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Tiberius & Germanicus Gemellus. AD 19-37/8 and 19-23/4, respectively. Æ Sestertius (35mm, 27.05 g, 12h). Rome mint. Struck under Tiberius, AD 22-23. Crossed cornucopia, each surmounted by the bareheaded bust of a boy facing one another; winged caduceus between / Legend around large S • C. RIC I 42 (Tiberius).
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This issue, commemorating the birth of twin sons to Drusus Caesar and his wife Livia Drusilla (Livilla), was part of the series issued in AD 22 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. cngcoins.com
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.
Roof boss in the 14th century vault of the nave.
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 new Lufthansa First class is less about "Tante Ju", or the old romantic idea of flight, and more about German car design, and maybe a bit of yacht design as well. So it is more about travel and less about a certain kind of metal. This is more about leather like materials and about the solidity and reliability. About the precision and use of natural looking materials.
Some accents seem to have been created with certain devices in mind.
The new color palette is also beautifully compatible with the work that has been done recently around the new lounges and the rather excellent First Class Terminal in Frankfurt.
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.
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.
Religious heritage: the Saint-Gervais-Saint-Protais church
The church is one of the oldest in France.
The cult of Saint Gervais and Saint Protais appears to have quickly developed after the discovery of relics in Milan in 386.
Front
The front has the shape of a quadrilateral surmounted by an imposing triangular gable. The decor is limited to the cornice that defines the sprocket. It consists of small arches resting on carved corbels. The facade is, moreover, supported by strong buttresses. The northern one was rebuilt in the fourteenth or fifteenth century.
In the center, the portal is no eardrum. It is decorated with a simple roll. It is topped with a bay semicircular arches and crowned with a thin cord that is based on sculpted caps.
Bedside
The polygonal sanctuary was built around the year 400. It is small cubic apparatus thick joints, resulting directly from the Roman tradition. It is associated with long blocks. Everything is arranged in regular courses. The angles are formed cut stones at each sitting.
Belfry
The bell tower is placed above the choir, which is a rare positioning. It was necessary to ensure the solidity of the building, cluttering the choir by huge piles.
The three upper levels of the tower are represented by cornices. The first level is blind and massive. At the corners, powerful buttresses consolidate all. The last two levels are lit by free bays. These second stages are part of a flat wall, while on the third floor, they are equipped with two rows of arch stones down along the legs and topped with a continuous molded cord on four faces.
The bell tower is topped by a pyramidal cover elegant stone.
Choir
The choir is from the Merovingian period. It is lit by three windows with arches are semicircular. The bows are made of thin archstones extradossed a cordon of tiles that extends back angle at the transom. Other tiles separate the quoins. The decoration is complemented by two diamond patterns placed on both sides of the axial window.
An early Christian monument is preserved in the choir (dated around 400), representing a chrism and an epitaph: "Aeternalis and Servilla Vivatis in Deo" is "Live in God." This stele is one of the oldest evidence of the presence of a Christian community in Poitou. It is contemporary of Saint Hilaire, Bishop of Poitiers from 342 to 368 and Saint Martin, founder of the Abbey of Ligugé (360-370).
Nef
The nave walls and the bell tower date from the eleventh century.
The walls of the nave consist of small irregular stones. They are punctuated by alternating flat buttresses and high windows. The berries are narrow. They are surmounted by a carved lintel semicircular thin lines that simulate a bow paired in a style popular before 1000, but tends to disappear when the construction of the building.
In the twelfth century, are implanted batteries in the nave to the stoop. The capitals that adorn it are from the same era, specifically the beginning of the twelfth century. They are reminiscent of Saint Pierre de Chauvigny but also clumsy. However, two capitals are exceptional: he says of marriage, and that of the Temptation. The other capitals are decorated with stylized floral or geometric patterns or fantastic beasts or birds drinking from a cup.
This image of birds drinking from a cup symbolizes the souls who drink from the source of the memory. This is a reference to the Eucharist. "You will draw water with joy the wells of salvation" (Isaiah 12-3). This is an iconography borrowed from the Roman tradition. It is found in many area churches: the Church of St. Peter Chauvigny, the priory of Villesalem, church Bonneuil-Matours or that of Liniers or to the Church of Our Lady of Lencloître .
Vaults and painted plaster date from the nineteenth century. The decor combines foliage and decorative motifs in false appliances. In 1886, Honoré Hivonnait painted at the entrance of the choir Saint Gervais and Saint Protais holding a palm, symbol of martyrdom.
Baptismal pool
During archaeological excavations directed by François Eygun in 1960, a baptismal pool Merovingian was unearthed. It is very rare to find outside of the episcopal see. Its discovery highlights the importance of Civaux at that time.
The baptismal pool has a similar type of construction of the church bedside is a polygonal structure with the use of an elongated device, process characteristic Merovingian poitevines constructions.
According to Brigitte Boissavit-Camus, head archaeologist of the excavations in the late 1980s, the entire building may have been surrounded by walls legacy of an ancient temple, which remains the foundation. these walls have delineated a circulation space reserved for worship.
wp
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.
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
A portrait of 2100.
2100 appears to have been the most consistently reliable unit in the Tasrail fleet over the last few years. A bent bogie frame from a derailment has spoiled 2101's otherwise excellent record. These two are the only units fitted with Woodward electronic control systems, which may be a reason for their solidity
Starck pays tribute to three icons of contemporary design and creates a fusion of styles to get a “summa stilistica”, the Masters chair. Reinterpreted in “space-age” mood, the Series 7 by Arne Jacobsen, the Tulip Armchair by Eero Saarinen and the Eiffel Chair by Charles Eames interweave in a charming and winding hybrid.
Supported on four slender legs, the Masters chair is roomy and comfortable. Its distinctiveness is, of course, in the back which is characterised by the solidity and void created by the meetings of curving lines of the three different backs which flow down and join together along the perimeter of the chair.
Los Angeles, California
Listed 7/23/2013
Reference Number: 13000509
The Boyle Hotel - Cummings Block is significant tmder Criterion A as an important anchor to the early commercial development of Los Angeles in the Boyle Heights neighborhood east of the Los Angeles River. When completed in 1889,6 it reflected expansion and growth outside the commercial core in Los Angeles. Now, as the last remaining commercial building from the early development of Boyle Heights in the 1880s, the building represents the late nineteenth century transition of Los Angeles from a small city surrounded by farmland to a burgeoning city center surrounded by suburban neighborhoods. Pre-twentieth century commercial buildings are extremely rare in the greater Los Angeles metropolitan area and likely number fewer than a dozen. Extant pre-twentieth century hotels are even rarer and probably number fewer than five. The Boyle Hotel - Cummings Block is also significant under Criterion C for its rare and unique architectural design in a Queen A1me style. 8 The building embodies distinctive character defining features, including its highly decorative wall surface, ornamental spiral columns, parapets with patterned surfacing, comer turret, second story double window with an arched pediment, and decorative brickwork. The building commands a prominent position at the crest of a hill overlooking downtown, as well as at an important intersection, and its construction out of brick signifies solidity and durability at this important site.
National Register of Historic Places Homepage
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.
Icona dipinta con tempera magra su tavola, verniciata al bianco d'uovo, liberamente ispirata alla Madonna con Bambino di Andrea Mantegna. Non avendo argento, ho usato il lamierino di rame per lo sbalzo. I fiorellini sono stati anneriti con fuliggine. La lastra dietro è stata riempita con cera fusa per dare consistenza e poi inchiodata sulla tavola.
Icon painted with guache on wood, varnished with egg white, free inspired from Holy Mother and Child by Andrea Mantegna. Not having silver, I used copper sheet for embossing. The little flowers are blackened with soot. The copper sheet, on the back, was filled with hot wax for giving solidity, then the sheet was attached on the wood with nails.
Mercedes have been producing an SL (Sport Leicht) model or range of models since 1954 when the landmark 300SL was unveiled. The second generation SLs began with the 230 of 1963. Designed by Paul Bracq, its wonderfully crisp styling clothed a monocoque chassis equipped with all-round independent suspension (wishbones and coil springs at the front and coil sprung swing axles at the rear), power assisted disc/drum brakes and recirculating ball steering. Powered by a 2306cc straight-six engine mated to either four-speed manual or automatic transmission, the model was credited with 150bhp and 145 lbft of torque. That gave it a top speed of around 120mph, and the svelte Roadster was universally praised by the contemporary motoring press for its performance, roadholding and refinement. The SL was available in Californian Coupe, Convertible or Coupe Convertible guises, the last of which came with both a soft-top and the famous 'Pagoda' hardtop roof - so called because of its gently scalloped centre section. Most of the early cars were of this type. The build quality of the W113 range is much admired to this day and Mercedes certainly didn't stint on solidity. As a result, the cars were heavier than most of their peers, despite the use of aluminium for the boot lid, bonnet and door skins. Of the 48,912 W113 Series cars made between 1963 and 1971, 19,831 were 230SLs, 11,726 of which were exported. The popular W113 Series of cars was replaced by the all new and substantially heavier R107 350SL/450SL range.
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 the 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 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!
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!
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I love this example of embodiment in Second Life. Here we have Pinkfeather Heron, actually blue and jay, DJing at Fracture, with the assistance of a box to raise hir to the required height. Actually, the DJ poseball left Pink floating above the floor, which was jarring to the illusion of solidity and weight we develop in SL, so Trinity rezzed hir a cube to stand on. But the cube lacked the depth of detail that gives the virtual world coherence, so I gave Trin textures to distress and realize the crate. And Pink DJed on, in geometric feathered glory.
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.
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: View of the western building entrance and northern courtyard entrance.
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: WB2014-0195 Metropolitan.JPG
Record ID: WB2014-0195
Sub collection: office buildings
Copyright holder: Copyright Henry Pisciotta
The unusual Mission-style Whiteside bakery opened on January 16, 1908, the fiftieth birthday of Isaac Whiteside. His health began to decline shortly after and he was dead within the year. In 1913 the bakery was producing 140,000 loaves every 24 hours, according to the March 25, 1913 article above in the (Louisville) Courier-Journal and Louisville Times. The building still stands at 1400 West Broadway in Louisville, Kentucky, but is a shell of its former wonder.
From the 1979 application to be a Nationally Registered Historic Place:
"Whiteside Bakery was built in 1908 by Louisville architect Arthur Loomis. His choice of the Mission Style for the project is a curious one, since the style was not well represented in the Louisville area. Loomis's use of this contemporary California mode, however, provided a particularly happy solution for the structure's location with in a transitional zone. The bold, low massing of the Mission Style catered to the height of the bakery's residential neighbors, while the strength and solidity of the style justified its use as a commercial structure.
Asymmetrical square towers dominate each corner of the building, anchoring it to its site. The left tower is slightly taller than the one to the right for stylistic purposes. This tower commands the southwest corner of Broadway and 14th Streets, and was originally highly visible from the downtown direction. The crowning glory of this tower, no longer extant, was a large electric clock which tolled upon the hour. At dusk, we are told, “the characters describing the circle and declaring the hours stand forth in letters of fire and read 'Mother's Bread'." Unfortunately, this magnificent timepiece has met an ignominious end … A tile roof supported by piers caps the tower. Deep, bracketed wooden eaves protect recessed arched windows on each side to the tower, creating the visual effect of an open loggia from the street. Limestone rolled trim edges the base of the loggia, while gargoyles commanding each corner peer menacingly down upon passersby.
The lower tower to the right of the building has been designed in deliberate contrast to its taller counterpart on the left. In the first instance, the emphasis has been upon height and lightness; here, the stress is upon weight and mass. The tile roof sits firmly upon shorter piers, which appear more massive because of their reduced height. Squat columns recessed into the depths of the heavily-bracketed eaves support a low arch which enframes the windows on each tower face.
With the exception of the tower clock and the rooftop garden, the exterior of the bakery has changed little since 1908. The low, open pavilion to the far right of the structure, featured in an earliest photograph, is presently enclosed."
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.
Blythe size stand made of painted acrylic resin.
Inspired by Michael Ende's novel, 'The Neverending Story', and the imaginery of the 1984 movie by Wolfgang Petersen's, it shows the Auryn, a medallion with two serpents carved in relief, a light one and a dark one that bite each other's tails.
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
The pole is removable and it's crossed by a tin wire that can be bent to grab the doll.
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 the 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 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!
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.
Andrew Kay - wrought iron
Part of the Gyosei Art Trail in Milton Keynes
Along the Grand Union Canal the Gyosei Art Tral comprises eight art works linked by the themes of Japanese Connections, Canal History, Fish, Fowl, Insects and Invertebrates.
Andrew has created a powerful shire horse whose steady toil propelled the barges of yesteryear along the towpaths of the Grand Union Canal.
Andrew says he's tried to capture the huge strength and solidity of a Shire, while also suggesting the calm and resolute approach to the task in hand.
Taken from the Gyosei art trail leaflet.
Suspended Animation Classic #872 First published September11, 2005 (#37) (Dates are approximate)
Invincible: Family Matters
By Mark Allen
Invincible: Family Matters, published by Image Comics, 120 pages, $12.95.
Forgive me, I’m just now catching up. I finally picked up the first trade collection of Image Comics’ Invincible. A lot of buzz surrounds this book, the series now having run for over two years. The story revolves around a teenage boy who has inherited his superhero dad’s powers. Nothing new, in and of itself, of course. It’s creator/writer Robert Kirkman’s skill at characterization and plot-crafting that causes this book to be a diamond among the lumps of coal which largely comprise the superhero genre today.
Kirkman’s main character, Mark Grayson, is pretty much your typical high school kid. Well, besides his obvious anticipation of his genetic birthright kicking in. The scene in which this happens is as entertaining (as is Mark’s response) as it is surreal, and something the likes of which I had never seen during over 30 years of comics indulgence. Kirkman also manages to breathe life into Mark’s father, his world’s “iconic” superhero. This is done primarily through a scene in which daddy decides to sit down with Mark and have “the talk”. It’s not what readers expect. At least, not everything they expect. I believe Mark’s mother would be called the “down-to-earth” character. And how! With no super powers, she deals with the dangers associated with her family members’ calling with the solidity of concrete.
Or … does she? This is a character with layers to be pulled back, I believe.
Kirkman’s story of a young man’s desire to follow in his father’s footsteps rings a poignant bell with a big fat hammer of super heroic fun!
Top all of this great characterization and story with stunningly action-oriented pencils and inks by Cory Walker and you’ve got the hit everyone’s been talking about. So, Invincible: Family Matters is recommended for those who enjoy superhero stories with style, as well as substance. Look for it at your local comics shop, online retailers, and auctions.
Victorian plaster cast of a roof boss in the 14th century vault of the nave. Displayed as part of a small exhibition around the Abbey in 2013.
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 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.
Starck pays tribute to three icons of contemporary design and creates a fusion of styles to get a “summa stilistica”, the Masters chair. Reinterpreted in “space-age” mood, the Series 7 by Arne Jacobsen, the Tulip Armchair by Eero Saarinen and the Eiffel Chair by Charles Eames interweave in a charming and winding hybrid.
Supported on four slender legs, the Masters chair is roomy and comfortable. Its distinctiveness is, of course, in the back which is characterised by the solidity and void created by the meetings of curving lines of the three different backs which flow down and join together along the perimeter of the chair.
In March 2022, I went to the Burgundy town of Autun, chiefly to photograph the world-renowned tympanum of the Saint Lazarus cathedral. However, I had in mind to visit also another, much older place...
This is the Carolingian crypt of Saint-Andoche. It is not a place open to the public, as it is enclosed within the confines of a catholic teaching institution, but I managed to get access through my contacts. Even through the place is quite dirty and used as a repository for old school furniture and similar junk, the pillars and vaults from the 800s are splendid in their purity, lightness and immovable solidity. They have been standing and supporting the hundred of tons above since the 800s.
Viaje a EEUU - Día 10
The American Radiator Building (since renamed to the American Standard Building) is a landmark skyscraper located at 40 West 40th Street, in midtown Manhattan, New York City. It was conceived by the architects John Howells and Raymond Hood, and built in 1924 for the American Radiator Company.
The building's structural form is based on Eliel Saarinen's unbuilt competition entry for the Tribune Tower, augmented with a strong use of color.
The architects combined Gothic and modern styles in the design of the building. Black brick on the frontage of the building (symbolizing coal) was selected to give an idea of solidity and to give the building a solid mass. Other parts of the facade were covered in gold bricks (symbolizing fire), and the entry was decorated with marble and black mirrors. Howells and Hood employed the talents of their frequent collaborator Rene Paul Chambellan for the ornamentation and sculptures.
In 1998, the building was sold to Philip Pilevsky for $150 million. Three years afterwards, the American Radiator Building was converted into The Bryant Park Hotel with 130 rooms and a theatre in the basement.
The landmark status of the exterior required the conversion pay special attention to the renovation of the facade decor, and prohibited proposed changes such as bigger guestroom windows. The building is listed on the National Register of Historic Places. It was also a subject of Georgia O'Keeffe in her noted 1927 painting Radiator Building - Night, New York.
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
Love these old images ... another image no longer in copyright ... some TLC.
SPECIAL THANK YOUs to Rosemary Kneipp in France, who tracked down the Chateau Railly websites below.
Rosemary is an Australian happily living in France and is the author of a blog named AUSSIE IN FRANCE.
CHATEL ROSE
Rosemary is also co-author of a Travel Rental website:
www.loirevalleyholidayrental.com/
with partner Jean Michel Avril. Together Rosemary & Jean rent Châtel Rose, a well-lit studio apartment in a quiet street in the Mediaeval Quarter of Blois.
CHATEAU RAILLY
This private chateau still exists with the Rive Cure still running south of it. The older building at left was the 13th century castle. It was rebuilt in the 17th century with the same local quarry stone, into the Chateau Railly in this 1848 artwork by Victor Petit.
You can see a photo of it from this website:
and another here: Heritage of the Morvan -
www.patrimoinedumorvan.org/inventaire-historique/edifices...
Chateau Railly
89630 Saint-Germain-des-Champs
France
' In 1806, the castle was sold to Leonard Houdaille. His grandson, Achille, added, in 1860, two towers to the old buildings, and large buildings ... Today the castle, on a square plan, on two levels, is provided at each corner with a tower capped with a conical roof. Of the sixteenth-century castle, only the facade and the north-east tower remain. The reconstruction imitating the old one, dates from 1861. The large-scale stones, reflecting the grayish tones of the Quarré granite, therefore retain a local character to the building. This air of severity and youth, solidity and good taste, is far from detracting from the site, one of the most beautiful in the territory. The castle has a large park and outbuildings. A large farmhouse with a beautiful Venetian villa formerly dependent on the castle is located to the north of it. '
Source: CHATEAUX de FRANCE, this site lists all the castles of France -
chateau-fort-manoir-chateau.eu/chateaux-yonne-chateau-a-s...
' On this site, all the castles, fortified castles, manors, fortified houses, ruins and important remains, castle hotel-restaurant, castles with guest rooms, cottages, and castles with rooms for receptions, you will find the list of all departments on the homepage, but also a page reserved for abandoned castles, in danger, and the castles of the Loire Valley we have also listed castles in French-speaking countries, Switzerland, Belgium and Grand Duchy of Luxembourg see Foreign castles, and also the castles in villages classified among the most beautiful villages in France. ' chateauxdefrance@orange.fr
This image is 175 years old, as of the Dec2023 uploading to our photostream.
Image Title: Chateau De Railly (Burgundy) . Chateau de Railly-Sur-Cure (Bourgogne) - plate no. 75
Book Title: Country Houses - Habitants Champetres
Date: 1848
Artist & Illustrator: Victor Petit
Editor & Publisher: Monrocq, Paris - located at Rue Segur 3
Image Source: Internet Archive
Here's a nice bit brace. This is a 8 inch Stanley bit brace model no 925. I suppose you could call this a mid range brace because of the rather simple chuck shell and the alligator jaws. But this example has handles made of cocobolo, a ball bearing head and ratchet mechanism and despite being well used it has the solidity of a very well made bit brace.
The ratchet mechanism still works like a clock and the top handle spins nicely without sloppiness.
So from one extreme of emotion to another.
I find cemeteries rather soothing places to spend time, especially in beautiful Spring sunshine, I study the stones and epitaphs with curiosity and interest, mostly dispassionately, it isn't that I don't care.
Perhaps it is because I usually favour the solidity and noncomformist nature of a Rodin or an Epstein. This figure however, moved me profoundly.....
Here's a nice bit brace. This is a 8 inch Stanley bit brace model no 925. I suppose you could call this a mid range brace because of the rather simple chuck shell and the alligator jaws. But this example has handles made of cocobolo, a ball bearing head and ratchet mechanism and despite being well used it has the solidity of a very well made bit brace.
The ratchet mechanism still works like a clock and the top handle spins nicely without sloppiness.
Diego Rivera
Mexican, 1886-1957
Detail from: The Flower Carrier [ formerly The Flower Vendor ]
1935
Oil and tempera on Masonite
In 1935 Albert M. Bender asked Rivera to select a work of art for the new San Francisco Museum of Art (Now SFMOMA). Rivera’s choice, The Flower Carrier , is a rhythmic, powerful image of peasants at work. As in many of Rivera’s depictions of Mexican campesinos, or agricultural workers, the painting conveys underlying Marxist convictions and a sympathetic respect for manual labor. Though the workers are heavily burdened, they are painted with a sculptural solidity that lends them a monumental dignity. One may interpret then as idealized representatives of their class, in harmony with each other and with the natural world.
Albert M. Bender Collection, gift of Albert M. Bender in memory of Caroline Walter
35.4516
From the placard: San Francisco Museum of Modern Art
Pen and ink sketch by Dirk Blokland, taken from a National Trust of Qld. book "Historic Ipswich"
The Post Office, Town Hall (originally School of Arts and Mechanics' Institute) and old Bank of Australasia form a civic complex of great solidity and architectural appeal. For many years the group suffered from civic neglect but with recent attention the handsomeness of these classic styled 19th century civic buildings is able to be appreciated.
Photograph of these buildings circa 1900 at: en.wikipedia.org/wiki/File:Brisbane-street-ipswich-r.jpg
Google maps street view: maps.google.com.au/maps?q=161+brisbane+street+ipswich&...
I could have spent hours studying these serene, contemplative faces.
I'm very accustomed to seeing (and making!) digitally-distorted images, so encountering huge, tactile and very solid examples was disconcerting.
Yet their appearence also challenges that solidity (and the heads are definitely not tactile – touching the soft, easily discoloured alabaster was strictly forbidden). The material's almost organic translucence, softly lit from above, seemed improbable, as if the real reason we weren't allowed to touch was that they were secretly holograms.
None of the heads is completely 'finished': their bases and backs exhibit the rough, chisel-marked stone of the early stages of shaping, with only the fronts and sides polished to perfection, whilst some have barely been freed from the original quarry-cut alabaster blocks; peaceful faces emerging from otherwise rough columns.
[And no, the photo isn't distorted – the heads really are elongated.]
The Lafayette Building and former First Presbyterian Church in South Bend are new on Indiana Landmarks' 10 Most Endangered in 2015. Learn more at www.indianalandmarks.org.
Two South Bend landmarks on the 10 Most Endangered list sit next door to one another, across the street from the city’s historic courthouses. The city ordered both structures sealed until multiple code violations are cured.
Last fall, when slate began cascading from the roof of the long-vacant former First Presbyterian, the out-of-state owner replaced the slate with a tar paper roof. This year, finally, installation of a new imitation slate roof began on the vacant, damaged landmark.
Pittsburgh architect J. P. Bailey—creator of courthouses and schools from the Midwest to Maine—designed the 1888 sandstone and limestone church in the Richardsonian Romanesque Revival style. Local industrialists J. M Studebaker and J.D. Oliver, who each covered a third of the cost, favored the style’s expression of solidity and permanence.
The Lafayette Building dates from 1901 and 1903, when it went from three to five stories. The understated Neoclassical exterior gives no hint of the graceful interior, lit by a five-story skylighted atrium. In addition to its deteriorated condition, the property’s delinquent tax bill tops $1 million.
“Indiana Landmarks linked the two sites as a 10 Most Endangered entry because we think each affects the fate of the other, and because we believe the solution may be a redevelopment that unites them,” says Todd Zeiger, director of the organization’s northern office.
Here's a nice bit brace. This is a 8 inch Stanley bit brace model no 925. I suppose you could call this a mid range brace because of the rather simple chuck shell and the alligator jaws. But this example has handles made of cocobolo, a ball bearing head and ratchet mechanism and despite being well used it has the solidity of a very well made bit brace.
The ratchet mechanism still works like a clock and the top handle spins nicely without sloppiness.
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.
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!
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.
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.
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