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I've always wanted a Hasselblad and I'm really quite pleased with it, (as I should be after spending a few paychecks). It definitely lacks the character of my cheaper lensed Rolleicords, but it has a solidity and clarity they can't (I guess obviously) match. Certainly not a replacement for the TLRs, though a pleasant addition. For those who like to know, it was about $950 for the outfit plus a 220 back from KEH. The backs are old and the film spacing is way off, so that's a few hundred dollars to repair, but I'll eat it.
The Martyrdom of Saint Sebastian 9detail).
completed 1475, Antonio del Pollaiuolo and Piero del Pollaiuolo.
The picture is composed symmetrically to tell the story taken from the 'Golden Legend' of Saint Sebastian who was sentenced to death on being discovered a Christian. He was bound to a stake and shot with arrows. Here, the six archers have three basic poses, turned through space and seen from different angles. This helps produce the three-dimensional solidity of each figure and together they define the foreground space.
The Pollaiuolo brothers were sculptors, and may have made statuettes of the archers. The male nude is central to this picture and the figures - like the landscape - have been studied from life. A number of life drawings by the Pollaiuolo brothers have survived.
The landscape takes about a third of the background of 'The Martyrdom of Saint Sebastian'. It is remarkable in its rendering of the glimmering river Arno and fading horizon. The tonal changes which occur over the receding landscape have been achieved by the use of oil paint.
The painting was placed in an oratory, built by the Pucci family in the 1450s, in the key Florentine church of the Servite order, SS. Annunziata. The Pucci family were Florentine bankers and were on close terms with the Medici family.
BLUE
1975 Triumph Stag auto.
Registered on 1st January 1976. Classics Central auction, Bedford Autodrome -
"Finished in French Blue over black vinyl and restored to a very high standard, this Stag boasts a photographic history file of its recent restoration which demonstrates the underlying solidity and originality present in all areas.
"Right down to the fine details such as the etching of the car's original number plate on the headlamps and windscreen, indicating a provenance rarely seen from any vehicle now approaching 40 years old - this example carries an added bonus of eligibility for the vehicle excise duty exemption from April 2016.
"Carrying an impressive 24 MoTs on its history file and presented in impeccable condition throughout, including black leather interior and original cast alloy road wheels, this Stag is one for the collector and shall be sold with a fresh 12 months MoT at point of sale, plus hard top and large history file.
Guide range: £10,000 to £12,000."
Sold for £13,200.
RED
1978 Triumph Stag.
Classics Central auction, Bedford Autodrome -
"In current ownership for the past 22 years, this impressive Stag has covered just 55,000 miles and boasts an exceptional history file.
"Originally supplied new to a wealthy customer in St. George's Square, London, all five previous keepers are accounted for on the history file as are a staggering 15 tax discs and 24 previous MoTs, which warrant the displayed mileage and add genuine provenance to the motor car.
"Purchased by the current vendor in 1994 and used sparingly but regularly in that period, this is a classical enthusiast's car from long-term private ownership that presents accordingly, with very good soft-top, electric windows and original black leather piped in red.
"Carrying a current MoT to 7 September 2016 and said to run exceptionally well with very smooth engine and gearbox, opportunities to acquire cars of this nature are becoming harder to come by - this is the first public opportunity to purchase this Stag in over 20 years.
Guide range: £5500 to £7500."
Sold for £6100.
FEEL DURALIGHT® BATHTUBS: A NEW PROMISE OF PLEASURE BEARING THE TEUCO SIGNATURE
Where material meets design to provide an aesthetically appealing and uniquely sensorial pleasure
Teuco is proud to present the new Feel bathtub series, designed by Studio Talocci and fashioned from Duralight®, the unique liquid-to-solid-surface material, conceived and master-moulded by Teuco.
Feel represents a comprehensive project which, taking as its basis an oval shell, is open to various interpretations thanks to the extraordinary versatility of the Duralight® material. ‘Looks’ available include a freestanding version, sunken version, freestanding black & white (or completely white) rectangular version and ‘encased’ version complete with coverable template.
The freestanding version shows off to the maximum the tactile nature and streamlined profile of the material, providing the feeling of natural stone and the visual effect of a modern sculpture.
The sunken bathtub becomes one with its surroundings by blending in with them seamlessly and allowing for maximum project creativity, a situation further enhanced by the option of customised covering. The latter two versions can be equipped with an air-blower function (with ‘invisible’ jets), to add wellness and relaxation benefits to those of design.
The ‘monobloc’ version combines an oval inner form with a clean-lined, sleek exterior: two geometric forms combining to produce one truly stunning bathtub. The black & white version juxtaposes two colours and finishes in one single, continuous form which flows unbroken and joint-free thanks to the unique properties of Duralight®.
Teuco Duralight® bathtubs provide for our every need whilst offering an exciting new feeling of beauty and solidity. Contact with a Duralight® bathtub brings with it perceptions of unexpected pleasure that involve all the senses: first of all sight, owing to the perfect outline and appearance of these modern-day sculptures and then touch, due to the pleasant feeling afforded by their smooth continuous surfaces. When processing Duralight®, Teuco uses several techniques that make it possible to create products of any shape, thickness and dimension.
Furthermore, Duralight® offers countless benefits compared with other ‘similar’ materials used for the design of bathroom products: “silky” texture, beauty and colour that stand the test of time, exceptional resistance to heat and knocks, ease of maintenance and, of course, design without boundaries.
Between the world of bathrooms and the world of design, there exists a correlation which is now being translated into previously unimaginable shapes and materials, making this ‘oasis’ which we dedicate to relaxation and well-being ever more unique and personal. Today, this pleasure is intensified thanks to the use of vario-material types coupled with an emphasis on sensory pleasure. Multi-materiality and multi-sensoriality are the key words which convey and express the pleasure that is Teuco.
With the Feel series, Teuco has once again succeeded in combining materials with sensory and emotive qualities which, when combined with the beauty of water, guarantee a captivating emotional experience
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
By Christina Mackie
Tate Britain Commission 2015
Mackie fills half of the exhibition space with 12-metre-high dipped silk nets suspended above pans of semi-crystalised dye, to create an ethereal installation. These are shown together with a free-standing sculpture and a plinth displaying chunks of raw glass.
Mackie uses a range of media, but colour and perception remain central to her work. In the Tate Britain Commission 2015, Mackie develops ideas set out in previous projects. The solidity of the building and sculpture contrasts the fluidity of paint, while the nets are kept in a permanent state of flux by the changing light and colour in the Duveen Galleries.
[Tate Britain]
Taurus are solidity, practicality, extreme determination and strength of will - no one will ever drive them, but they will willingly and loyally follow a leader they trust. They are stable, balanced, conservative good, law-abiding citizens and lovers of peace, possessing all the best qualities of the bourgeoisie. For all taurus and taurus lovers, this horoscope book is a best mate for dreams and wishes.
In 1917 Picasso traveled to Rome to design sets and costumes for Sergei Diaghilev’s famed Ballets Russes. Deeply impressed by the ancient and Renaissance art of that city, he began painting monumental figures inspired by antiquity. His new classical style was influenced by the finely modeled odalisques of Jean-Auguste-Dominique Ingres and the late, oddly proportioned female nudes of Pierre-Auguste Renoir. Mother and Child was also inspired by Picasso’s own life. Just three years earlier he had married Russian dancer Olga Khokhlova, and in 1921 their son Paolo was born. Between 1921 and 1923 he produced at least twelve works on the subject of mothers and children, returning to a theme that he had explored during his Blue Period. But whereas those figures are frail and anguished, his classical-period figures, with their sculptural modeling and solidity, are majestic in proportion and feeling. Here an infant sits on the mother’s lap and reaches up to touch her. The woman, dressed in a Grecian gown, gazes intently at her child. Behind them stretches a simplified background of sand, water, and sky. Picasso’s treatment of the pair is not sentimental, but the relationship expresses a serenity and stability that characterized his own life at this time.
In Roccalumera there is an ancient guard-tower which is commonly called Tower of Sollima, from the name of the noble family of Messina owner of the building in the XVI century.The Tower is also called Saracen even if there are no recorded information about Arab origins of the building. The structure, cylindrical shaped and about 13 metres high, showed a conical roof, two windows with modest size and a small door. It was part of the guard and defensive system of Ionian coast against danger of enemy invasions.Outposts communicated to each other by smoke signallings during the day and fire signallings in the night. In the cases of extreme emergency were rung at the same time also alarm bells: people were in this way alarmed and began to escape among near heights. The tower of Roccalumera was considered by the then military architects the best of the area both for its strategical position and the solidity of its structure.After the end of Arab incursions the structure has undergone many changes: windows and the door became larger and was built a wide battlemented terrace which took the place of the previous conical roof.
Antica torre di guardia, comunemente detta “Torre Saracena”. La costruzione risale probabilmente all’inizio del ‘400 e non è improbabile che l’aggettivo “saracena” stia per significare “torre antica”.Le funzioni della torre, costruita nei pressi della spiaggia, erano di avvistamento, di prima difesa e all’occorrenza offriva rifugio ai contadini qualora ci fossero incursioni dei pirati. Le segnalazioni di pericolo si effettuavano di giorno con il fumo, e di notte con il fuoco acceso in apposite padelle. Alla torre si accedeva tramite una scala a corda. Scomparso il pericolo dei pirati, la torre fu adibita a torre telegrafo e metteva in comunicazione la contrada detta “Zia Paola”, nome derivato dalla locanda dove i viandanti solevano fermarsi per rifocillarsi, posta sulla Marina di Pagliara, con la cittadina di Barcellona, poco distante da Messina.el 1578 la “Torre saracena” presentava una struttura con un tetto conico, due lucernari sulla parte superiore, una porticina d’ingresso al di sopra della zoccolatura e, di fianco, alla stalla per il “cavallaio”, visibile ancora oggi.Dopo il 1830 furono aperte, nella parte superiore, due finestre a sesto acuto in pietra bianca e il tetto fu arricchito da una notevole merlatura che fungeva da terrazzo. La “Torre saracena” è divenuta nel tempo il simbolo di Roccalumera.Salvatore Quasimodo le fu particolarmente legato, dedicandole la poesia “Vicino ad una Torre Saracena per il fratello morto”, riprodotta su una lapide di marmo posta alla base della torre.
www.lissongallery.com/exhibitions/anish-kapoor-f45a2ea5-2...
For his latest exhibition, Anish Kapoor presents a new series of paintings, an element of his practice that has rarely been seen, exploring the intimate and ritualistic nature of his work. Created over the past year, the show provides a poetic view of the artist's recent preoccupations. While painting has always been an integral part of Kapoor’s practice, this radical new body of work is both spiritual and ecstatic, showing Kapoor working in more vivid and urgent form than ever. Alongside this exhibition, a solo show dedicated to Kapoor's paintings will run at Modern Art Oxford from 2 October 2021 - 13 February 2022, and both shows precede Kapoor’s major retrospective at Gallerie dell'Accademia di Venezia, opening April 2022 to coincide with the Venice Biennale.
Through painting, Kapoor delves into the deep inner world of our mind and body, from the physical exploration of the flesh and blood, to investigating psychological concepts as primal and nameless as origin and obliteration. Since the 1980s, Kapoor has been celebrated largely as a sculptor, yet painting, and its rawest composition, colour and form, have been a fundamental element of his practice-. The presentation will feature a selection of new and recent paintings, created between 2019 and 2021, the majority in the artist’s London-based studio during the pandemic. Like the artist’s wider oeuvre, these paintings are rooted in a drive to grasp the unknown, to awaken consciousness and experiment with the phenomenology of space.
Kapoor’s work has been characterized by an intense encounter with colour and matter – manifest either through refined, reflective surfaces such as metal or mirrors, or through the tactile, sensual quality of the blankets of impasto. The magnetism of the colour red is evident in these new paintings, manifesting the elemental force that flows through us all, yet now accompanied by a new palette of telluric greys and yellows, as if witnessing a surge from the depths of the earth. Some works appear volcanic, with an intense, fiery energy, while others are more primitive and abstract, with layers of dense pigment and resin forming a sculpted solidity. Many of the paintings have a visceral outpouring where a canvas within a canvas rotates and evolves in space, seeming to defy gravity, with brushstrokes cascading over the edges like a waterfall. In others we see distorted, polymorphic figures emerging from a deep, radiant void, with a ghostly aura.
Kapoor achieves a coherence of mind and body, of interior and exterior in two of the series of works, illustrating a mythic landscape with a turbulent, ominous atmosphere that differentiates land from sky, body from space. These whirling landscapes evoke the extraordinary, eerie Romanticism of JMW Turner, a worship of nature marked through an expressive, dramatic scene. Similar in disposition are two works where we imagine the moon rising over the peak – a symbolic narrative of a new cycle, of origins and menstruation.
The wall-based paintings recall some of Kapoor’s most ambitious, distinguished works, including Svayambhu (2007), My Red Homeland (2003) and Symphony for a Beloved Sun (2013). In these floor-based works we see a more ritualistic, visceral language, where Kapoor unashamedly delves into depicting the very blood and flesh from which we are all born. Artists from Leonardo di Vinci to Francis Bacon have been fascinated with the innards of the body, be it our anatomy or the surrealist beauty in violence. The work also stands in a powerful tradition of artists exploring the human body’s expression of divine matters, yet through the unique vision of Kapoor’s Eastern and Western influences, and ---– considering the year in which they were created --– taking on new meaning highlighting the fragility of the body and self.
East window of the ambulatory (on the site of the former lady chapel entrance). A section of this window was damaged by a football in 1999 during my time working for Norgrove Studios and I was given the task of repainting the damaged pieces. The panel affected was the upper half of the priest in the left hand light, and certain decisions made at the time still frustrate me to this day (I was ordered to replicate some of the paint loss on the large grey sleeve to blend with the original work, despite this having been mainly isolated to that piece, not the rest of the window, hence it stands out more than a full restoration would have done).
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Many design problems can be posed with this game in mind, the main principle to be learned being that of economy of means—making the most with the least. Further, the game helps to sharpen the powers of observation through the discovery of resemblances between geometric and natural forms. It helps the student to abstract: to see a triangle, for example, as a face, a tree, an eye, a nose, depending on the context in which the pieces are arranged. Such observation is essential in the study of visual symbols.
I find that the Columbus region of Ohio has a distinct feeling of solidity. The downtown skyline is small, but broad and weighty. Almost everything pre-WWII is made of bricks, including the streets, and everything more recent seems to be stucco and field stone. I saw front steps made from massive granite blocks that I wager will stay put even if another glacier slides through in the next ice age. This is a place that was built for permanence.
Even this house, one of the few in the historic German Village district that is made of wood, shrugs off the burden of its strangling vines with little effort. In most places, vines like that form a symbiotic relationship with the buildings they grow on. Not so here - all those tiny black dots mark the spots where the vines tried, and failed, to find purchase. That house is wearing them the same way I wear a scarf.
Be sure to view in larger sizes to see the wealth of detail.
Full disclosure: I replaced this photo with a newly toned version. The original had been toned from the jpg, instead of RAW, on my uncalibrated netbook. This current version accurately depicts my original intentions. You can rest assured, though, that I did not go back to Ohio this morning to re-shoot it.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Once can tell that a plantation office was once a significant place from this photo. The solidity of the construction, and its place in the center of town.
Bauhaus Museum Weimar, Germany
German architect Heike Hanada designed a minimalist concrete museum to celebrate the Bauhaus in Weimar, where the design school was founded 100 years ago. The building is dedicated to the design school creates a physical cultural presence for the Bauhaus in the German city where it was based between 1919 and 1925. Located near the Nazi-era Gauforum square and the Neue Museum Weimar, the Bauhaus Museum is a simple five-storey concrete box broken only with its entrance and a couple of windows. The enclosing shell of light-grey concrete lends the cube stability and dynamic solidity. Equally spaced horizontal grooves run around the facades of the museum, with the words "bauhaus museum" repeated in a band near the top of the building. Hanada designed the museum to be a public building for the city and has attempted to clearly connect it to the neighbouring park. With elements such as plinths, fasciae, portals, stairways and a terrace to the park, the architecture incorporates classical themes that underscore its public character.
The museum contains 2,000 m2 of exhibition space, which will be used to display around 1,000 items from the Weimar Bauhaus collection. A shop and entrance hall is located on the ground floor, with a cafe and toilets below, and three floors dedicated to telling the story of the Bauhaus above. Each of the galleries overlooks double-height spaces and are accessed from a long ceremonial staircase that stretches the height of the building. The visitors ascend a succession of interchanging open spaces and staircases until they finally arrive at the top floor where they are presented with an unobstructed view of the park. The cascading staircases are encased by ceiling-high walls and function as free-standing, enclosed bodies in the interior space. The collection is arranged to inform visitors about the history of the design school, with the gallery on the first floor dedicated to its origins in Weimar and the Bauhaus manifesto that Walter Gropius wrote in 1919. The second floor has exhibits that show how these ideas were implemented, with galleries dedicated to each of the Bauhaus directors – Gropius, Hannes Meyer and Mies van der Rohe – at the top of the building.
The museum in Weimar has opened to coincide with the centenary of the Bauhaus, which was established in the city in 1919. The school was forced to relocate from Weimar to Dessau in 1925, where Gropius designed a new school building for the institution. Following a short time based in Berlin the school closed for good in 1933. Although only open for just over a decade, the Bauhaus is the most influential art and design school in history. The ideas and people associated with the school had an incredible impact on design and architecture, and to mark its centenary we created a series exploring its key works and figures.
If there's one place in London that merits an Art Deco Fair, it's Eltham Palace,
with its Art Deco entrance hall, created by the textile magnates the Courtaulds in 1936. The much-loved weekend fair is held twice a year - once in the summer and a second time in September - giving visitors the chance to buy original 1930s objects, from furniture and collectables to hats, handbags and jewellery. Browse the original 1930s objects, from jewellery to furniture while you take in the magnificent Art Deco surroundings of the Palace. Ticket price includes entry to Eltham Palace and gardens and you can see the house by guided tour.
About Eltham Palace
Restored by English Heritage, this fantastic house boasts Britain's finest Art Deco interior and offers visitors the chance to indulge in the opulence of 1930s Britain whilst at the same time experiencing the solidity and symbolism of medieval London. Eltham Palace began to evolve during the 15th century when Edward IV commissioned the Great Hall, which survives today as a testament to the craftsmanship of the period. More about Eltham Palace
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Part of the complete sequence of seven early 14th century windows preserving most of their original glass in the choir clerestorey.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Title: Metropolitan
Creator: Sir Norman Foster and Partners; JEMS Architekci
Creator role: Architect
Creator 2: Hochtief Polska
Creator 2 role: Contractor
Date: 1997-2003
Current location: Warsaw, Mazowieckie, Poland
Description of work: The Metropolitan building was erected at the northern edge of Pilsudski Square to fill a void where palaces had once stood until their destruction during World War II. The famous square (home to the Tomb of the Unknown Soldier, the Papal Cross, and near the Presidential Palace) is the site of military ceremonial gatherings. At the heart of the building is a circular courtyard and fountain, accessible to the street on three sides. "Above the ground level shops and restaurants there are five storeys of flexible office accommodation, grouped in three separate yet connected buildings. [...] The glazed facades maximise daylight in the offices and take advantage of views over the square and surrounding historic buildings, while vertical granite fins balance this sense of transparency with the impression of solidity" (Source: Foster + Partners website: www.fosterandpartners.com/projects/metropolitan-pilsudski...). The innovative building design by Norman Foster and collaborating architect Jems Achitekci won several awards, including the RIBA Worldwide Award, MIPIM Award 2004 in the Business Center category, Construction Journal Award for Best Overall Project of 2003, and the Platinum Drill 2004 (1st prize in Bosch competition for Polish construction companies). According to its website, the Metropolitan building can be rated as one of the most technologically advanced buildings in Europe due to its energy-saving and environmentally-friendly heating and cooling solutions (Source: Metropolitan: www.metropolitan.waw.pl/en/index.php).
Description of view: Southeast building at the corner of Plac Marszalka Jozefa Pilsudskiego and Marszalka Ferdinanda Focha streets, BNP PARIBAS sign and logo to the left of the doorway.
Work type: Architecture and Landscape
Style of work: Contemporary
Culture: Polish
Materials/Techniques: Glass
Stone
Metal
Source: Pisciotta, Henry (copyright Henry Pisciotta)
Date photographed: May 2011
Resource type: Image
File format: JPEG
Image size: 2736H X 3648W pixels
Permitted uses: This image is posted publicly for non-profit educational uses, excluding printed publication. Other uses are not permitted. alias.libraries.psu.edu/vius/copyright/publicrightsarch.htm
Collection: Worldwide Building and Landscape Pictures
Filename: WB2014-0179 Metropolitan.JPG
Record ID: WB2014-0179
Sub collection: office buildings
Copyright holder: Copyright Henry Pisciotta
Pablo Picasso
b. 1887, Málaga, Spain
d. 1975, Mougins, France
Woman Ironing (La repasseuse)
Paris, spring 1904
Oil on canvas
"Images of labor abound in late-19th- and early 20th-century French art. From Jean-François Millet’s sowers and Gustave Courbet’s stone breakers to Berthe Morisot’s wet nurses and Edgar Degas’s dancers and milliners, workers were often idealized and portrayed as simple, robust souls who, because of their identification with the earth, with sustenance, and with survival, symbolized a state of blessed innocence. Perhaps no artist depicted the plight of the underclasses with greater poignancy than Picasso, who focused almost exclusively on the disenfranchised during his Blue Period (1901–04), known for its melancholy palette of predominantly blue tones and its gloomy themes. Living in relative poverty as a young, unknown artist during his early years in Paris, Picasso no doubt empathized with the laborers and beggars around him and often portrayed them with great sensitivity and pathos. Woman Ironing, painted at the end of the Blue Period in a lighter but still bleak color scheme of whites and grays, is Picasso’s quintessential image of travail and fatigue. Although rooted in the social and economic reality of turn-of-the-century Paris, the artist’s expressionistic treatment of his subject—he endowed her with attenuated proportions and angular contours—reveals a distinct stylistic debt to the delicate, elongated forms of El Greco. Never simply a chronicler of empirical facts, Picasso here imbued his subject with a poetic, almost spiritual presence, making her a metaphor for the misfortunes of the working poor.
Picasso’s attention soon shifted from the creation of social and quasi-religious allegories to an investigation of space, volume, and perception, culminating in the invention of Cubism. His portrait Fernande with a Black Mantilla is a transitional work. Still somewhat expressionistic and romantic, with its subdued tonality and lively brushstrokes, the picture depicts his mistress Fernande Olivier wearing a mantilla, which perhaps symbolizes the artist’s Spanish origins. The iconic stylization of her face and its abbreviated features, however, foretell Picasso’s increasing interest in the abstract qualities and solidity of Iberian sculpture, which would profoundly influence his subsequent works. Though naturalistically delineated, the painting presages his imminent experiments with abstraction."
Corfe Castle, Dorset, 2 August 2019. First built in the 11th Century as one of the earliest stone castles in Britain. It was extended and altered in the 12-13th Centuries. In the English Civil War it was a Royalist stronghold which held out until 1645. After the war Cromwell ordered t to be slighted (dismantled) although its solidity meant it couldn't be totally destroyed. In front is The Greyhound pub.
My new transportation - a Specialized Lagster 2010 aluminium.
Essentially it's the bog standard starter fixie bike.
First thing I did was remove all the stickers, which made it a bit stealthier. Next was to fit all the gubbins like bottle holder, pump, Trixie tool, lights and mudguards (not pictured). Oh yes, and my trusty Brooks B17 saddle. It took several thousand miles on my Kona to wear it in, so might as well enjoy the benefits on this bike too.
Also I switched the rear wheel round to the fixed cog, and it was ready to roll.
I eventually plucked up the courage to take it out for a ride. The main thing that struck me was the profound sense of lightness and solidity the bike has. I was also worried it might not handle bumps well, but it soaks them up with ease. Getting used to not being allowed to freewheel has taken time, but the sensation of riding fixed is worth it. Especially when you are climbing, it feels like the bike is egging you on if you ease back on the power. I've gone about 80 miles so far, and it's been ace.
Finally, after working in New York for 3 years, I got a New York Public Library Card. So in that sense, I'm officially a New Yorker now, at least in my standard.
Recently broadcasted through WQXR, and also posted in some subway stations, is so called "Another Train of Thoughts" which quotes from E.B White's "Here is New York":
"There are roughly three New Yorks. There is, first, the New York of the man or woman who was born there, who takes the city for granted and accepts its size, its turbulence as natural and inevitable. Second, there is the New York of the commuter--the city that is devoured by locusts each day and spat out each night. Third, there is New York of the person who was born somewhere else and came to New York in quest of something. Of these trembling cities the greatest is the last--the city of final destination, the city that is a goal. It is this third city that accounts for New York’s high strung disposition, its poetical deportment, its dedication to the arts, and its incomparable achievements. Commuters give the city its tidal restlessness, natives give it solidity and continuity, but the settlers give it passion."
It's hard to say, maybe I was still a locust, a commuter, but New York, it's one of my towns now.
When I was in Philadelphia, I was still a student, yet I got a Public Library card nevertheless, almost right away, and enjoyed it, all those music CDs and historic books, those are already memories as far as they are close to me now. Remember one hot summer day, steaming and tough, and I was riding my old old Altima from Abington Township Library. In front of a traffic light, waiting, there was an old gentleman at bus station, waiting for the bus. He saw me waiting for the traffic light, so asked me whether I'm going to somewhere, I just moved to the neighborhood and really didn't know that place, so I said no. But after a second, I scrolled down the window again and ask him to hop in. It's a very hot day, after all. So we chatted, in between when he showing me directions. About my newly borrowed music CDs (Bernstein's), and New York Philharmonic and Lorin Maazel. It's a long long time ago now, all in a place we called memory.
In memory, someone told me Philly has the largest Public Library System in US. It turns out not true. I don't need the little research I did, but just walking into the Central Library Branch, I feel the Grand Splendor. What a beautiful building it is, I was telling myself when I climbed up the stairs to third floor, It looks much much better than in the movie.
There is a Chinese writer called Lin Yutang, whose book "The Importance of Living" is one of the best seller in 30's. He once wrote about reading, saying reading should makes a person feel the elegance and gracefulness, that's the real art of reading. If someone is holding a strong purpose, either to improve himself or simply to achieve reading by reading, he/she would lost the taste or joy of reading, every bit of it. For example, if one reads Shakespeare because has to, then once he/she finishes it, it's more like waking up from a nightmare without nothing other than knowing he/she finished IT.
I think he pretty much hit the homer on that, but most of my reading, maybe they are just like that, rushing through a nightmare just to satisfy myself about getting it done. is it about ego? or just about stupidities? I do know nothing. But, yes, I still, yet finally got a library card. Am I a New Yorker now? I don't know, I do know nothing, but I guess I'm closer.
Canon SD780 IS
NYC
8/13/2009
In person this model has a beautiful solidity and robust feel and look to it. I particularly like the missile pod detailing that you can see on the right in the photo above.
The solidity and majestic presence of this age old mysterious structure is impossible to imitate and the architectural solution used to build the centre is fully justified. It touches the site lightly and can be easily removed or altered if required.
If there's one place in London that merits an Art Deco Fair, it's Eltham Palace,
with its Art Deco entrance hall, created by the textile magnates the Courtaulds in 1936. The much-loved weekend fair is held twice a year - once in the summer and a second time in September - giving visitors the chance to buy original 1930s objects, from furniture and collectables to hats, handbags and jewellery. Browse the original 1930s objects, from jewellery to furniture while you take in the magnificent Art Deco surroundings of the Palace. Ticket price includes entry to Eltham Palace and gardens and you can see the house by guided tour.
About Eltham Palace
Restored by English Heritage, this fantastic house boasts Britain's finest Art Deco interior and offers visitors the chance to indulge in the opulence of 1930s Britain whilst at the same time experiencing the solidity and symbolism of medieval London. Eltham Palace began to evolve during the 15th century when Edward IV commissioned the Great Hall, which survives today as a testament to the craftsmanship of the period. More about Eltham Palace
The Praktik Metropol Hotel has been remodelled according to state-of-the-art criteria for comfort and style, safe-keeping the integrity and beauty of the original building while adding the practical, luxurious simplicities of the 21st century. Over 60 comfortable rooms with wi-fi, safe deposit boxes, hair dryer and telephone as well as the elegant solidity that is synonymous to Praktik Hotels; Hotel Praktik Metropol is proud to open its doors and invite you on a trip to enjoy Madrid with all your senses, starting with your hotel, at an incomparably affordable cost.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
Halfpenny took advantage of Scotland’s incessant offending to land a 23-point haul, which could have been bigger but for three uncharacteristic misses. Even more impressive was his aerial solidity under pressure from Stuart Hogg, as well as some lively carries and typically courageous tackling.
The Skelligs are two jagged rocky islands jutting out of the Atlantic ocean of the west coast of Kerry in the south west of Ireland.
The rocks have drawn men for centuries - you just have to see them from the mainland to want to go there, they look like something that Hollywood dreamt up.
The larger of the two rocks, Skellig Michael hosts an early Christian monastery which is now a UNESCO World Heritage Site. It has been remarkably preserved since it was abandoned in the 13th Century due to the island's inaccessibility and the simple solidity of the stone buildings.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
Bauhaus Museum Weimar, Germany
German architect Heike Hanada designed a minimalist concrete museum to celebrate the Bauhaus in Weimar, where the design school was founded 100 years ago. The building is dedicated to the design school creates a physical cultural presence for the Bauhaus in the German city where it was based between 1919 and 1925. Located near the Nazi-era Gauforum square and the Neue Museum Weimar, the Bauhaus Museum is a simple five-storey concrete box broken only with its entrance and a couple of windows. The enclosing shell of light-grey concrete lends the cube stability and dynamic solidity. Equally spaced horizontal grooves run around the facades of the museum, with the words "bauhaus museum" repeated in a band near the top of the building. Hanada designed the museum to be a public building for the city and has attempted to clearly connect it to the neighbouring park. With elements such as plinths, fasciae, portals, stairways and a terrace to the park, the architecture incorporates classical themes that underscore its public character.
The museum contains 2,000 m2 of exhibition space, which will be used to display around 1,000 items from the Weimar Bauhaus collection. A shop and entrance hall is located on the ground floor, with a cafe and toilets below, and three floors dedicated to telling the story of the Bauhaus above. Each of the galleries overlooks double-height spaces and are accessed from a long ceremonial staircase that stretches the height of the building. The visitors ascend a succession of interchanging open spaces and staircases until they finally arrive at the top floor where they are presented with an unobstructed view of the park. The cascading staircases are encased by ceiling-high walls and function as free-standing, enclosed bodies in the interior space. The collection is arranged to inform visitors about the history of the design school, with the gallery on the first floor dedicated to its origins in Weimar and the Bauhaus manifesto that Walter Gropius wrote in 1919. The second floor has exhibits that show how these ideas were implemented, with galleries dedicated to each of the Bauhaus directors – Gropius, Hannes Meyer and Mies van der Rohe – at the top of the building.
The museum in Weimar has opened to coincide with the centenary of the Bauhaus, which was established in the city in 1919. The school was forced to relocate from Weimar to Dessau in 1925, where Gropius designed a new school building for the institution. Following a short time based in Berlin the school closed for good in 1933. Although only open for just over a decade, the Bauhaus is the most influential art and design school in history. The ideas and people associated with the school had an incredible impact on design and architecture, and to mark its centenary we created a series exploring its key works and figures.
The pair of windows in St Catherine & St John the Baptist's chapel off the south ambulatory were reglazed in 2002 with stunning new glass by Tom Denny. They were created by to celebrate the 900th anniversary of the monks’ arrival at the Abbey, the theme being the Benedictine motto ‘to work is to pray’.
www.thomasdenny.co.uk/tewkesbury-abbey-two-windows
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
casa del mutilato, veterans' house, palermo, italy, 1935-1938.
architect: giuseppe spatrisano (1899-1985)
while classicism and modernism coexisted in the 1920's, there was a move to merge the two during the following decade. some have argued it killed off modernism; at the time I think it was seen as constituting modernism's way into the mainstream of building.
in france, the perret brothers and le corbusier all worked to integrate abstract classicism into their architecture, although at least one of them would disagree; in sweden, asplund quickly settled into a classicizing modernism after the success of his lightweight and not least lighthearted stockholm exhibition of 1930. in copenhagen, asplund's Danish protege, arne jacobsen, followed his master closely. in berlin, mies abandoned pinwheel planning...I am sure you can continue the list which is substantial even when leaving out downright fascist architects...
similar demands of solidity and order were made to architects in the US and USSR and perhaps we are looking at a global movement on a scale the international style of modernism would only reach after the second world war.
in the background, in the streamline/deco strain of italian fascist architecture:
caserma dei vigili del fuoco, 1935-1937
architects: vincenzo nicoletti and antonino pollaci
one book on the architecture of palermo calls it futurism but that is an insult to the futurists, however crazy they were.
The largest and most magnificent of the chantry chapels is that erected on the north side of the sanctuary in 1430 by Isabella le Despenser (d.1439) in honour of her first husband Richard Beauchamp, Earl of Worcester (d.1422). She then married a second Richard Beauchamp (later buuired in his famous chapel in Warwick) and thus became Countess of Warwick. The splendid fan-vaulted chantry is thus known either as the Warwick or Beauchamp chapel and is a gloriously ornate piece of Perpendicular architecture.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
This shows a close up of the page after the first test. Note the running of the ball points and the uniball. Note the fading of the G2. Note the solidity of the Gelly Roll and the Noodler's.
Use of LE to juxtapose the movement of the grass blown by a breeze and the solidity of the Northumberland rock outcrop.Or...
Gratuitous and formulaic following of a style without care or thought towards the subject or outcome.
I can't decide.
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and the massive scale gives it a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the shape of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century (mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration an sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
Ferstel
(Pictures you can see by clicking on the link at the end of page!)
Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse
Danube mermaid fountain in a courtyard of the Palais Ferstel
Shopping arcade of the Freyung to Herrengasse
Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg
The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.
History
In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.
According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.
The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.
He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.
The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.
1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.
The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.
The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.
1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.
(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.
The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.
At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.
Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)
This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.
1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.
Stained glass in the north aisle by Hardman's from the final decades of the 19th century..
The attractive town of Tewkesbury has been dominated by its superb abbey church since the beginning of the 12th century, and we can be forever grateful to its townspeople for purchasing the monastic church in 1540 for £453 for use as their parish church, saving it from the fate that befell countless similar great churches across the land during the turmoil of the Dissolution. It reminds us both how lucky we are to still marvel at it today, yet also how great a loss to our heritage the period wrought when many more such buildings were so utterly plundered as to have gone without trace (the fate of the monastic buildings here and even the lady chapel of the church whose footings are laid out in the grass at the east end).
Tewkesbury Abbey is thus rightly celebrated as one of our greatest non-cathedral churches, and remarkably much of the original Norman church remains substantially intact, most apparently in the great central tower, a fine example of Romanesque architecture adorned with rows of blind-arcading. The west front is dominated by a massive Norman-arched recess (enclosing the somewhat later west window) and the nave and transepts remain largely as originally built, though this is less clear externally owing to the changes made to the windows, nearly all of which were enlarged in the 14th century in the Decorated Gothic style. This century also saw the complete rebuilding of the eastern limb of the church, of a form less common in England with radiating chapels surrounding the eastern apse of the choir (the central lady chapel sadly missing since 1540).
The interior reveals far more of the Romanesque structure with mighty columns supporting the round Norman arches of the nave arcades giving the building a great sense of solidity. The space is further enlivened by the changes made during the 14th century by the stunning vault over the nave (adorned with a rewarding series of figurative bosses) which sits surprisingly well with the Norman work below. Beyond the apsidal choir beckons, and both this and the space below the tower are enriched with stunningly complex vaulted ceilings (replete with further bosses and gilded metal stars), all ablaze with colour and gilding.
There is much to enjoy in glass here, most remarkably a complete set of 14th century glazing in the clerestorey of the choir, seven windows filled with saints and prophets (and most memorably two groups of knights in the westernmost windows on each side). A few of the figures have fared less well over the centuries but on the whole this is a wonderfully rare and well preserved scheme. There is much glass from the 19th century too, with an extensive scheme in the nave of good quality work by Hardman's, and more recently a pair of rich windows by Tom Denny were added in one of the polygonal chapels around the east end.
Some of the most memorable features are the monuments with many medieval tombs of note, primarily the effigies and chantry chapels of members of the Despenser family around the choir (two of the chantries being miniature architectural gems in their own right with exquisite fan-vaulting). In one of the apsidal chapels is the unusual cenotaph to Abbot Wakeman with his grisly cadaver effigy, a late medieval reminder of earthly mortality.
Tewkesbury Abbey is not to be missed and is every bit as rewarding as many of our cathedrals (superior in fact to all but the best). It is normally kept open and welcoming to visitors on a daily basis. I have also had the privilege of working on this great building several times over the years (as part of the team at the studio I once worked for), and have left my mark in glass in a few discreet places.
PAGEANT 23 (WESTERLY)
Sailboat Specifications
Hull Type: Twin Keel
Rigging Type: Masthead Sloop
LOA: 23.00 ft / 7.01 m
LWL: 19.00 ft / 5.79 m
Beam: 8.00 ft / 2.44 m
S.A. (reported): 236.00 ft2 / 21.93 m2
Draft (max): 2.83 ft / 0.86 m
Displacement: 4,300 lb / 1,950 kg
Ballast: 2,094 lb / 950 kg
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Construction: GRP
First Built: 1970
Last Built: 1979
# Built: 551
Designer: Laurent Giles
Builder: Westerly Yacht Construction Ltd (UK)
Builder: Westerly Marine, Hampshire
The Pageant is one of the smaller of the Westerly range designed by Laurent Giles and produced in volume in the 1970s. She offers an excellent small cruiser, with remarkable room below for her length, and has the typical Westerly virtues of strength and solidity.
The Pageant was designed for Westerly by Laurent Giles in 1969, as a replacement for the earlier Nomad. Production ran from 1970 to 1979, the yacht shown in the photographs here being one of the last of the 550 or so built. A very few (reportedly just six) fin-keel versions were also produced in 1976, these being called Westerly Kendals. As with all other Westerly Marine yachts the Pageant was very strongly built to Lloyds specifications, which meant that the building processes were rigorously monitored and all materials had to be approved by Lloyds in order that a hull certificate could be issued.
Auxiliary Power/Tanks (orig. equip.)
Make: Volvo Penta
Model: MD1B
Type: Diesel
HP: 10
Fuel: 10 gals / 38 L
Sailboat Calculations
S.A./Disp.: 14.32
Bal./Disp.: 48.70
Disp./Len.: 279.87
Comfort Ratio: 20.61
Capsize Screening Formula: 1.97
Accommodations
Water: 15 gals / 57 L
Headroom1.75m
Cabins 2
Berths 5/6
design Alberto Meda
The teak collection returns to the essence of the setes bench with its chairs, tables
and chaise-longue models. Manufactured with teak wood slats on a die-cast aluminium
frame, the products of the teak collection are resistant over time and pleasant
to the touch. Suitable for outdoor areas, they add solidity and attention to detail
to the outdoor collections.
La collezione teak restituisce nei progetti di sedute, con e senza braccioli, lettini e tavoli
l’anima materica e formale della panchina setes. Realizzati con doghe di legno teak su
struttura in pressofusione di alluminio, i pezzi della collezione teak sono resistenti nel
tempo e piacevoli al tatto. Adatti agli spazi aperti dei giardini, aggiungono solidità
e cura dei dettagli al paesaggio outdoor.
Tiberius & Germanicus Gemellus. AD 19-37/8 and 19-23/4, respectively. Æ Sestertius (27.83 g, 6h). Rome mint. Struck under Tiberius, AD 22-23. Crossed cornucopia, each surmounted by the bust of a boy, vis-à-vis; winged caduceus between / Legend around large S C. RIC I 42 (Tiberius).
This issue, commemorating the birth of twin sons to Drusus Caesar and his wife Livia Drusilla (Livilla), was part of the series issued in 22 AD to promote the imperial virtue and dynastic solidity of the second emperor's family. Tiberius Gemellus (meaning "twin") was made principal heir with his cousin Gaius (Caligula) upon the death of Tiberius. Within the year, however, Caligula had his cousin murdered.
From CNG: This issue, commemorating the birth of twin sons to Drusus, the son of the second emperor Tiberius, and his wife Livilla, was part of the series issued in AD 22 to promote the dynastic solidity of Tiberius’ family. One of the twins died in infancy, but the other, Tiberius Gemellus (meaning "twin") was named an heir along with his cousin Gaius (Caligula). Within a year of Caligula’s accession, however, the new emperor had Tiberius Gemellus murdered.
From Richard Beal (Roma): "This sestertius was struck in 22/23, nearly three years after the death of Germanicus, Tiberius’ nephew and first heir. In the interim Tiberius had named no heir, but with the nine coins in his dated aes of 22/23 he announces a ‘Tiberian dynasty’ that includes his son Drusus, his daughter-in-law (and niece) Livilla, and his twin grandsons Tiberius Gemellus and Germanicus Gemellus, whose heads decorate the crossed cornucopias on this sestertius.
Since it is the only coin in the aes of 22/23 without an obverse inscription, we must presume its design was believed sufficient to communicate the fact that the twin boys were portrayed. Though this type usually is thought to celebrate the birth of the twins, that event had occurred two and one half years before this coin was struck. Rather, it is best seen in light of early Julio-Claudian dynastic rhetoric in which male heirs were celebrated as twins (even if they were not literally twins, or even biological brothers) and were routinely likened to the Dioscuri, the heavenly twins Castor and Pollux.
The crossed-cornucopias design is familiar on ancient coinage, and here the cornucopias, grape clusters, grape leaves and pine cones seemingly allude to Bacchus or Liber in a reference to fecundity. In terms of dynastic appeal, the design boasts of the prosperity and fruitfulness of the Tiberian line, with the caduceus symbolizing Mercury as the messenger of the gods and the bringer of good fortune.
Despite the hopefulness represented by this series of coins, tragedy struck on two fronts. The ‘Tiberian dynasty’ collapsed within months of its being announced when both Drusus and his son Germanicus Gemellus (the boy whose head is shown on the right cornucopia) died in 23.
Poor fates awaited the remaining two members: Drusus’ wife Livilla became increasingly associated with Tiberius’ prefect Sejanus, and she died shamefully in the aftermath of his downfall in 31, and the second grandson, Tiberius Gemellus, survived long enough to be named co-heir of Tiberius with Caligula, but after Tiberius’ death he was pushed into a subsidiary role and soon was executed by Caligula, who would not tolerate a second heir to the throne." - Ars Antiqua, 2008 CNGCOINS>COM
interior of the puerta de Los leones
Toledo Cathedral
"The interior of the portal [of the Lions] corresponds to the great façade of the transept on its southern side, on top of which rests the small balcony with balustrade that corresponds to the tribune where the organ of the Emperor is located. Higher up is the rose window, surrounded by a frame with its pendentives decorated with rosettes.
In the lower part of the great façade is the portal divided by a column-mullion. Above the doors are the tympanum sculpted with themes of the genealogy of the Virgin whose designers were the same who worked on the exterior of this portal. On top of the tympanum is the plateresque carving with a great medallion of the Coronation of the Virgin in the center, the work of Gregorio Pardo (eldest son of Felipe Vigarny). On both sides are the statues of David and Solomon, attributed to Esteban Jamete.
To the right and left of this front are two sepulchres. The one on the right is empty (it is believed that it was prepared to receive the remains of Brother Bartolomé Carranza); that of the left holds the remains of Canon Alfonso de Rojas, represented in a praying statue.
The bronze reja (metalwork screen) was made a century after the great screens of the main chapel and of the choir, in a style completely different from these, valuing solidity and utility more than the taste for ornamentation of the previous century. Its designer was Juan Álvarez de Molina, a native of Úbeda (Jaén), who made the screen in the city of Toledo in 1647. The documents preserved in regard to this say that the master metalsmith received 8,504 reales and 12 maravedís, in addition to the 27,000 reales that had been given to him earlier. The document gives account of the cost of the metal employed, which was nearly as much as the total payment he received for the work." - wikipedia
Toledo, Spain
27 November 2012
camera: Sony DSC H90
DSC03438