatory and behind the west wing of the house, enclosing the rear of the house’s main garden.

 

On the grounds of the mansion are two other houses, those being the Barton House, built at the northeast corner of the property along Summit Avenue to house Darwin D. Martin’s sister, Delta Martin Barton, and her husband, George F. Barton, which was the first structure to be built on the property and very visually similar to the main house, using the same type of bricks and incorporating many smaller versions of features found on the main house, and the Gardener’s cottage, built in 1909 to house gardeners who maintained the grounds of the property, which is the smallest and plainest of the three houses, which is sandwiched into a narrow strip of the property between two other houses, fronting Woodward Avenue to the west.

 

The main house features a buff roman brick exterior with raked horizontal mortar joints and filled in vertical joints, giving the masonry the appearance of being made of a series of solid horizontal bands with recessed joints, accentuating the horizontal emphasis of the house’s design and creating texture with shadows. The roof is hipped with wide overhanging eaves, with the gutters draining into downspouts that drop water into drain basins atop various one-story pillars at the corners of the house, with the roof having a T-shaped footprint above the second floor and three separate sections above the first floor, which wrap around the second floor to the south, west, and north, with the roof soaring above a porte-cochere to the west of the house, as well as a separate roof suspended above a porch to the east. The house’s roof is supported by pillars that sit near, but not at the corners of the building, with windows wrapping the corners. The windows are framed by stone sills and wooden trim, with some windows featuring stone lintels. The front door is obscured inside a recessed porch on the front facade, with the tile walkway to the door turning 90 degrees upon its approach to the doorway, a quite common feature of many of Wright’s houses at the time. The house is surrounded by a series of low brick walls with stone bases and stone caps, with sculptural decorative stone planters atop the pillars at the ends of many of these walls, with some of the planters containing carefully chosen decorative vegetation, and others serving as semi-hidden drainage basins for the adjacent one-story roofs.

 

Inside, the house features a foyer with a head-on view of the pergola and the conservatory to the north, simple but finely crafted wooden trim elements, the beautiful Wisteria Mosaic Fireplace between the foyer and dining room on the first floor that reflects light in different ways via various types of tile with different types of glazing, rough plaster painted a variety of colors, careful use of shadow to highlight certain elements while obscuring others, art glass windows featuring stained glass and clear glass panes in decorative patterns, wooden built ins and Frank Lloyd Wright-designed furnishings, a large kitchen with lots of white surfaces and wooden cabinets overlooking the garden, a living room with a vaulted ceiling and brick fireplace featuring an arched hearth opening, extensive use of expansion and compression via ceiling height to drive movement through the space, ventilation ducts that can be operated via decorative casement windows at the pillars ringing the various spaces of the house, wooden screens to obscure the staircase and second floor, custom light fixtures, art glass ceiling panels, and five large doors with art glass lights to the eastern porch on the first floor. The second floor of the house has multiple bedrooms with a variety of Frank Lloyd Wright built-in and freestanding furniture, wooden trim, and multiple bathrooms. The house is further decorated with Japanese art pieces procured by Wright in Japan, as well as being heavily inspired by traditional Japanese architecture, with usage of shadow and light to obscure and highlight different features, as well as the general form of the house, with the wide eaves providing ample shade to the interior during the summer months, while still allowing light to easily enter the space during the darker winter months.

 

To the north of the main house is an approximately 90-foot-long pergola with evenly spaced brick pillars framing the tile walkway, decorative wooden trim on the ceiling at each column, light fixtures at each column, and a glass transom and a door with large glass lights and a narrow frame providing a nearly unobstructed view of the interior of the conservatory at the north end of the pergola, focusing the attention of visitors upon their entrance to the house, as the conservatory and pergola form a continual visual axis from the foyer to the statue of the Winged Victory of Samothrace that stands in the northern end of the conservatory. This entire section of the house was rebuilt during its restoration, having been demolished in the 1960s after falling into disrepair. The pergola features a gabled roof that terminates at the bonnet roof around the perimeter of the conservatory to the north and at the first floor hipped roof of the house to the south.

 

The conservatory sits at the north end of the pergola, and has a latin cross footprint, with a glass skylight roof with a gabled section running north-south and a pyramidal hipped section at the crossing. The skylight terminates at a parapet that surrounds it on all sides, which features distinctive and decorative “birdhouses” at the north and south ends, apparently intended to house Blue Martins, but were not designed appropriately for the specific needs of the species, and have thus never been occupied. Two of the birdhouses survived the decay and demolition of the original conservatory in the 1960s, and were prominently displayed atop a wall in front of the house until the restoration of the complex in 2007. The interior of the conservatory features only a few concrete planters flanking the walkways and below the large Winged Victory of Samothrace that sits in the northern alcove of the space, with this apparently not having been what the Martin family had in mind, leading to the erection of a prefabricated conventional greenhouse made of metal and glass to the west of the Carriage House shortly after the house’s completion. The conservatory utilizes the same small tile on the floor as other areas of the house, with suspended wooden trim frames breaking up the large void of the space into smaller sections, supporting the space’s light fixtures and carefully framing the planters, fountain, and sculpture.

 

To the west of the conservatory is the two-story Carriage House, which features a simple pyramidal hipped roof with wide overhanging eaves, recessed corner pillars with central sections featuring wrap-around bands of windows on the second floor, a large carriage door in the center of the south facade, flanked by two smaller pillars and two small windows, and a one-story rear wing with a hipped roof. The interior presently houses a gift shop, but is set up like the original structure, demolished in the 1960s, would have been, with horse stables, red brick walls, a utility sink, and a simple staircase to the upper floor.

 

The house complex was home to the Martin family until 1937, when, owing to financial difficulties brought on by the loss of the family fortune during the 1929 Black Friday stock market crash and Darwin D. Martin’s death in 1935, the house had become too difficult for the family to maintain, with the family abandoning the house, allowing it to deteriorate. Additionally, Isabelle Reidpath Martin, Darwin’s widow, did not like the house’s interior shadows, which made it difficult for her to see. D.R. Martin, Darwin’s son, tried to donate the house to the City of Buffalo and the State University of New York system for use as a library, but neither entity accepted the offer, and the house remained empty until 1946, when it was taken by the city due to back taxes. In 1951, the house was purchased by the Roman Catholic Diocese of Buffalo, which intended to convert the house into a summer retreat for priests, similar to the contemporaneous sale of Graycliff by the Martin family to the Piarists, a Catholic order. However, the property languished until 1955, when it was sold to architect Sebastian Tauriello, whom worked hard to save the architecturally significant and by-then endangered property, hoping the house would avoid the fate that had befallen the Larkin Administration Building five years prior. The house was subdivided into three apartments, with the carriage house, pergola, and conservatory demolished and the rear yard sold, and two uninspired apartment buildings with slapped-on Colonial Revival-style trim known as Jewett Gardens Apartments, were built to the rear of the house. In 1967, the University at Buffalo purchased the house, utilizing it as the university president’s residence, with the Barton House and Gardener’s Cottage being parceled off, both converted to function as independent single-family houses. The university attempted to repair the damage from years of neglect and did some work to keep the house functioning, modernizing portions of the interior and returning several pieces of original furniture to the house. The house would exist in this condition for the next half-century.

 

In 1975, the house was listed on the National Register of Historic Places, and in 1986, was listed as a National Historic Landmark. In 1992, the nonprofit Martin House Restoration Corporation was founded with the goal of eventually restoring the historically and architecturally significant complex, and opening it as a museum. In 1994, the organization purchased the Barton House, and had the Martin House donated by the University of Buffalo in 2002. The restoration of both houses began under the direction of Hamilton Houston Lownie Architects shortly thereafter, and the Jewett Gardens Apartments were demolished upon the acquisition of the site by the nonprofit around the turn of the millennium. In 2006, the Gardener’s cottage was purchased from private ownership, and work began to rebuild the lost Pergola, Conservatory, and Carriage House, which were completed in 2007. Additional work to restore the house continued over the next decade, restoring the various interior spaces, with extensive work being put in to restore the kitchen and bedrooms. Finally, in 2017, the last part of the house was restored, being the beautiful Wisteria Mosaic Fireplace between the dining room and foyer, which had been extensively altered. An addition to the grounds, located on the former rear yard of an adjacent house, is the contemporary, sleek glass and steel-clad Eleanor & Wilson Greatbatch Pavilion Visitor Center, designed by Toshiko Mori, with a cantilevered roof that appears to float and tapers to thin edges, with glass walls on three sides, which houses the visitor information desk, ticket sales, presentation space, a timeline of the Martin House’s history, and restrooms. The restoration of the house marks one of the first full reconstructions of a demolished Frank Lloyd Wright structure, and is one of several significant works by the architect in Buffalo, including three designs that were built posthumously in the early 21st Century - the Fontana Boat House in Front Park, the Tydol Filling Station at the Buffalo Transportation Pierce Arrow Museum, and the Blue Sky Mausoleum at Forest Lawn Cemetery, which was designed for the Martin family in 1928, but not built until 2004.

 

Today, the restored Darwin D. Martin House complex serves as a museum, allowing visitors to experience one of the largest Prairie-style complexes designed by Frank Lloyd Wright, faithfully restored to its circa 1907 appearance, giving visitors a sense of the genius and design philosophy of Wright.

History

 

The Bishop's throne

 

The city of Chester was an important Roman stronghold. There may have been a Christian basilica on the site of the present cathedral in the late Roman era, while Chester was controlled by Legio XX Valeria Victrix. Legend holds that the basilica was dedicated to St Paul and St Peter. This is supported by evidence that in Saxon times the dedication of an early chapel on this site was changed from St Peter to St Werburgh. In the 10th century, St Werburgh's remains were brought to Chester, and 907 AD her shrine was placed in the church. It is thought that Ethelda turned the church into a college of secular canons, and that it was given a charter by King Edgar in 968. The abbey, as it was then, was restored in 1057 by Leofric, Earl of Mercia and Lady Godiva. This abbey was razed to the ground around 1090, with the secular canons evicted, and no known trace of it remains.

In 1093 a Benedictine monastery was established on the site by Hugh Lupus, Earl of Chester, and the earliest surviving parts of the structure date from that time. The abbey church was not at that time the cathedral of Chester; from 1075 to 1082 the cathedral of the diocese was the nearby church of St. John the Baptist, after which the see was transferred to Coventry. In 1538, during the dissolution of the monasteries, the monastery was disbanded and the shrine of St Werburgh was desecrated. In 1541 St Werburgh's abbey became a cathedral of the Church of England by order of Henry VIII. At the same time, the dedication was changed to Christ and the Blessed Virgin. The last abbot of St Werburgh’s Abbey, Thomas Clarke, became the first dean of the new cathedral at the head of a secular chapter.

While no trace of the 10th century church has been discovered, there is much evidence of the monastery of 1093. This work in the Norman style may be seen in the north west tower, the north transept and in remaining parts of the monastic buildings. The abbey church, beginning with the Lady Chapel at the eastern end, was extensively rebuilt in Gothic style during the 13th and 14th centuries. At the time of the dissolution of the monasteries, the cloister, the central tower, a new south transept, the large west window and a new entrance porch to the south had just been built in the Perpendicular style, and the south west tower of the façade had been begun. The west front was given a Tudor entrance, but the tower was never completed.

In 1636 the space beneath the south west tower became a bishop's consistory court. It was furnished as such at that time, and is now a unique survival in England. Until 1881, the south transept, which is unusually large, also took on a separate function as an independent ecclesiastical entity, the parish church of St Oswald. Although the 17th century saw additions to the furnishings and fittings, there was no further building work for several centuries. By the 19th century, the building was badly in need of restoration. The present homogeneous appearance that the cathedral presents from many exterior angles is largely the work of Victorian restorers, particularly Sir George Gilbert Scott. The twentieth century has seen continued maintenance and restoration. In 1973–75 a detached belfry designed by George Pace was erected in the grounds of the cathedral. In 2005 a new Song School was added to the cathedral.

 

External appearance

 

The cathedral is built of New Red Sandstone, like the cathedrals of Carlisle, Lichfield and Worcester. The stone lends itself to detailed carving, but is also friable to rain and wind, and is badly affected by pollution. With the other red sandstone buildings, Chester is one of the most heavily restored of England's cathedrals. The restoration, which included much refacing and many new details, took place mainly in the 19th century.

Because the south transept is similar in dimension to the nave and choir, views of the building from the south-east and south-west give the impression of a building balanced around a central axis, with its tower as the hub.See image, top The tower is of the late 15th century Perpendicular style, but its four large battlemented turrets are the work of the restoration architect George Gilbert Scott. With its rhythmic arrangement of large, traceried windows, pinnacles, battlements and buttresses, the exterior of Chester Cathedral presents a fairly homogeneous character, which is an unusual feature as England's cathedrals are in general noted for their stylistic diversity. Close examination reveals window tracery of several building stages from the 13th to the early 16th century. The richness of the 13th-century tracery is accentuated by the presence of ornate, crocketted drip-mouldings around the windows; those around the perpendicular windows are of simpler form.See image, top

 

The west front of the cathedral is not of particular architectural significance, as neither of its towers was completed. To the north is lower stage of a Norman tower, while to the south is the lower stage of a tower designed and begun, probably by Seth and George Derwall, in 1508, but left incomplete following the dissolution of the monastery in 1538. The façade is dominated by a large eight-light window in the Perpendicular style, which rises above a Tudor screen-like porch.The cathedral's façade is largely obscured from view by the building previously used as the King's School, which is now a branch of Barclays Bank. The door of the west front is not used as the normal entrance to the cathedral, which is through the south west porch. This porch was probably designed by Seth Derwall, and it formed part of the same late 15th-century building programme as the south transept, central and southwest towers, and cloister.

The nave, looking towards the choir

 

Interior

 

The interior of Chester Cathedral gives a warm and mellow appearance because of the pinkish colour of the sandstone. The proportions appear spacious because the view from the west end of the nave to the east end is unimpeded by a pulpitum and the nave, although not long, is both wide and high compared with many of England's cathedrals. The piers of the nave and choir are widely spaced, those of the nave carrying only the clerestory of large windows with no triforium gallery.See image, left The proportions are made possible partly because the ornate stellar vault, like that at York Minster, is of wood, not stone.

Norman remnants

 

The present church, dating from around 1283 to 1537, replaced the earlier monastic church founded in 1093 and built in the Norman style. It is believed that the newer church was built around the older one. That the few remaining parts of the Norman church are of small proportions, while the height and width of the Gothic church are generous would seem to confirm this belief. Aspects of the design of the Norman interior are still visible in the north transept, which retains wall arcading and a broadly moulded arch leading to the sacristy, which was formerly a chapel. The transept has retained an early 16th-century coffered ceiling with decorated bosses, two of which are carved with the arms of Henry VIII and Cardinal Wolsey.

 

The north west tower is also of Norman construction. It serves as the baptistry and houses a black marble font, consisting of a bowl on a large baluster dating from 1697. The lower part of the north wall of the nave is also from the Norman building, but can only be viewed from the cloister because the interior has been decorated with mosaic.

Early English

 

The Early English Gothic chapter house, built between 1230 and 1265, is rectangular and opens off a "charming" vestibule leading from the north transept. The chapter house has grouped windows of simple untraceried form. Alec Clifton-Taylor describes the exterior of this building as a "modest but rather elegant example of composition in lancets" while Pevsner says of the interior "[It is] a wonderfully noble room" which is the "aesthetic climax of the cathedral". To the north of the chapter house is the slype, also Early English in style, and the warming room, which contains two large former fireplaces. The monastic refectory to the north of the cloister is of about the same date as the chapter house.

 

The Lady Chapel to the eastern end of the choir dates from between 1265 and 1290. It is of three bays, and contains the Shrine of St Werburgh, dating from the 14th century. The vault of the Lady Chapel is the only one in the cathedral that is of stone. It is decorated with carved roof bosses representing the Trinity, the Virgin and Child, and the murder of St Thomas à Becket. The chapel also has a sedilia and a piscina.

 

Decorated Gothic

The choir, looking towards the nave

 

The choir, of five bays, was built between 1283 and 1315 to the design of Richard Lenginour, and is an early example of Decorated Gothic architecture. The piers have strongly modelled attached shafts, supporting deeply moulded arches. There is a triforium gallery with four cusped arches to each bay.See image, right The sexpartite vault, which is a 19th century restoration, is supported by clusters of three shafts which spring from energetic figurative corbels. The overall effect is robust, and contrasts with the delicacy of the pinnacled choir stalls, the tracery of the windows and the rich decoration of the vault which was carried out by the ecclesiastical designers, Clayton and Bell. The choir stalls, dating from about 1380, are one of the glories of the cathedral.

The aisles of the choir previously both extended on either side of the Lady Chapel. The south aisle was shortened in about 1870 by George Gilbert Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The eastern end of the north aisle contains the chapel of St Werburgh.

The nave of six bays, and the large, aisled south transept were begun in about 1323, probably to the design of Nicholas de Derneford. There are a number of windows containing fine Flowing Decorated tracery of this period. The work ceased in 1375, in which year there was a severe outbreak of plague in England. The building of the nave was recommenced in 1485, more than 150 years after it was begun. The architect was probably William Rediche. Remarkably, for an English medieval architect, he maintained the original form, changing only the details. The nave was roofed with a stellar vault rather like that of the Lady Chapel at Ely and the choir at York Minster, both of which date from the 1370s. Like that at York, the vault is of wood, imitating stone.

Perpendicular Gothic

From about 1493 until 1525 the architect appears to have been Seth Derwall, succeeded by George Derwall until 1537. Seth Derwall completed the south transept to a Perpendicular Gothic design, as seen in the transomed windows of the clerestory. He also built the central tower, southwest porch and cloisters. Work commenced on the south west tower in 1508, but it had not risen above the roofline at the time of the dissolution of the monasteries, and has never been completed. The central tower, rising to 127 feet (39 m), is a “lantern tower” with large windows letting light into the crossing. Its external appearance has been altered by the addition of four battlemented turrets by George Gilbert Scott in the 19th century.

  

The Perpendicular Gothic cloister is entered from the cathedral through a Norman doorway in the north aisle. The cloister is part of the building programme that commenced in the 1490s and is probably the work of Seth Daerwell.

The south wall of the cloister, dating from the later part of the Norman period, forms the north wall of the nave of the cathedral, and includes blind arcading.

Among the earliest remaining structures on the site is an undercroft off the west range of the cloisters, which dates from the early 12th century, and which was originally used by the monks for storing food.

It consists of two naves with groin vaults and short round piers with round scalloped capitals.

Leading from the south of the undercroft is the abbot's passage which dates from around 1150 and consists of two bays with rib-vaulting. Above the abbot's passage, approached by a stairway from the west cloister, is St Anselm's Chapel which also dates from the 12th century. It is in three bays and has a 19th-century Gothic-style plaster vault. The chancel is in one bay and was remodelled in the early 17th century. The screen, altar rails, holy table and plaster ceiling of the chancel date from the 17th century. The north range of the cloister gives access to a refectory, built by Simon de Whitchurch in the 13th century. It contains an Early English pulpit, approached by a staircase with an ascending arcade. The only other similar pulpit in England is in Beaulieu Abbey.

The Quadripartite vault of the choir

the 19th century the fabric of the building had become badly weathered, with Mr. Charles Hiatt writing that "the surface rot of the very perishable red sandstone, of which the cathedral was built, was positively unsightly" and that the "whole place previous to restoration struck one as woebegone and neglected; it perpetually seemed to hover on the verge of collapse, and yet was without a trace of the romance of the average ruin". Between 1818 and 1820 the architect Thomas Harrison restored the south transept, adding corner turrets. This part of the building served until 1881 as the parish church of St Oswald, and it was ecclesiastically separate. From 1844 R. C. Hussey carried out a limited restoration including work on the south side of the nave.

 

The most extensive restoration was carried out by the Gothic Revival architect, Sir George Gilbert Scott, who between 1868 and 1876 "almost entirely recased" the cathedral. In addition to extensive additions and alterations to the body of the church, Scott remodelled the tower, adding turrets and crenellations. Scott chose sandstone from the quarries at Runcorn for his restoration work. In addition to the restoration of the fabric of the building, Scott designed internal fittings such as the choir screen to replace those destroyed during the Civil War. He built the fan vault of the south porch, renewed the wooden vault of the choir and added a great many decorative features to the interior. Later in the century, from 1882, Sir Arthur Blomfield and his son Charles made further additions and modifications, including restoring and reinstating the Shrine of St Werburgh. More work was carried out in the 20th century by Sir Giles Gilbert Scott between 1891 and 1913, and by F. H. Crossley in 1939.

 

Rare fittings

 

The treasures of Chester Cathedral are its rare fittings, specifically its choir stalls and the 17th century furnishing of the bishop’s consistory court in the south tower, which is a unique survival. The choir stalls date from about 1380. They have high, spiky, closely set canopies, with crocketed arches and spirelets. The stall ends have poppyheads and are rich with figurative carving. The stalls include 48 misericords, all but five of which are original, depicting a variety of subjects, some humorous and some grotesque. Pevsner states that they are "one of the finest sets in the country",while Alec Clifton-Taylor calls them “exquisite” and says of the misericords that “for delicacy and grace [they] surpass even those at Lincoln and Beverley”.

Stained glass

Chester suffered badly at the hands of the Parliamentary troops. In consequence, its stained glass dates mainly from the 19th century. Of the earlier Victorian firms, William Wailes is the best represented here, as well as Hardman & Co.. Glass from the High Victorian period is well represented by two leading London firms, Clayton and Bell and Heaton, Butler and Bayne. The Aesthetic style is represented by Kempe. There are also several notable modern windows, the most recent being the refectory window of 2001 by Ros Grimshaw which depicts the Creation.

Organ

 

In 1844, an organ by Gray & Davison of London was installed in the cathedral, replacing an instrument with parts dating back to 1626. The organ was rebuilt and enlarged by Whiteley Bros of Chester in 1876, to include harmonic flutes and reeds by Cavaillé-Coll. It was later moved to its present position at the front of the north transept. In 1910 William Hill & Son of London extensively rebuilt and revoiced the organ, replacing the Cavaillé-Coll reeds with new pipes of their own. The choir division of the organ was enlarged and moved behind the choirstalls on the south side. The instrument was again overhauled by Rushworth and Dreaper of Liverpool in 1969, when a new mechanism and some new pipework made to a design drawn up by Roger Fisher was installed. Since 1991 the organ has been in the care of David Wells of Liverpool.

 

Communion plate

 

The communion plate includes two flagons dated 1662–63, two small and two large patens dated 1662, a silver chalice dating from about 1665, a silver gilt alms dish dated 1669, a chalice spoon of 1691, two small alms dishes dated 1737, two chalices dated 1838, a small chalice dated 1897, a small paten of 1903, two candlesticks dated 1662 and two vergers' maces of 1662.

 

Tour of features

 

Nave

 

The west end of the nave is dominated by an eight-light window in the Perpendicular Gothic style which almost fills the upper part of the west wall. It contains stained glass designed by W. T. Carter Shapland dating from 1961 and depicts the Holy Family in the middle two lights, flanked by the northern saints Werburgh, Oswald, Aidan, Chad and Wilfrid, and Queen Ethelfleda.

The stained glass in the north aisle, dated 1890, is by Heaton, Butler and Bayne.[35] The south aisle includes three stained glass windows, dated 1992, designed and made by Alan Younger to replace windows damaged in the Second World War. They were donated by the 6th Duke of Westminster to celebrate the 900th anniversary of the cathedral.[36] The stained glass in another window in the south aisle is by William Wailes, dated 1862.The stone nave pulpit was designed by the restorer R. C. Hussey and the lectern, dated 1876, is by Skidmore.] The mosaic floor of the tower bay was designed by Dean Howson and executed by Burke and Co. The same firm installed the mosaics which decorate the wall of the north aisle, depicting the patriarchs and prophets Abraham, Moses, David and Elijah. They were designed by J. R. Clayton of Clayton and Bell, and date from 1883–86.

 

Monuments in the nave include those to Roger Barnston, dated 1838, by John Blayney, to Bishop Stratford, dated 1708, to Bishop Hall who died in 1668, to Edmund Entwistle, dated 1712, to John and Thomas Wainwright who died respectively in 1686 and 1720, to Robert Bickerstaff who died in 1841 by Blayney, to Dean Smith who died in 1787 by Thomas Banks, and to Sir William Mainwaring, dated 1671.

Choir stall with canopy and misericord

 

Choir

 

The most famous feature of the choir is the set of choir stalls, dating from about 1380, and described above. The lectern, in the form of a wooden eagle, symbol of John the Evangelist, dates from the first half of the 17th century. The candlesticks also date from the 17th century and are by Censore of Bologna who died in 1662.

With these exceptions, most of the decoration and the fittings of the choir date from the 19th century and are in keeping with the Gothic Revival promoted by the Oxford Society and Augustus Welby Pugin. The restored vault of the choir is typical of the period, having been designed by Scott and decorated and gilded by Clayton and Bell.

 

The choir is entered through a screen designed by Sir George Gilbert Scott, with gates made by Skidmore. The rood was designed by Sir Giles Gilbert Scott, and was made by F. Stuflesser. The bishop’s throne or “cathedra” was designed by George Gilbert Scott to complement the choir stalls. It was constructed by Farmer and Brindley in 1876. The reredos and the floor mosaic date from 1876, and were designed by J. R. Clayton. The east window has tracery of an elegant Decorated Gothic design which is filled with stained glass of 1884 by Heaton, Butler and Bayne.

 

Lady Chapel

 

The 13th century Lady Chapel contains the stone shrine of St Werburgh which dates from the 14th century and which used to contain her relics. The shrine, of the same pink stone as the cathedral, has a base pierced with deep niches. The upper part takes the form of a miniature chapel containing statuettes. During the dissolution of the monasteries it was dismantled. Some of the parts were found during the 1873 restoration of the cathedral and the shrine was reassembled in 1888 by Blomfield. A carving of St Werburgh by Joseph Pyrz was added in 1993. Also in the chapel are a sedilia and a piscina. The stained glass, dated 1859, is by William Wailes. The chapel contains a monument to Archdeacon Francis Wrangham, made by Hardman & Co. and dating from 1846.

 

North choir aisle

 

The north choir aisle has a stone screen by R. C. Hussey and an iron gate dated 1558 that came from Guadalajara. At the east end of the aisle is the chapel of St Werburgh which has a vault of two bays, and an east window depicting the Nativity by Michael O'Connor, dated 1857. Other stained glass windows in the north aisle are by William Wailes, by Heaton, Butler and Bayne, and by Clayton and Bell. The chapel contains as a piscina dating from the 14th century, and monuments to Bishop Graham dated 1867, and to William Bispham who died in 1685, Other monuments in the north aisle include a tablet to Bishop Jacobson, dated 1887, by Boehm to a design by Blomfield.

 

North transept, sacristy and chapter house

 

The small Norman transept has clerestory windows containing stained glass by William Wailes, dated 1853. The sacristy, of 1200, has an east window depicting St Anselm, and designed by A. K. Nicholson. In the north transept is a freestanding tombchest monument to Bishop Pearson who died in 1686, designed by Sir Arthur Blomfield and carved by Nicholas Earp, with a recumbent effigy by Matthew Noble. Other monuments in the transept include one to Samuel Peploe, dating from about 1784, by Joseph Nollekens. The wall monuments include cenotaphs to members of the Cheshire (Earl of Chester's) Yeomanry killed in the Boer War and in the First and Second World Wars. At the corner of the transept with the north aisle is a 17th-century Tree of Jesse carved in whale ivory. A niche contains a rare example of a "cobweb picture", painted on the web of a caterpillar. It depicts Mary and the Christ-Child, and is based on a painting by Lucas Cranach the Elder.

 

The chapter house has stained glass in its east window by Heaton, Butler and Bayne and grisaille windows in the north and south walls, dated 1882–83, by Blomfield. It contains an oak cope cupboard from the late 13th century, and houses part of the cathedral library. In the vestibule is a copy of Ranulf Higdon's Polychronicon.[46] The front of the chapter house was rebuilt to a design by Hussey.

 

South choir aisle

Flowing Decorated tracery and glass by Heaton, Butler and Bayne in the south transept

 

The south aisle was shortened in about 1870 by Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The stained glass in the apse window is dated 1872 and is by Clayton and Bell. Below this is a mosaic designed by J. R. Clayton and made by Salviati, and a fresco painting by Clayton and Bell, dated 1874. Elsewhere the stained glass in the aisle is by Wailes, and by Hardman & Co. to a design by Pugin.[42] The aisle contains the tomb of Ranulf Higdon, a monk at St Werburgh's Abbey in the 12th century who wrote a major work of history entitled Polychronicon,[47] a monument to Thomas Brassey (a civil engineering contractor who died in 1870), designed by Blomfield and made by Wagmuller, a monument to Bishop Peploe who died in 1752, and three painted monuments by Randle Holme.

 

South transept

 

The south transept, formerly the parish church of St Oswald contains a piscina and sedilia in the south wall. On the east wall are four chapels, each with a reredos, two of which were designed by Sir Giles G. Scott, one by Kempe and the other by his successor, W.E. Tower. The south window is dated 1887 and was made by Heaton, Butler and Bayne to a design by R. C. Hussey. Other stained glass in the transept is by Clayton and Bell, by C. E. Kempe and by Powell. The monuments include those to George Ogden who died in 1781, by Hayward, to Anne Matthews who died in 1793, by Thomas Banks, to John Philips Buchanan who died at Waterloo in 1815, and to the first Duke of Westminster, designed by C. J. Blomfield. On the wall of the southwest crossing pier are monuments which include a cenotaph to the casualties in HMS Chester in the Battle of Jutland in 1916 who included the 16-year-old Jack Cornwell VC. The west wall of the south transept has many memorials, including cenotaphs to the Cheshire Regiment, the Royal Air Force and the Free Czech Forces.

  

Cloisters and refectory

 

The cloisters were restored in the 20th century, and the stained glass windows contain the images of some 130 saints.[26] The cloister garth contains a modern sculpture entitled The water of life by Stephen Broadbent. The refectory roof is dated 1939 and was designed by F. H. Crossley. The east window with reticulated tracery was designed by Sir Giles G. Scott and is dated 1913. The stained glass in the west window, depicting the Creation, was designed by Ros Grimshaw and installed in 2001 to celebrate the Millennium. On the refectory's west wall there is a tapestry depicting Elymas being struck with blindness which was woven at Mortlake in the 17th century from a cartoon by Raphael. The heraldic paintings on the north wall represent the arms of the Earls of Chester.

Bell tower

Towards the end of 1963 the cathedral bells, which were housed in the central tower, were in need of an overhaul and ringing was suspended. In 1965 the Dean asked George Pace, architect to York Minster, to prepare specifications for a new bell frame and for electrification of the clock and tolling mechanism. Due to structural difficulties and the cost of replacing the bells in the central tower it was advised that consideration should be given to building a detached bell and clock tower in the southeast corner of the churchyard. It was decided to proceed with that plan, and in 1969 an announcement was made that the first detached cathedral bell tower was to be erected since the building of the campanile at Chichester Cathedral in the 15th century. In February 1969, nine of the ten bells in the central tower were removed to be recast by John Taylor & Co as a ring of twelve bells with a flat sixth. The new bells were cast in 1973. Work on the new bell-tower began in February 1973. Two old bells dating from 1606 and 1626 were left in the tower. On 26 February 1975 the bells were rung for the first time to celebrate the wedding of a member of the Grosvenor family. The official opening on 25 June 1975 was performed by the Duke of Gloucester. The belfry is known as the Dean Addleshaw Tower, after the dean of the cathedral responsible for its construction. Between the bell tower and the south transept is a garden in remembrance of the Cheshire Regiment (originally the 22nd Regiment of Foot).

 

The choral tradition at Chester is 900 years old, dating from the foundation of the Bendedictine monastery. There are usually ten choral services at the cathedral each week. Chester has a cathedral choir of male lay clerks, boy trebles and since 1997 the cathedral has recruited a choir of girl choristers, who sing on alternate Sundays to the boys and the same number of weekday services. There is no choir school at Chester, so the choristers come from local schools. On occasions the boy and girl choristers sing together. There is also a nave choir which sings Evening Prayer on Sundays, and sometimes joins with the cathedral choir on special occasions. The nave choir was formed in the middle of the 19th century, and was England’s first voluntary cathedral choir. The director of music is Philip Rushforth and the assistant organist is Ian Roberts. There are lunchtime organ recitals weekly on Thursday.The monthly program of music is available on the cathedral's website.

Post Office building getting restored.

warner bed style in broadway store

Piper L4 Restoration

Certified Ecological Restoration Practitioner Jennifer Payne and the team of Sandia ecologists help Sandia uphold its commitment to protect land leased from Kirtland Air Force Base in Albuquerque, and land withdrawn from the U.S. Forest Service. After construction projects, the team stabilizes the soil and re-establish the natural habitat, which benefits wildlife who use the area for cover, forage and breeding.

 

“I think people would be surprised and impressed to know the lengths we go to protect the environment,” said stormwater program lead John Kay.

 

Learn more about Sandia’s ecological restoration work at share-ng.sandia.gov/news/resources/news_releases/ecologic...

 

Photo by Randy Montoya.

 

Processed with VSCO with c9 preset

Capitol Visitor Center guides admire the freshly restored space.

 

Full Rotunda Interior Restoration project details are at www.aoc.gov/rotunda.

-----

This official Architect of the Capitol photograph is being made available for educational, scholarly, news or personal purposes (not advertising or any other commercial use). When any of these images is used the photographic credit line should read “Architect of the Capitol.” These images may not be used in any way that would imply endorsement by the Architect of the Capitol or the United States Congress of a product, service or point of view. For more information visit www.aoc.gov/terms.

Modern Loft Restoration in Florance - b-arch as seen on plastolux

The J.C. Davis is the last steam engine damaged in the 2003 Roundhouse roof collapse to be restored.

  

It is now on display at the B&O Railroad Museum.

Your greatest ministry will likely come from your greatest pain. - Rick Warren

Crews helping with restoration efforts to assist our customers with their power restoration

Crews helping with restoration efforts to assist our customers with their power restoration

Piper L4 Restoration

Piper L4 Cub restoration

synthetic grid/net/fabric?? don't know what it's called in English, (please if anybody can tell me?) to reinforce the plaster on the walls

 

view the restoration project album >>

Maison Guiette, Populierenlaan 32, Antwerp – architect Le Corbusier – 1926

House Guiette is, together with a house in Weissenhof in Stuttgart, the only realization of the "Maison Citrohan", one of the early theoretical house designs by Le Corbusier, also the only surviving work of Le Corbusier in Belgium. In designing the house Guiette Le Corbusier showed the possibilities of the Citrohan type by adaptation to the available budget, the wishes of the client and the building regulations of the city. Designed in 1926 as a home-studio for painter Rene Guiette, built in 1926-27 under the supervision of P. Smekens and restored after years of vacancy to a design by G. Baines in 1987. Unfortunately the interior of the house cannot be visited.

 

The original painting of the interior was completely restored in the restoration. Indeed for Le Corbusier colour is an important element that emphasizes the spatial properties of the architecture. Le Corbusier came in May 1927 at the spot to determine the colors. He wanted to enlighten and open the spaces to give the walls in each room a different color. Basically in the whole house the parallel walls were painted in the same color. The separation wall and connecting parts in the living room, staircase, master bedroom and roof are white, the wall surfaces of front and rear and parallel thereto walls ultramarine green, the outer wall of the living and the curved wall of the stairwell on the top floor were painted pink, the walls of the cloakroom and the overflow in burnt sienna, a red tint, for the sake of harmony with open doors, the dividing wall between kitchen and living on both sides of burnt umber. The bedrooms and the roof were treated as separate entities. In the master bedroom were ultramarine (facade and parallel separation wall with bathroom), burnt umber (side wall) and light (ceiling) is used. The children's bedroom is to the privacy and intimacy of the room to emphasize, fully painted in ocher. On the roof terrace with white wall of separation is the opposite side wall and the other English green walls pink. T complete the color palette three shades of gray and white were used. White was-except in the bedrooms-used in every room (including ceilings) and predominates in studio and service spaces such as kitchen, toilet, bathroom, storage rooms and stairwell. During the restoration, the original flooring of black or off-white tiles was preserved and restored, where it could not be done it was replaced by parquet flooring. Furthermore, continued to maintain the original austere lighting.

Image from SDASM's Restoration Department

Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum

   

In this photo: We think if the Miller Barn could talk, it would say "I have the best seat in the house!"

 

September 8 through October 4, 2019, HistoriCorps, a national nonprofit organization dedicated to engaging volunteers in the rehabilitation of historic structures on publicly accessible lands, in partnership with the National Elk Refuge, worked to restore the 121 year old Historic Miller Barn.

 

The Historic Miller Barn on the National Elk Refuge, represents a range of historic events significant to the development of the National Elk Refuge and Jackson, WY. The 30-by-40 foot barn was built in 1898 and is on the National Register of Historic Places. The barn is part of the Historic Miller Ranch on the National Elk Refuge. The site referred to as the Historic Miller Ranch includes the original log home or Miller House, the Miller Barn, and a one-room log building that was once used as the original office for what later became Teton National Forest, known currently as Bridger-Teton National Forest.

 

HistoriCorps is a 501(c)3 nonprofit that provides volunteers of all skill levels with a hands-on experience preserving historic structures on public lands across America. Volunteers work with HistoriCorps field staff to learn preservation skills and put those skills to work saving historic places that have fallen into disrepair. HistoriCorps works to ensure America’s cultural and historical resources exist for generations to come.

 

Photo: Kari Cieszkiewicz/USFWS

While floods get all the headlines, water damage impacts owners across the nation - even in occasions of good weather. Tampa Fl Water restoration will enable you minimize the water harm carried out to your own home in addition to your belongings. Water injury can happen in every area of your private home and property, but there are specific areas that, if damaged, are more problematic and ought to be watched closely. Although water alone won't do the job, you will need to know the what, when, and how of hydrating oneself. For any type of restore, you must call in a Phoenix water heater restore technician.

 

visit here:

Westlake Village Water Damage Restoration

waterdamagewestlakevillage.net

Westlake Village

CA 91361

(818) 722-1370

Image from SDASM's Restoration Department

Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum

   

Piper L4 Restoration

Calahorra, La Rioja (Spain).

 

Better seen in Fluidr.

Se ve mejor en Fluidr.

 

ENGLISH

Calahorra, La Rioja, Spain is located in the comarca of La Rioja Baja, near the border with Navarre on the right bank of the Ebro.

 

Calahorra has been inhabited since the Paleolithic, and its stable population dates to the Iron Age.

 

Rome conquered the town in 187 BC and brought it to its highest point of importance as an administrative centre for surrounding regions.

 

Calahorra supported Quintus Sertorius in his war against Pompey, whom the city resisted successfully since 76 BC. It was only taken four years later by Pompey's legate Lucius Afranius, after a lot of inhabitants had died from starvation and there had occurred cannibalism.

 

Julius Caesar and Augustus Caesar gave the city (then named Calagurris) numerous distinctions, converted it into a municipality, and developed its city planning, economy, and politics. Its archeological remains show that it had a circus, baths, an amphitheatre, and other services found in large cities. It minted money and served as a justice administration centre.

 

Quintilian, well known for his descriptions of the culture of that time, was born in Calahorra, and the Parador in the city is named after him. It has Roman ruins in the grounds.

 

Saints Emeterius and Celedonius, martyred in the city around 305 AD, are the patron saints of the city, and the city's coat-of-arms depict their names. The cathedral is dedicated to them.

 

After the rule of the Moors in the 9th and 10th centuries the Christian king García Sánchez III of Navarre captured the city in 1045.

 

More info: en.wikipedia.org/wiki/Calahorra

 

-----------------------------------

 

CASTELLANO

Calahorra es una ciudad española de la comunidad autónoma de La Rioja perteneciente a la comarca de la Rioja Baja. Tiene 24.787 habitantes, según los datos del INE para el año 2009, una extensión de 91,41 km² y una densidad poblacional de 264,9 hab./km². Ostenta los títulos de Muy Noble, Muy Leal y Fiel Ciudad. Desde los siglos IV - V, es sede de la diócesis de su mismo nombre, que en tiempos pasados llegaba hasta el Cantábrico. Es la segunda ciudad de la comunidad autónoma de La Rioja en importancia y población tras la capital, Logroño.

 

Capital de la comarca de la Rioja Baja, destaca por su producción agrícola y su antigüedad. Fue importante ciudad romana, la Calagurris Nassica Iulia, con ceca que mantuvo hasta la Edad Media. Calahorra, además, es cuna del gran maestro en oratoria Marco Fabio Quintiliano, autor de varios textos y maestro en la corte romana. En su honor se erige una estatua frente al Ayuntamiento.

 

Las primeras noticias de asentamientos humanos en el territorio municipal datan del período musteriense, tal y como atestiguan los numerosos restos de industria lítica hallados en la zona. Los hallazgos realizados en el yacimiento de Sorbán indican que grupos procedentes de las emigraciones indoeuropeas se asentaron en la zona. Hay pruebas de un asentamiento estable para la Edad del Hierro.

 

Hacia el siglo II a. C., el general romano Catón logró el sometimiento o la alianza a Roma de los pueblos del valle del Ebro. Entre el siglo I a. C. y el siglo II, la ciudad perteneció al pueblo de los vascones, como citan expresamente los geógrafos Estrabón (Str. III, 4, 10) y Claudio Ptolomeo (Ptol.2.6.66). Kalakorikos, que destacó como un importante centro urbano en el valle medio del Ebro. Según se deduce del relato Tito Livio (Liv. frag. XCI), durante las guerras Sertorianas, entre el 75 a. C. y el 74 a. C. Sertorio construyó un puente en esta ciudad que era su aliada en su lucha contra Pompeyo y Metelo, quienes finalmente la sitiaron en el año 72 a. C., forzando la resistencia de los habitantes que, según la crónica de Salustio, recurrieron al canibalismo.

 

La primera noticia del establecimiento del cristianismo en el municipio de Calahorra se tiene en referencia al martirio y ajusticiamiento de los que ahora son sus patrones, San Emeterio y San Celedonio, que fueron legionarios romanos que abrazaron la fe de Cristo, y como consecuencia de ello fueron decapitados. La leyenda cuenta que sus cabezas fueron arrojadas al río Ebro y que estas, en vez de ser arrastradas por la corriente, ascendieron río arriba. El martirio de estos soldados de las legiones romanas sucedió hacia el año 300 después de Cristo y se cree que sucedió en el lugar donde ahora se levanta la Catedral de Santa María.

 

La ciudad de Calahorra contó con una judería que estaba aislada por murallas del resto de la ciudad y tenía sus propias leyes. Los primeros asentamientos judíos se remontan al siglo XI y su mayor auge se dio en el siglo XIV, cuando contó con unos 600 habitantes que gozaban de gran prosperidad. Cuando Enrique II de Trastámara ocupó Calahorra, muchos de los habitantes de la judería huyeron a Navarra. Cuando los reyes Católicos publicaron el decreto de Granada que supuso la expulsión de los judíos de los reinos de España, muchos de ellos se fueron (llevando el apellido de Calahorra o Calahora) y se ubicaron en Cracovia, mientras otros de convirtieron al cristianismo.

 

La judería fue ocupada por cristianos llegados de fuera de la ciudad, y los judíos que luego volvieron fueron ubicados en otros barrios para facilitar su integración. La sinagoga se encontraba en el terreno que actualmente ocupa la ermita de San Sebastián, y su Toráh se guarda en el museo diocesano sito en la Catedral de Santa María. En esta judería pasó la última etapa de su vida el poeta, literato y astrónomo Abraham Ben Ma'ir Ben Ezra relevante personaje de la cultura hispano-hebraica.

 

La Catedral de Santa María de Calahorra es un edificio básicamente gótico del siglo XVII, con añadidos de diversos estilos y épocas. Levantado sobre el lugar de martirio de los patronos de la ciudad, San Emeterio y San Celedonio, es un edificio de sillería con tres naves, crucero, girola y claustro. La fachada norte de estilo plateresco, esta dedicada a San Jerónimo.

 

Más info: es.wikipedia.org/wiki/Calahorra

  

Piper L4 Cub restoration

Photo was brought to me in pieces, cs 5 was used in the restoration process, elliptical marquee tool was used to rebuild right arm.

Photo restoration work on a friends photo of his father.

A photograph was taken using my 7D mark II hand held and imported into lightroom. After some basic changes the photo was imported into photoshop CC for final corrections.

Restoration on the inside of Notre Dame de Lorette

Coachwork by Jean Antem

One-off

 

Bonhams : the Zoute Sale

Estimated : € 375.000 - 425.000

Sold for € 408.250

 

Zoute Grand Prix 2018

Knokke - Zoute

België - Belgium

October 2018

 

The unique Bentley motor car offered here was delivered new to the Paris-based Greek shipping magnate and racing driver, André Embiricos, who had owned a succession of Bentleys, including the famous aerodynamic 4¼-Litre coupé designed by Georges Paulin, commencing in the 1930s.

 

The Derby Bentley was, of course, an exclusively coachbuilt automobile and as befitted its sporting nature was almost always fitted with owner-driver saloon or drophead coupé coachwork, the 'standard' designs being the work of Park Ward. For this Bentley 4¼-Litre's body, Embiricos chose Jean Antem of Courbevoie, Seine. Antem had established his coachbuilding business in 1919 and over the course of the next 30-plus years would body all kinds of chassis in a wide variety of styles. Carrosserie Antem manufactured series-production bodies for La Licorne and Ariès during the 1930s while reserving his bespoke creations for quality marques such as Bugatti, Delahaye, Hispano Suiza and, of course, Bentley. Jean Antem's work is rarely encountered today; regular contenders at the most prestigious Concours d'Élégance events, these Antem-bodied cars are rare and sought-after.

 

When Embiricos ordered this car, the 4¼-Litre Bentley chassis, developed from the preceding 3½-Litre, was the finest that the wealthy sporting motorist could aspire to. Although Rolls-Royce's acquisition of Bentley Motors in 1931 had robbed the latter of its independence, it did at least ensure the survival of the Bentley name. Launched in 1933, the first of what would become known as the 'Derby' Bentleys continued the marque's sporting associations, but in a manner even more refined than before. Even W O Bentley himself acknowledged that the 3½-Litre model was the finest ever to bear his name.

 

Based on the contemporary Rolls-Royce 20/25, the 3½-Litre Bentley was slightly shorter in the wheelbase at 10' 6" and employed a tuned (115 bhp), twin-SU-carburettor version of the former's 3.669 cc overhead-valve six-cylinder engine. Add to this already remarkable package a part-synchromesh four-speed gearbox and servo assisted brakes, and the result was a vehicle offering the driver effortless high performance in almost absolute silence. 'The Silent Sports Car', as it was quickly dubbed, had few peers as a tireless long-distance tourer, combining as it did traditional Rolls-Royce refinement with Bentley performance and handling.

 

By the end of the 1930s the 'Derby' Bentley had undergone a number of significant developments, not the least of which was an increase in bore size in 1936 that upped the capacity to 4.257 cc, a move that coincided with the adoption of superior Hall's Metal bearings. This new engine was shared with the equivalent Rolls-Royce - the 25/30 hp - and as had been the case with the preceding 3½-Litre model, enjoyed a superior specification in Bentley form, boasting twin SU carburettors, raised compression ratio, and a more 'sporting' camshaft. Thus the new 4¼-Litre model offered more power than before while retaining the well-proven chassis with its faultless gear-change and servo-assisted braking. Land speed record holder Sir Malcolm Campbell appreciated its formidable performance, praising the 'absolute perfection' of the Bentley's engine, handling, and braking. In total, 1.177 3,5-Litre cars had been built and a further 1.234 of the successor 4¼-Litre model prior to the cessation of production in 1939.

 

Embiricos's passion for speed undoubtedly influenced this Bentley's specification and resulted in its wonderfully sleek styling. The overall impression of fluidity is accentuated by the surprisingly low windscreen - an Antem trademark – and the line of the body that slopes down towards the tail. The hood retracts completely within the body behind the rear seat, while its painted dashboard gives the leather-upholstered interior a sporting feel. The exhaust outlet is incorporated into the left rear wing, another subtle detail. Embiricos also specified a high axle ratio (11:43).

 

According to records held by the Rolls-Royce Owners Club, Embiricos exported the Bentley to the USA in April 1940, just ahead of the German invasion of France, and kept it until March 1945. The car subsequently passed through the hands of several owners in the USA's North East (all known, list available) before being acquired in the early 1960s by Mr Byron White of Rhode Island, who would own it for the next 40-or-so years. Between 1985 and 2002, Mr White had the Bentley restored to a high standard.

 

The next owner, Charles Morse, acquired the Bentley in 2004 and delivered it to Jeff McDonald's workshop in Oregon for restoration to concours standard. An expert in the restoration of pre-war Bentley and Rolls-Royce motor cars, Jeff McDonald is a highly respected specialist whose enviable body of work includes the 'Best of Show' award winner at Pebble Beach in 2016. Accompanying invoices show that the car was stripped down to the chassis; the body frame and panelling repaired; and all the mechanical components refurbished as necessary. In 2014, the next owner bought the car and completed the restoration, entrusting the paintwork and upholstery to Navarette Classic Design & Paint and Aquilera's Custom Upholstery respectively.

 

Today, this unique Bentley retains its correct period accessories, including Marchal lights, and comes with a comprehensive folder containing the (copy) build sheets, list of owners, restoration bills (inspection recommended), tool kit, jack, and an original Bentley 4¼-Litre instruction book.

 

This car features in R-ROC and R-REC records, and is listed in 'Bentley: The Silent Sportscar' by Michael Ellman-Brown; 'All The Pre-war Bentleys' by Stanley Sedgwick; and 'The Derby Built Bentleys' by Bernard L King. Offered with US title EU customs clearance, this beautiful 4¼-Litre cabriolet is the perfect combination of Antem's talents and Bentley's engineering excellence.

St Peter and St Paul, Fressingfield, Suffolk

 

Large and lovely, Fressingfield is a surprise of a village in the hills of north Suffolk. Hills? In north Suffolk? Yes indeed. Here we are, between Framlingham and the Norfolk town of Harleston, and rising out of the barley plains this village of about 800 people clusters about its beautiful church.

 

St Peter and St Paul has not one but two pubs in close attendance, their grounds cutting into the churchyard. There used to be a third. One of them, the Fox and Goose, to the south, is the original gild hall, and if you look at the wall post furthest east on the north side you'll see a surviving 15th century image of St Margaret. A gild in her name was active here in the early years of the 16th century, and the north chancel chapel may have been theirs. Arthur Mee's misreading of his notes places this carving inside the church, assuming he ever actually visited here anyway.

 

But I like to approach this church from the north, climbing the long path through the wide open graveyard. It must be one of Suffolk's biggest, and so many of the stones seem to be to the Etheridge family; it must have been most confusing living in Fressingfield in years gone by. Many of those that aren't Etheridges are Kerridges. Among the Etheridges and Kerridges you may spot a small row of graves to the Borrett family. The right end one is to Mary, the wife of Daniel Borrett, who died December 30th 1853. She was 55. Her inscription reads:

 

Blest mother, I remember thee from early childhoods hour

When first my heart awoke to feel maternal loves deep power,

In midnight dreams thy angels form around my couch appears,

And oft thy hand seem stretched again to wipe away my tears,

When laid within thy narrow bed where now the green turf grows,

While we where left alone to stem the tide of human woes.

 

The Suffolk dialect form of the verb in line 4, and the spelling mistake in line 6, only make it more poignant, I think. Beside her lie her husband, who died in the 1880s, and beyond him, their son, the presumed author of the verse. Interestingly, his stone also includes his wife, who died in the mid-20th century, a good 80 years or so after her mother-in-law. Also of interest is that all three gravestones are the same shape, a classical form which must have seemed old-fashioned even in the 1850s; only the lettering reveals that they were produced over the course of a century or so.

 

The church rises like a great ship amongst all these memories of the past. Riding the gable end is Suffolk's finest medieval sanctus bell turret; the side panelling is gorgeous. It almost certainly dates from 1496, when a new bell was bequeathed. Inside the church, you can still see the hole in the chancel arch through which the bell rope passed. The one at Southwold is grander, but is a Victorian reconstruction. The north side of the church also presents its aisle and chancel chapel, and a rather austere porch that is no longer in use. Coming around to the south of the building, however, you find one of Suffolk's best, a document of the Hundred Years War; Catherine de la Pole built it to her husband and son who died at Harfleur and Agincourt respectively. One of the headstops to the arch shows Henry V, so she can't have blamed him personally. There are some very curious decorations in the spandrels, which were presumably part of a post-iconoclasm repair job, perhaps in the 18th century. I wondered why I didn't come across this kind of thing more often, but then remembered Henry Davy's engraving of Ipswich St Mary at the Elms, which shows the ornate porch plastered over.

 

Inside the porch are a couple of bosses, one a very rare survival of the Assumption, imagery of which was usually viciously proscribed, and another, now rather hard to make out, of a green man. Given that the stone is very soft, I shouldn't be surprised to learn that the green man has had his eyes and mouth renewed a few times over the centuries.

 

You step inside, and your first impression will probably be the sea of blue; the entire church is carpeted. A lot of people complain about this, but in honesty I didn't think it was too bad; I'd rather see a brick floor, but the church was so extensively restored in the 19th century that I'm assuming it is all tiles underneath anyway. It does prevent a sight of the 1489 brass to William Brewes and his wife, which is a shame; we have met this family elsewhere at Little Wenham. I was tempted to start tugging the carpet up to look for it, but since I wasn't really sure where it was, and didn't want to end up with several hundred square yards of carpetting piled around me, I resisted.

 

Fressingfield is most famous for its benches. This has led some writers to eulogise its bench ends, which are not as exciting as those at Wilby, a mile or so off, or Blythburgh's, or Lakenheath's, or a few others others in Suffolk. They're good, but not that good. No, what makes Fressingfield's benches wonderful is the sheer quality of the whole piece; nowhere else in East Anglia is the 15th century so substantial, so full of confidence. Often quoted is Cox in Bench Ends in English Churches (but he is talking about the furnishings as a whole, not just their ends): Fressingfield church, he says, is better fitted throughout with excellent fifteenth-century benches than any other church in the kingdom. Amen to that.

 

The best and most famous two are those at the west end of the nave, the so-called 'passion bench' and 'dedicatory bench'. The first shows symbols in shields along their backs that are more familiar from East Anglian fonts: the crown of thorns and nails, the reed and sponge, the three dice, and so on. The second shows St Andrew's saltire cross, the papal symbol of St Peter as well as his keys, and several others. They are wonderful.

 

The bench ends, then: many of them are Saints. Positively identified to varying degrees, these include St Peter with his keys again, St Paul with his sword and book, and St Dorothy with her basket; a man with his dog who may be St Roche, a woman who may be playing a musical instrument, and who may therefore be St Cecilia, and several others. You can see images of these below; click on them to enlarge them.

 

One of the benches bears initials that may very well be those of Catherine de la Pole, who built the porch. High above, the golden roof is a fine counterpoint to the benches, and the church also retains the window that provided a back-light to the rood. There is also a smattering of surviving medieval glass, including a superb emblem of the Trinity in the south of the chancel. This is slightly different from its normal form; here, the three roundels are labeled Pater (Father) Fili (Son) and Su S (Holy Spirit); the three ribbons into the middle contain the word est, and the centre states Deus (God).

 

The 19th century restoration provided one of the county's grandest sets of piscina and sedilia up in the sanctuary; it can never have been used for its original purpose. But those decades also left this church a piece of art that is quite frankly superb. This is Henry Holliday's wonderful glass of the figures Hope and Love at the west end of the south aisle, above the font. I immediately fell in love with Hope, but she didn't respond. Holliday has similar figures at Campsea Ash, although there they are of Hope and Faith, causing one to wryly observe that there is no Faith in Fressingfield, and no Love in Campsea Ash...

 

Facing across from Holliday's gorgeous figures is the rather austere portrait of Archbishop William Sancroft, one of barmy Arthur Mee's heroes. His eulogy in The King's England places a curious slant on Sancroft's life, to say the least. The reality is more interesting, anyway. Sancroft was born here in Fressingfield, and his family lived at Ufford Hall in the south of the parish. He found himself in the unenviable position of being Archbishop of Canterbury during the brief but volatile reign of James II.

 

Sancroft had to defend the authority and position of the Church of England twice in those three years. His actions may seem contrary to each other when we consider them today; certainly, he seems to have alienated just about everybody at the time.

 

Firstly, he refused to allow Anglican ministers to read out the King's declaration allowing freedom of worship to non-conformists and Catholics. He drew up a petition at Lambeth Palace with six other Bishops to ensure that Anglican primacy continued to be enshrined in law, and was lucky to escape without a prison sentence. Secondly, he refused to recognise the political coup d'etat by the London merchant classes that deposed James II, and put William III on the throne; Sancroft said that he could not take the oath of allegiance to a King crowned by an authority other than God.

 

A man of integrity rather than pragmatism, he was thrown out of Canterbury and Lambeth, and retired here, licking his wounds. The last few years of his life were spent lavishing love and attention on the church at nearby Withersdale; it is said that he could never again bear to enter Fressingfield church for Morning Prayer, because this would mean hearing prayers for the King he denied. Was he a bull-headed egomaniac who wanted absolute control over the Church? Or merely a church lawyer who believed in the letter rather than the spirit? Whichever, he is buried here in this churchyard.

A restoration I did to for my friend Areti. First pic is the listing pic on ebay, that's how she got them, but taadaa I made them look all new again! Megara's hair have two different styles of curls and Pocahontas has handmade necklace and added belt (made by me). Well, I'm proud!

A friend asked me to do a restoration on a 70 year old photo he had of his grandfather. The original was about 2x3 inches. I would like to do better, but I don't think that there are any more details to bring out, and if anything over sharpened.

Second hand side table.

Temporarily held in position is a new trim support section made out of left overs from the restoration of YYB 118. Work has been going on making these up during the winter of 2016-17 but they will not be fitted permanantly until various other panel repairs are done. They will replace wooden sections that date back to the 1989 restoration. They were only secured at each end and therefore slightly flexible. This was done to avoid damaging the interior trim but this new restoration will include interior refurbishment and so the new section will be secured as originally, along their length from the inside of the panel.

Pike Electric workers load power poles in preparation for helping Gulf Power Company recover from Hurricane Michael in Panama City, Florida

The castle has been the seat of the Percy family since Norman times. By 1138 the original motte and bailey castle, with wooden buildings, was replaced with stone buildings and walls. In 1309 the keep and defences were made even stronger by Henry de Percy. The castle then stayed unchanged for 400 years. By the 18th century it had fallen into ruins. The keep however was then turned into a gothic style mansion by Robert Adam. In the 19th century the Duke of Northumberland carried out more restoration of the castle.

 

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ALNWICK CASTLE, THE CASTLE, STABLE COURT AND COVERED RIDING SCHOOL INCLUDING WEST WALL OF RIDING SCHOOL

  

Heritage Category: Listed Building

 

Grade: I

 

List Entry Number: 1371308

 

National Grid Reference: NU 18685 13574

  

Details

This list entry was subject to a Minor Amendment on 05/10/2011

 

NU 1813 NE 2/1 NU 1813 SE 1/1 20.2.52. 5330

 

Alnwick Castle The Castle, Stable Court and Covered Riding School including West Wall of Riding School

 

GV I

 

Alnwick Castle has work of every period on the line of the original motte and bailey plan. By 1138 a strong stone built border castle with a shell keep in place of the motte, formed the nucleus of the present castle with 2 baileys enclosing about 7 acres. The curtain walls and their square towers rest on early foundations and the inner gatehouse has round-headed arches with heavy chevron decoration. The Castle was greatly fortified after its purchase by Henry de Percy 1309 - the Barbican and Gatehouse, the semi-circular towers of the shell keep, the octagonal towers of the inner gateway and the strong towers of the curtain wall date from the early to mid C14. Ruinous by the C18, the 1st Duke had it rehabilitated and extended by James Prince and Robert Adam, the latter being mainly concerned with the interior decoration, very little of which remains except for fireplaces in the Housekeeper's and the Steward's Rooms and for inside the present Estates Office range. Capability Brown landscaped the grounds, filling in the former moat (formed by Bow Burn). The 4th Duke employed Anthony Salvin 1854-65 at the cost of £1/4 million to remove Adam's fanciful Gothic decoration, to restore a serious Gothic air to the exterior and to redesign the state rooms in an imposing grand Italian manner. The Castle is approached from Bailliff gate through the crenellated Barbican and Gatehouse (early C14): lion rampant (replica) over archway, projecting square side towers with corbelled upper parts, fortified passage over dry moat to vaulted gateway flanked by polygonal towers. Stone figures on crenellations here, on Aveners Tower, on Record Tower and on Inner Gateway were carved circa 1750-70 by Johnson of Stamfordham and probably reflect an earlier similar arrangement. In the Outer Bailey to the, north are the West Garrett (partly Norman), the Abbott's Tower (circa 1350) with a rib vaulted basement, and the Falconer's Tower (1856). To the south are the Aveners Tower [C18], the Clock Tower leading into the Stable Yard, the C18 office block, the Auditor's Tower (early Clk) and the Middle Gateway (circa 1309-15) leading to the Middle Bailey. The most prominent feature of the Castle on the west side is the very large Prudhoe Tower by Salvin and the polygonal apse of the chapel near to it. In the Middle Bailey, to the south are the Warders Tower (1856) with the lion gateway leading by a bridge to the grand stairs into the walled garden, the East Garrett and the Record Tower (C14, rebuilt 1885). In the curtain wall to the north are 2 blocked windows probably from an early C17 building now destroyed and the 'Bloody Gap', a piece of later walling possibly replacing a lost truer; next a small C14 watch tower (Hotspur's Seat); next the Constable's Tower, early C14 and unaltered with a gabled staircase turret; close by is the Postern Tower, early C14, also unaltered.'To the north-west of the Postern Tower is a large terrace made in the C18, rebuilt 1864-65, with some old cannon on it. The Keep is entered from the Octagon Towers (circa 1350) which have 13 heraldic shields below the parapet, besides the agotrop3ic figures, and a vaulted passage expanded from the Norman gateway (fragments of chevron on former outer arch are visible inside). The present arrangement of the inner ward is largely Salvin's work with a covered entrance with a projecting storey and lamp-bracket at the rear of the Prudhoe Tower and a corbelled corridor at 1st floor level on the east. Mediaeval draw well on the east wall, next to the original doorway to the keep, now a recess The keep, like the curtain walls, is largely mediaeval except for some C18 work on the interior on the west and for the Prudhoe Tower and the Chapel. The interior contrasts with the rugged mediaeval exterior with its sumptuous Renaissance decoration, largely by Italians - Montiroli, Nucci, Strazza, Mantavani and inspired from Italian sources. The chapel with its family gallery at the east end has 4 short rib vaulted bays and a shallow 3-light apse; side walls have mosaics, covered now with tapestry. The grand staircase With its groin vaulted ceiling leads to the Guard Chamber from which an ante-room leads west into the Library (in the Prudhoe Tower) and east into the Music Room (fireplace with Dacian captives by Nucci). Further on are the Red Drawing Room (caryatid fireplace by Nucci) and the Dining Room (ceiling design copied from St Lorenzo f.l.m. in Rome and fireplace with bacchante by Strazza and faun by Nucci). South of the Middle Gateway are Salvin's impressive Kitchen quarters where the oven was designed to burn a ton of coal per day. West of the Stable Courtyard, with C19 Guest Hall at the south end, is the C19 covered riding school, with stable to north of it, and with its west wall forming the east side of Narrowgate. The corner with Bailliffgate has an obtuse angled tower of 2 storeys, with a depressed ogee headed doorway from the street, and merlons.

 

Listing NGR: NU1863413479

  

historicengland.org.uk/listing/the-list/list-entry/137130...

 

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ALNWICK CASTLE

 

Heritage Category: Park and Garden

 

Grade: I

 

List Entry Number: 1001041

 

National Grid Reference: NU1739315366, NU2254414560

  

Details

 

Extensive landscape parks and pleasure grounds developed from a series of medieval deer parks, around Alnwick Castle, the seat of the Percy family since the C14.

 

Between 1750 and 1786, a picturesque landscape park was developed for Hugh, first Duke of Northumberland, involving work by James Paine, Robert Adam, and the supervision of work by Lancelot Brown (1716-83) and his foremen Cornelius Griffin, Robson, and Biesley in the 1760-80s, working alongside James and Thomas Call, the Duke's gardeners. During the C19 each successive Duke contributed and elaborated on the expansive, planned estate landscape, within which the landscape park was extended. This was accompanied by extensive C19 garden works, including a walled, formal flower garden designed in the early C19 by John Hay (1758-1836), and remodelled mid C19 by William Andrews Nesfield (1793-1881).

 

NOTE This entry is a summary. Because of the complexity of this site, the standard Register entry format would convey neither an adequate description nor a satisfactory account of the development of the landscape. The user is advised to consult the references given below for more detailed accounts. Many Listed Buildings exist within the site, not all of which have been here referred to. Descriptions of these are to be found in the List of Buildings of Special Architectural or Historic Interest produced by the Department of Culture, Media and Sport.

 

HISTORIC DEVELOPMENT

 

In the C13, Hulne Park, West Park, and Cawledge were imparked within the Forest of Alnwick. Hulne Park lay to the north-west of Alnwick Castle and Cawledge to the south and south-east. By the late Middle Ages, Hulne Park extended to 4000 acres (c 1620ha) enclosed by some 13 miles (c 21km) of wall. It was stocked with some 1000 fallow deer and a tower at Hulne Priory served as a hunting lodge. The parks formed the basis of Alnwick Park, landscaped by Sir Hugh Smithson (1714-86) who in 1750 became Earl of Northumberland, inheriting his father-in-law's northern estates. Prior to this, from 1748 he and his wife, Elizabeth Seymour (1716-76), had lived at Stanwick, Yorkshire (qv) and at Syon Park, London (qv), where they had already established a reputation for gardening, attested by Philip Miller's dedication, in 1751, of his Gardener's Dictionary to the Earl.

 

Together they embarked on an ambitious scheme to restore the Castle, develop the grounds and estate, and restore the Percy family traditions and identity at Alnwick. Those employed at Alnwick were also involved elsewhere on the Northumberland estates: James Paine, architect at Syon House, Daniel Garrett, architect at Northumberland House, the Strand (1750-3), Robert Adam, architect at Syon (1762-9), Lancelot Brown, landscape architect at Syon Park (1754-72).

 

In 1751, Thomas Call (1717-82), who had been the Earl's gardener at Stanwick, prepared a scheme for the parklands and pleasure grounds, including a plan for Brizlee Hill (the south part of Hulne Park). Call and his relation James, working at Alnwick by 1756, were responsible for the development of Hulne Park over twenty years. The date and extent of Lancelot Brown's involvement at Alnwick is uncertain, although his foremen Griffin, Robson, and Biesley worked at Alnwick with teams of men between 1771and 1781 and records shown that they also worked alongside Call and his men (in 1773 for example, Call had a team of sixty men and Biesley one of seventy-eight).

  

Hulne Park was developed as a picturesque pleasure ground with extensive rides, follies, and the enhancement of natural features. A characteristic of the Duke's scheme was his recognition of antiquarian sites within the landscape, which were embellished. Thus in 1755, Hulne Priory was purchased to become the focal point of Hulne Park. A garden was made within the cloister walls and, from c 1763, the priory became the gamekeeper's residence, with a menagerie of gold and silver pheasants. Statues of friars cut by the mason Matthew Mills were set in the landscape. In 1774, a medieval commemorative cross to Malcolm Canmore (listed grade II), situated at the northern entrance to the North Demesne, was restored.

 

Following the Duchess' death in 1776, the Duke decorated all her favourite locations with buildings, some being ideas she had noted in her memoranda. Work also included other notes and ideas the Duchess had had, including the ruin at Ratcheugh Crag and some ninety-eight drives and incidents.

 

Plans for the parklands at the North Demesne, Denwick, and Ratcheugh Crags were developed in the late 1760s, although in the case of the North Demesne some parkland planting had been undertaken by 1760, and the major work undertaken in the early 1770s is that attributed to Brown, mainly on stylistic grounds.

 

During the C19, under the second Duke (1742-1817) the parks were extended, this including the purchase of Alnwick Abbey and part of its estate. The complex of drives was also extended and this was accompanied by extensive plantations, including the large Bunker Hill plantation central to the north area of Hulne Park, named to commemorate the Duke's action in 1775 in the War of American Independence. Most significantly, between 1806 and 1811, building centred on construction of a perimeter wall, defining the boundary of Hulne Park, and lodges and gateways at entrances to the parks. The carriage drives were extended, necessitating the construction of bridges over the River Aln. These schemes were implemented by estate workers, local masons, and David Stephenson, the Duke's architect.

 

As the Castle had no formal flower gardens, John Hay was commissioned between 1808 and 1812 to design pleasure gardens to the south-east of the Castle, linking it with a new walled garden at Barneyside, furnished with a range of hothouses, glasshouses, and pine pits. These were extended in the 1860s when Anthony Salvin, employed in the restoration of the Castle, built a gateway between the inner bailey and the pleasure gardens. Nesfield designed a scheme for the walled gardens to be developed as an ornamental flower and fruit garden, with a large central pool, conservatory, and a series of broad terraces and parterres. The Alnwick scheme can be compared to Nesfield's in the precincts of Arundel Castle, West Sussex (qv), in 1845.

 

Alnwick Castle, parks and estate remain (2000) in private ownership, the latest significant developments being the replanting and restoration of the North Demesne (1990s) and plans to completely remodel the walled garden.

 

SUMMARY DESCRIPTION

 

Alnwick Castle parks cover a tract of countryside encircling Alnwick town on its west, north, north-east, and south sides. The land is a mixture of contrasting landscape types, with high heather moorland and the rough crags of the Northumbrian Sandstone Hills sweeping down to the improved pasture lands along the wooded Aln valley. The parks exploit the boundaries of these distinctive landforms where the rugged moorland gives way to the pastoral, rolling landscape of the Aln, on its route to the sea. In the west parklands the river is confined between hills, and in places has incised deep, narrow valleys while in the east the landscape is more open.

 

The registered area of 1300ha is bounded on its north-east side by the Hulne Park wall, west of the Bewick to Alnwick Road (B6346). The west side of the area here registered follows field boundaries to the west of Shipley Burn, starting at Shipley Bridge, and then turns south-west at a point c 1km south of the bridge. It then runs for south-west for c 2.3km, to the west of Hulne Park, before crossing the River Aln and running parallel to Moorlaw Dean for c 1.2km, on the west side of the burn. The southern area is defined by Hulne Park wall running around the south point of Brizlee Wood then in a line due east, south of Cloudy Crags drive, to cross the Stocking Burn and reach Forest Lodge. The boundary then defines the north-western extent of Alnwick town and, crossing the Canongate Bridge, the southernmost extent of the Dairy Grounds.

 

To the east of the Castle the registered area takes in the entire North Demesne bounded on its north by Long Plantation, a perimeter belt which lies on the south side of Smiley Lane and then extends eastwards to meet the junction of the B1340 and A1 trunk road. The A1 has effectively cut through the North Demesne from north to south and, although physically divorcing the two areas, they are still visually conjoined. Defined on its north side within the hamlet of Denwick by tree belts, the park extends eastwards for 1km before cutting across southwards to meet the River Aln at Lough House. This latter stretch is bounded by a perimeter belt. The south boundary of the North Demesne follows the river in part, before meeting the Alnwick to Denwick road (B1340). To the south, the Castle gardens are delimited from the town by property boundaries along Bondgate. An outlying area of designed landscape at Ratcheugh is also included.

 

A complex series of drives is laid throughout the parks, particularly in Hulne Park. A series of thirty standing stones stand at the beginning of the drives or where they converge. These are inscribed with the names of the drives and act as signposts.

 

Alnwick Castle (1134 onwards, c 1750-68 by James Paine and Robert Adam, 1854-6 by Anthony Salvin, listed grade I) lies on the high ground on the south side of the Aln valley, commanding views to the north, east, and west. To the south is Alnwick town but the landscape is designed so that the town is not in view of the Castle. The principal views from the Castle lie over the North Demesne.

 

The North Demesne originally included Denwick Park (they have now been divided by the A1 road), and together these 265ha form the core parkland designed by Brown. Perimeter tree belts define the park, and clumps and scatters of specimen trees ornament the ground plan. The Aln has been dammed to give the appearance of an extensive, natural serpentine lake, with bridges as focal points: the Lion Bridge (John Adam 1773, listed grade I) and Denwick Bridge (1766, probably also by Adam, listed grade I). A programme of replanting and restoration of the North Demesne is under way (late 1990s).

 

The medieval deer park of Hulne extended to the north of the Shipley Road (outside the area here registered). Hulne Park is now 1020ha and is in agricultural and forestry use. The principal entrance from Alnwick town is Forest Lodge, the only extant part of Alnwick Abbey. Hulne Park is completely enclosed by an early C19 perimeter wall, c 3m high with shaped stone coping and buttresses every 20m. Nearly 5km of wall lies alongside roads, 5km across fields, and 5km defines perimeter woodland and moorland from the enclosed park.

 

The park design consists of a series of oval-shaped enclosures, defined by tree belts vital for shelter. The highest point is in the west area of the park, from where there are long-distance views east to the sea. The River Aln winds its way through the park via a series of contrasting steep valleys and flatter lands. The valleys are emphasised by planting on the upper slopes, while the lower areas are encircled with designed plantations to emphasise the river's meanders and ox-bow lakes.

 

Picturesque incidents survive at Nine Year Aud Hole, where the statue of a hermit (late C18, listed grade II) stands at the entrance to a natural cave along Cave Drive, and at Long Stone, a monolith standing high on the west side of Brizlee Hill, with panoramic views over Hulne Park to the north-west. The picturesque highlight is Hulne Priory (original medieval buildings, C18 alterations and enhancements, all listed grade I), which includes a summerhouse designed by Robert Adam (1778-80, listed grade I) and statues of praying friars erected in the Chapter House (late C18). The Priory's picturesque qualities are well appreciated from Brizlee Tower (Robert Adam, listed grade I), built in 1781 to commemorate the creation of the Alnwick parks by the first Duke and Duchess, a Latin inscription stating:

 

Circumspice! Ego omnia ista sum dimensus; Mei sunt ordines, Mea descriptio Multae etiam istarum arborum Mea manu sunt satae. [Look about you. I have measured all these things; they are my orders; it is my planning; many of these trees have been planted by my own hand.]

 

Brizlee is sited on a high point which can be seen in views north-west from the Castle, mirroring views north-east to the 'Observatory' on Ratcheugh Crag, a sham ruined castle sited as an eyecatcher on high ground and built by John Bell of Durham in 1784 (plans to further elaborate it were designed by Robert Adam).

 

Another principal feature of Hulne Park is a series of regular, walled enclosures (the walls set in ditches with banks cast up inside the compounds) which line Farm Drive, the central road through the park, north-westwards from Moor Lodge. This functioned as the third Duke's menagerie, and is still pasture.

 

The 15ha Dairy Ground links Hulne Park and the North Demesne. It principally consists of the Aln valley north-west of the Castle, stretching between Canongate Bridge and Lion Bridge, laid out as pleasure gardens. Barbara's Bank and the Dark Walk are plantations laid out with walks on the steep slopes with a Curling Pond to the north of the Aln.

 

The walled garden of 3ha lies to the south-east of the Castle, reached by the remains of C19 pleasure gardens laid out on the slopes above Barneyside. After the Second World War use of the glasshouses ceased, and until recently (late 1990s) the Estate Forestry Department used it. The earthwork terraces and remnants of specimen planting of Nesfield's scheme survive.

 

REFERENCES

 

Note: There is a wealth of material about this site. The key references are cited below.

 

The Garden, 5 (1874), pp 100-1, 188; 20 (1881), pp 155-6 Gardeners' Chronicle, ii (1880), pp 523-4, 587; ii (1902), pp 273-4 J Horticulture and Cottage Gardener 15, (1887), pp 296-8 P Finch, History of Burley on the Hill (1901), p 330 Country Life, 65 (22 June 1929), pp 890-8; 66 (6 July 1929), pp 16-22; 174 (4 August 1983), p 275 D Stroud, Capability Brown (1975), pp 103-4 Garden History 9, (1981), pp 174-7 Capability Brown and the Northern Landscape, (Tyne & Wear County Council Museums 1983), pp 19, 22-3, 27, 42 Restoration Management Plan, Alnwick Castle, (Land Use Consultants 1996) C Shrimpton, Alnwick Castle, guidebook, (1999)

 

Description written: August 2000 Resgister Inspector: KC Edited: June 2003

  

historicengland.org.uk/listing/the-list/list-entry/100104...

 

See also:-

 

www.alnwickcastle.com/

 

en.m.wikipedia.org/wiki/Alnwick_Castle

 

Image from SDASM's restoration department. Note: This material may be protected by Copyright Law (Title 17 U.S.C.)--Repository: San Diego Air and Space Museum

  

View from the gardens of Restoration House, Rochester, Kent

1971 White Chevelle Restoration

 

1971 White Chevelle Restoration

1971 White Chevelle Restoration

 

1971 White Chevelle Restoration

My favorite sign in RMNP which will be buried with snow when I'm there in May.

 

And hopefully this is the last time I feel the need to say this.....sorry for not visiting your streams as it's been a busy last couple of months for me. I will slowly try to catch back up with those who have shown an interest in my photography.

Warehouse District, New Orleans, LA. For updates, go to www.entergy.com/hurricaneida/

A restoration/hand colorization I did at the request of another Flickr user who has asked to remain anonymous.

In this photo: The Miller Barn Restoration Project wrapped up last week. The HistoriCorps team did an outstanding job. We thank the team tremendously for helping us to preserve America's heritage.

 

September 8 through October 4, 2019, HistoriCorps, a national nonprofit organization dedicated to engaging volunteers in the rehabilitation of historic structures on publicly accessible lands, in partnership with the National Elk Refuge, worked to restore the 121 year old Historic Miller Barn.

 

The Historic Miller Barn on the National Elk Refuge, represents a range of historic events significant to the development of the National Elk Refuge and Jackson, WY. The 30-by-40 foot barn was built in 1898 and is on the National Register of Historic Places. The barn is part of the Historic Miller Ranch on the National Elk Refuge. The site referred to as the Historic Miller Ranch includes the original log home or Miller House, the Miller Barn, and a one-room log building that was once used as the original office for what later became Teton National Forest, known currently as Bridger-Teton National Forest.

 

HistoriCorps is a 501(c)3 nonprofit that provides volunteers of all skill levels with a hands-on experience preserving historic structures on public lands across America. Volunteers work with HistoriCorps field staff to learn preservation skills and put those skills to work saving historic places that have fallen into disrepair. HistoriCorps works to ensure America’s cultural and historical resources exist for generations to come.

 

Photo: Kari Cieszkiewicz/USFWS

Candi Prambanan or Candi Rara Jonggrang is a 9th-century Hindu temple compound in Central Java, Indonesia, dedicated to the Trimurti, the expression of God as the Creator (Brahma), the Preserver (Vishnu) and the Destroyer (Shiva). The temple compound is located approximately 17 kilometres northeast of the city of Yogyakarta on the boundary between Central Java and Yogyakarta provinces.

 

The temple compound, a UNESCO World Heritage Site, is the largest Hindu temple site in Indonesia, and one of the biggest in Southeast Asia. It is characterized by its tall and pointed architecture, typical of Hindu temple architecture, and by the towering 47-metre-high central building inside a large complex of individual temples. Prambanan attracts many visitors from across the world.

 

ETYMOLOGY

The present name of the temple, Prambanan', was derived from the name of Prambanan village where the temple stood, this name probably comes from Javanese root '(e)mban' which means carries a duty, reflecting gods role in the world, or the villagers duty in relation to the temple. Comparable with parahyangan (western part of Java island), comes from the root hyang, means god, or (e)yang, means ancestor in Javanese.

 

HISTORY

CONSTRUCTION

The Prambanan temple is the largest Hindu temple of ancient Java, and the first building was completed in the mid-9th century. It was likely started by Rakai Pikatan as the Hindu Sanjaya Dynasty's answer to the Buddhist Sailendra Dynasty's Borobudur and Sewu temples nearby. Historians suggest that the construction of Prambanan probably was meant to mark the return of the Hindu Sanjaya Dynasty to power in Central Java after almost a century of Buddhist Sailendra Dynasty domination. The construction of this massive Hindu temple signifies that the Medang court had shifted its patronage from Mahayana Buddhism to Shivaist Hinduism.

 

A temple was first built at the site around 850 CE by Rakai Pikatan and expanded extensively by King Lokapala and Balitung Maha Sambu the Sanjaya king of the Mataram Kingdom. According to the Shivagrha inscription of 856 CE, the temple was built to honor Lord Shiva, and its original name was Shiva-grha (the House of Shiva) or Shiva-laya (the Realm of Shiva). According to the Shivagrha inscription, a public water project to change the course of a river near Shivagrha Temple was undertaken during the construction of the temple. The river, identified as the Opak River, now runs north to south on the western side of the Prambanan temple compound. Historians suggest that originally the river was curved further to east and was deemed too near to the main temple. The project was done by cutting the river along a north to south axis along the outer wall of the Shivagrha Temple compound. The former river course was filled in and made level to create a wider space for the temple expansion, the space for rows of pervara (complementary) temples.

 

Some archaeologists propose that the statue of Shiva in the garbhagriha (central chamber) of the main temple was modelled after King Balitung, serving as a depiction of his deified self after death.

 

The temple compound was expanded by successive Mataram kings, such as Daksa and Tulodong, with the addition of hundreds of perwara temples around the chief temple. Prambanan served as the royal temple of the Kingdom of Mataram, with most of the state's religious ceremonies and sacrifices being conducted there. At the height of the kingdom, scholars estimate that hundreds of brahmins with their disciples lived within the outer wall of the temple compound. The urban center and the court of Mataram were located nearby, somewhere in the Prambanan Plain.

 

ABANDONMENT

In the 930s, the court was shifted to East Java by Mpu Sindok, who established the Isyana Dynasty. An eruption of Mount Merapi volcano, located north of Prambanan in central Java, or a power struggle probably caused the shift. That marked the beginning of the decline of the temple. It was soon abandoned and began to deteriorate.

 

The temples collapsed during a major earthquake in the 16th century. Although the temple ceased to be an important center of worship, the ruins scattered around the area were still recognizable and known to the local Javanese people in later times. The statues and the ruins become the theme and the inspiration for the Loro Jonggrang folktale. After the division of Mataram Sultanate in 1755, the temple ruins and the Opak River were used to demarcate the boundary between Yogyakarta and Surakarta (Solo) Sultanates, which was adopted as the current border between Yogyakarta and the province of Central Java.

 

REDISCOVERY

The Javanese locals in the surrounding villages knew about the temple ruins before formal rediscovery, but they did not know about its historical background: which kingdoms ruled or which king commissioned the construction of the monuments. As a result, the locals developed tales and legends to explain the origin of temples, infused with myths of giants, and a cursed princess. They gave Prambanan and Sewu a wondorous origin; these were said in the Loro Jonggrang legend to have been created by a multitude of demons under the order of Bandung Bondowoso.

 

The temple attracted international attention in early 19th century. In 1811 during Britain’s short-lived rule of the Dutch East Indies, Colin Mackenzie, a surveyor in the service of Sir Thomas Stamford Raffles, came upon the temples by chance. Although Sir Thomas subsequently commissioned a full survey of the ruins, they remained neglected for decades. Dutch residents carried off sculptures as garden ornaments and native villagers used the foundation stones for construction material.

 

Half-hearted excavations by archaeologists in the 1880s facilitated looting. In 1918, the Dutch began reconstruction of the compound and proper restoration only in 1930. Efforts at restoration continue to this day. The reconstruction of the main Shiva temple was completed around 1953 and inaugurated by Sukarno. Since much of the original stonework has been stolen and reused at remote construction sites, restoration was hampered considerably. given the scale of the temple complex, the government decided to rebuild shrines only if at least 75% of their original masonry was available. Most of the smaller shrines are now visible only in their foundations, with no plans for their reconstruction.

 

CONTAMPORARY EVENTS

In the early 1990s the government removed the market that had sprung up near the temple and redeveloped the surrounding villages and rice paddies as an archaeological park. The park covers a large area, from Yogyakarta-Solo main road in the south, encompassing the whole Prambanan complex, the ruins of Lumbung and Bubrah temples, and as far as the Sewu temple compound in the north. In 1992 the Indonesian government created a State-owned Limited Liability Enterprise (PERSERO), named "PT Taman Wisata Candi Borobudur, Prambanan, dan Ratu Boko." This enterprise is the authority for the park management of Borobudur Prambanan Ratu Boko and the surrounding region. Prambanan is one of the most visited tourist attraction in Indonesia.

 

The Trimurti open-air and indoor stages on the west side of the temple, across the Opak River, were built to stage the ballet of the traditional Ramayana epic. This traditional Javanese dance is the centuries old dance of the Javanese court. Since the 1960s, it has been performed every full moon night in the Prambanan temple. Since then, Prambanan has become one of the major archaeological and cultural tourism attractions in Indonesia.

 

Since the reconstruction of the main temples in the 1990s, Prambanan has been reclaimed as an important religious center for Hindu rituals and ceremonies in Java. Balinese and Javanese Hindu communities in Yogyakarta and Central Java revived their practices of annually performing their sacred ceremonies in Prambanan, such as Galungan, Tawur Kesanga, and Nyepi.

 

The temple was damaged during the May 2006 Java earthquake. Early photos suggested that although the complex was structurally intact, the damage was significant. Large pieces of debris, including carvings, were scattered over the ground. The temple was closed to visitors until the damage could be fully assessed. Eventually, the head of Yogyakarta Archaeological Conservation Agency stated that it would take months to identify the full extent of the damage. Some weeks later in 2006, the site was re-opened for visitors.

 

There is great interest in the site. In 2008, 856,029 Indonesian visitors and 114,951 foreign visitors visited Prambanan. In 6 January 2009 the reconstruction of Nandi temple finished. As of 2009, the interior of most of the temples remains off-limits for safety reasons.

 

In 14 February 2014, major tourist attractions in Yogyakarta and Central Java, including Borobudur, Prambanan and Ratu Boko, were closed from visitors, after being severely affected by the volcanic ashes from the eruption of Kelud volcano in East Java, located around 200 kilometers east from Yogyakarta. The Kelud volcano erupted on 13 February 2014 with explosion heard as far away as Yogyakarta. Four years earlier, Prambanan was spared from Merapi volcanic ash and eruption in 2010 since the wind and ashfall were directed westward and affected Borobudur instead.

 

In 2012, the Balai Pelestarian Peninggalan Purbakala Jawa Tengah (BP3) or Central Java Heritage Preservation Authority suggested that the area in and around Prambanan should be treated as sanctuary area. The proposed area is located in Prambanan Plain measured 30 square kilometers spanned across Sleman and Klaten Regency, which includes major temples in the area such as Prambanan, Ratu Boko, Kalasan, Sari and Plaosan temples. The sanctuary area is planned to be treated in similar fashion to Angkor archaeological area in Cambodia, which means government should stop or decline the permit to construct any new buildings, especially the multi-storied buildings, as well as BTS towers in the area. This was meant to protect this archaeologically rich area from modern day visual obstructions and the encroachments of hotels, restaurants and any tourism-related buildings and businesses.

 

THE TEMPLE COMPOUND

Originally there were a total of 240 temples standing in Prambanan. The Prambanan Temple Compound consist of:

 

3 Trimurti temples: three main temples dedicated to Shiva, Visnu, and Brahma

3 Vahana temples: three temples in front of Trimurti temples dedicated to the vahana of each gods; Nandi, Garuda, and Hamsa

2 Apit temples: two temples located between the rows of Trimurti and Vahana temples on north and south side

4 Kelir temples: four small shrines located on 4 cardinal directions right beyond the 4 main gates of inner zone

4 Patok temples: four small shrines located on 4 corners of inner zone

224 Pervara temples: hundreds of temples arranged in 4 concentric square rows; numbers of temples from inner row to outer row are: 44, 52, 60, and 68

 

The Prambanan compound also known as Rara Jonggrang complex, named after the popular legend of Rara Jonggrang. There were once 240 temples stood in this Shivaite temple complex, either big or small. Today, all of 8 main temples and 8 small shrines in inner zone are reconstructed, but only 2 out of the original 224 pervara temples are renovated. The majority of them have deteriorated; what is left are only scattered stones. The Prambanan temple complex consists of three zones; first the outer zone, second the middle zone that contains hundreds of small temples, and third the holiest inner zone that contains eight main temples and eight small shrines.

 

The Hindu temple complex at Prambanan is based on a square plan that contains a total of three zone yards, each of which is surrounded by four walls pierced by four large gates. The outer zone is a large space marked by a rectangular wall. The outermost walled perimieter, which originally measured about 390 metres per side, was oriented in the northeast, southwest direction. However, except for its southern gate, not much else of this enclosure has survived down to the present. The original function is unknown; possibilities are that it was a sacred park, or priests' boarding school (ashram). The supporting buildings for the temple complex were made from organic material; as a consequence no remains occur.

 

SHIVA TEMPLE

The inner zone or central compound is the holiest among the three zones. Its the square elevated platform surrounded by square stone wall with stone gates on each four cardinal points. This holiest compound is assembled of eight main shrines or candi. The three main shrines, called Trimurti ("three forms"), are dedicated to the three Gods: Brahma the Creator, Vishnu the Keeper, and Shiva the Destroyer.

 

The Shiva temple is the tallest and largest structure in Prambanan Loro Jonggrang complex, it measures 47 metres tall and 34 metres wide. The Shiva temple encircled with galleries adorned with bas-reliefs telling the story of Ramayana carved on the inner walls of the balustrades. To follow the story accordingly, visitors must enter from the east side and began to perform pradakshina or circumambulating clockwise. The bas-reliefs of Ramayana continued to Brahma temple galleries.

 

The Shiva shrine located at the center and contains five chambers, four small chambers in every cardinal direction and one bigger main chamber in central part of the temple. The east chamber connect to central chamber that houses the largest temple in Prambanan, a three meter high statue of Shiva Mahadeva (the Supreme God). The statue bears Lakçana (attributes or symbol) of Shiva such as skull and sickle (crescent) at the crown, and third eye on the forehead, also four hands that holds Shiva's symbols: a prayer beads, feather duster, and trisula (trident). Some historians believe that the depiction of Shiva as Mahadeva also meant to personify king Balitung as the reincarnation of Shiva. So, when he died, a temple was built to commemorate him as Shiva. The statue of Shiva stands on lotus pad on Yoni pedestal that bears the carving of Nāga serpents on north side of pedestal.

 

The other three smaller chambers contain statues of Hindu Gods related to Shiva; his consort Durga, the rishi Agastya, and Ganesha, his son. Statue of Agastya occupy the south chamber, the west chamber houses the statue of Ganesha, while the north chamber contains the statue of Durga Mahisasuramardini depicting Durga as the slayer of Bull demon. The shrine of Durga is also called the temple of Rara Jonggrang (Javanese: slender virgin), after a Javanese legend of princess Rara Jonggrang.

 

BRAHMA & VISHNU TEMPLES

The two other main shrines are that of Vishnu on the north side of Shiva shrine, and the one of Brahma on the south. Both temple facing east and each contain only one large chamber, each dedicated to respected gods; Brahma temple contains the statue of Brahma and Vishnu temple houses the statue of Vishnu. Brahma and Vishnu temple measures 20 metres wide and 33 metres tall.

 

VAHANA TEMPLES

The other three shrine in front of three main temples is dedicated to vehicle (vahana) of the respective gods – the bull Nandi for Shiva, the sacred swan Hamsa for Brahma, and Vishnu's Kite Garuda. Precisely in front of Shiva temple stands Nandi temple which contains a statue of Nandi bull, the vehicle (vahana) of Lord Shiva. Besides it, there is also other statues, the statue of Chandra the god of moon and Surya the god of sun. Chandra stands on his carriage pulled by 10 horses, and the statue of Surya also standing on a carriage pulled by 7 horses. Facing Brahma temple is the temple of Hamsa or Angsa (sacred swan). In the chamber of this temple contains no statue. But it seems likely that there was once a statue of the sacred swan, vehicle of god Brahma. In front of Vishnu temple is the temple dedicated for Garuda, however just like the Hamsa temple, Garuda temple contains no statue. Probably this temple once contains the statue of Garuda, the vehicle of Vishnu. Garuda holds important role for Indonesia, as it serves as the national symbol of Indonesia, and also as the name of the airline Garuda Indonesia.

 

APIT TEMPLES & SMALER SHRINES

Between these row of main temple, on north and south side stands two Candi Apit. Beside these 8 main temples, there's also 8 smaller shrines; 4 Candi Kelir on four cardinal direction of the entrance, and 4 Candi Patok on four corner of inner zone.

 

PERVARA TEMPLES

The two walled perimeters that surround the remaining two yards to the interior are oriented to the four cardinal points. The second yard's walled perimeter, which measures about 225 metres per side, surrounds a terraced area that consists of four rows containing 44, 52, 60, and 68 pervara temples. Respectively, each with a height of 14 metres and measuring 6 metres x 6 metres at the base, or 224 structures in total. The sixteen temples located at the corners of the rows face two directions; the remaining 208 structures open to only one of the four cardinal directions.

 

The middle zone consists of four rows of 224 individual small shrines. There are great numbers of these temples, but most of them are still in ruins and only some have been reconstructed. These concentric rows of temples were made in identical design. Each row towards the center is slightly elevated. These shrines are called "Candi Perwara" guardian or complementary temples, the additional buildings of the main temple. Some believed it was offered to the king as a sign of submission. The Perwara are arranged in four rows around the central temples, some believed it has something to do with four castes, made according to the rank of the people allowed to enter them; the row nearest to the central compound was accessible to the priests only, the other three were reserved for the nobles, the knights, and the simple people respectively. While another believed that the four rows of Perwara has nothing to do with four castes, it just simply made as meditation place for priests and as worship place for devotees.

 

ARCHITECTURE

The architecture of Prambanan temple follows the typical Hindu architecture traditions based on Vastu Shastra. The temple design incorporated mandala temple plan arrangements and also the typical high towering spires of Hindu temples. Prambanan was originally named Shivagrha and dedicated to god Shiva. The temple was designed to mimic Meru, the holy mountain the abode of Hindu gods, and the home of Shiva. The whole temple complex is a model of Hindu universe according to Hindu cosmology and the layers of Loka.

 

Just like Borobudur, Prambanan also recognize the hierarchy of the temple zones, spanned from the less holy to the holiest realms. Each Hindu and Buddhist concepts has their own terms, but the concept's essentials is identical. Either the compound site plan (horizontally) or the temple structure (vertically) are consists of three zones:

 

Bhurloka (in Buddhism: Kāmadhātu), the lowest realm of common mortals; humans, animals also demons. Where humans are still bound by their lust, desire and unholy way of life. The outer courtyard and the foot (base) part of each temples is symbolized the realm of bhurloka.

Bhuvarloka (in Buddhism: Rupadhatu), the middle realm of holy people, occupied by rishis, ascetics, and lesser gods. People here begin to see the light of truth. The middle courtyard and the body of each temple symbolizes the realm of bhuvarloka.

Svarloka (in Buddhism: Arupadhatu), the highest and holiest realm, reserved for the gods. Also known as svargaloka. The inner courtyard and the roof of each temple symbolizes the realm of svarloka. The roof of Prambanan temples are adorned and crowned with ratna (sanskrit: jewel), the shape of Prambanan ratna took the altered form of vajra that represent diamonds. In ancient Java temple architecture, ratna is the Hindu counterpart of the Buddhist stupa, and served as the temple's pinnacle.

 

During the restoration, a well which contains a pripih (stone casket) was discovered under the center of the Shiva temple. The main temple has a well 5.75 m deep in which a stone casket was found on top a pile of charcoal, earth, and remains of burned animal bones. Sheets of gold leaves with the inscription Varuna (god of the sea) and Parvata (god of the mountains) were found here. The stone casket contained sheets of copper, charcoal, ashes, earth, 20 coins, jewels, glass, pieces of gold and silver leaves, seashells and 12 gold leaves (which were cut in the shapes of a turtle, Nāga serpent, padma, altar, and an egg).

 

RELIEFS

RAMAYANA & BHAGAVATA PURANA

The temple is adorned with panels of narrative bas-reliefs telling the story of Hindu epic; Ramayana and Bhagavata Purana. The narrative bas-relief panels was carved along the inner balustrades wall on the gallery around the three main temples.

 

The narrative panels on the balustrade read from left to right. The story started from east entrance where visitors turn left and moving around the temple gallery in clockwise direction. This conforms with pradaksina, the ritual of circumambulation performed by pilgrims who move in a clockwise direction while keeping the sanctuary to their right. The story of Ramayana started on Shiva temple balustrade and continued to Brahma temple. On the balustrades in Vishnu temple there is series of bas-relief panels depict the stories of lord Krishna from Bhagavata Purana.

 

The bas-relief of Ramayana illustrate how Sita, the wife of Rama, is abducted by Ravana. The monkey king Hanuman brings his army to help Rama and rescue Sita. This story is also shown by the Ramayana Ballet, regularly performed at full moon at Trimurti open air theatre in west side of the illuminated Prambanan complex.

 

LOKAPALAS, BRAHMINS & DEVATAS

On the other side of narrative panels, the temple wall along the gallery were adorned with the statues and reliefs of devatas and brahmin sages. The figure of lokapalas, the celestial guardians of directions can be found in Shiva temple. The brahmin sage editors of veda were carved on Brahma temple wall, while in Vishnu temple the figures of a male deities devatas flanked by two apsaras.

 

PRAMBANAN PANEL: LION & KALPATURU

The lower outer wall of these temples were adorned with row of small niche containing image of sinha (lion) flanked by two panels depicting bountiful kalpataru (kalpavriksha) tree. These wish-fulfilling sacred trees according to Hindu-Buddhist beliefs, is flanked on either side by kinnaras or animals, such as pairs of birds, deer, sheep, monkeys, horses, elephants etc. The pattern of lion in niche flanked by kalpataru trees is typical in Prambanan temple compound, thus it is called as "Prambanan panel".

 

THE RARA JONGGRAND LEGEND

The popular legend of Rara Jonggrang is what connects the site of the Ratu Boko Palace, the origin of the Durga statue in northern cell/chamber of the main shrine, and the origin of the Sewu temple temple complex nearby. The legend tells of the story about Prince Bandung Bondowoso who fell in love with Princess Rara Jonggrang, the daughter of King Boko. But the princess rejected his proposal of marriage because Bandung Bondowoso had killed King Boko and ruled her kingdom. Bandung Bondowoso insisted on the union, and finally Rara Jonggrang was forced to agree for a union in marriage, but she posed one impossible condition: Bandung must build her a thousand temples in only one night.The Prince entered into meditation and conjured up a multitude of spirits (demons) from the earth. Helped by supernatural beings, he succeeded in building 999 temples. When the prince was about to complete the condition, the princess woke her palace maids and ordered the women of the village to begin pounding rice and set a fire in the east of the temple, attempting to make the prince and the spirits believe that the sun was about to rise. As the cocks began to crow, fooled by the light and the sounds of morning time, the supernatural helpers fled back into the ground. The prince was furious about the trick and in revenge he cursed Rara Jonggrang to stone. She became the last and the most beautiful of the thousand statues. According to the traditions, the unfinished thousandth temple created by the demons become the Sewu temple compounds nearby (Sewu means "thousands" in Javanese), and the Princess is the image of Durga in the north cell of the Shiva temple at Prambanan, which is still known as Rara Jonggrang or Slender Virgin.

 

OTHER TEMPLES AROUND PRAMBANAN

The Prambanan Plain span between southern slopes of Merapi volcano in the north and Sewu mountain range in the south, near the present border Yogyakarta province and Klaten Regency, Central Java. Apart from the Lara Jonggrang complex, Prambanan plain, valley and hills around it is the location of some of the earliest Buddhist temples in Indonesia. Not far to the north are found the ruins of Bubrah temple, Lumbung temple, and Sewu temple. Further east are found Plaosan temple. To the west are found Kalasan temple and Sari temple, further to the west are Sambisari temple. While to the south the Ratu Boko compounds on higher ground. The discoveries of archaeological sites scattered only a few miles away suggested that this area was an important religious, political, and urban center.

 

NORTH OF LARA JONGRANG COMPLEX

Lumbung. Buddhist-style, consisting of one main temple surrounded by 16 smaller ones.

Candi Bubrah. Buddhist temple still in ruins.

Sewu. Buddhist temple complex, older than Roro Jonggrang. A main sanctuary surrounded by many smaller temples. Well preserved guardian statues, replicas of which stand in the central courtyard at the Jogja Kraton.

Candi Morangan. Hindu temple complex buried several meters under volcanic ashes, located northwest from Prambanan.

 

Candi Plaosan. Buddhist, probably 9th century. Thought to have been built by a Hindu king for his Buddhist queen. Two main temples with reliefs of Boddhisatva and Tara. Also rows of slender stupas.

 

SOUTH OF LARA JONGRANG COMPLEX

Ratu Boko. Complex of fortified gates, bathing pools, and elevated walled stone enclosure, all located on top of the hill.

Sajiwan. Buddhist temple decorated with reliefs concerning education. The base and staircase are decorated with animal fables.

Banyunibo. A Buddhist temple with unique design of roof.

Candi Barong. A Hindu temple complex with large stepped stone courtyard. Located on the slope of the hill.

Ijo. A cluster of Hindu temple located near the top of Ijo hill. The main temple houses a large lingam and yoni.

Arca Bugisan. Seven Buddha and bodhisattva statues, some collapsed, representing different poses and expressions.

 

WEST OF LARA JONGRANG COMPLEX

Kalasan. 8th-century Buddhist temple built in commemoration of the marriage of a king and his princess bride, ornamented with finely carved reliefs.

Sari. Once a sanctuary for Buddhist priests. 8th century. Nine stupas at the top with two rooms beneath, each believed to be places for priests to meditate.

Sambisari. 9th-century Hindu temple discovered in 1966, once buried 6.5 metres under volcanic ash. The main temple houses a linga and yoni, and the wall surround it displayed the images of Agastya, Durga, and Ganesha.

Gebang. A small Hindu temple discovered in 1937 located near the Yogyakarta northern ring-road. The temple display the statue of Ganesha and interesting carving of faces on the roof section.

Candi Gana. Rich in statues, bas-reliefs and sculpted stones. Frequent representations of children or dwarfs with raised hands. Located in the middle of housing complex. Under restoration since 1997.

Candi Kedulan. Discovered in 1994 by sand diggers, 4m deep. Square base of main temple visible. Secondary temples not yet fully excavated.

 

WIKIPEDIA