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After the wind and snowstorm ended on Wednesday, I went to look at the lake and found it utterly unrecognizable. It was as if the water, usually calmly lapping on shore or breathing heaves of waves, had been replaced by land. Everything was motionless, literally frozen, and completely quiet. I resisted the urge to run upon it, knowing I would likely meet my death, falling through the thin veil of solidity, but these hills of snow and ice, probably ten feet tall or more, made staying put difficult. This morning I returned to the lake, and already the complete calm was broken. Gashes of lake had appeared in the frozen landscape, chunks of ice floating, sometimes tipping violently within, each attesting to the transformative power of the earth upon itself, to the insignifiance of man.
MoMA description:
In the 1870s, Cezanne began depicting scenes of bathers—groups of men and women lounging, swimming, and standing in and around wooded watering holes. In this work, he focused on the figure of a single young man standing with hands on hips, one foot in front of the other, and eyes downcast. Cezanne admired classical traditions of landscape and portraiture, yet compared with the muscular bodies and idealized proportions of academic painting, this bather appears awkward—both physically ungraceful and psychologically remote. The painting’s unified palette and brushstrokes likewise defy the conventional hierarchy of figure over background: here they are almost interdependent, set apart by the distinct black outline of the bather’s body but also echoing and sometimes dissolving into one another.
The artist began his career as an Impressionist painter, and his work reflects the influence of that movement’s experiments with the optical effects of color. Cezanne, however, was not interested in color’s atmospheric properties, as the Impressionists were, but instead explored its qualities of solidity and space, trying, as he said, “to render perspective solely by means of color.” Whereas the Impressionists painted from life, Cezanne based this bather on a photograph of a man posed in a studio, transferring him in paint to an outdoor scene.
Publication excerpt from MoMA Highlights: 375 Works from The Museum of Modern Art, New York (New York: The Museum of Modern Art, 2019)
MoMA (www.moma.org)
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.
Bust of Madame De Wailly by Augustin Pajou
The sitter was the wife of Pajou's lifelong friend Charles de Wailly, a companion from student days in Rome. De Wailly, court architect to Louis XVI, had built neighboring houses for Pajou and himself, and Pajou executed busts of the architect and his wife. After her husband's death, Madame de Wailly married M. de Fourcroy, a medical doctor and chemist.
The portrait of Madame de Wailly displays the sculptor's gifts to best advantage. The solidity that characterizes his work is enlivened by an equally characteristic linearity, resulting in a brilliant eighteenth-century version of a Roman matron's portrait. The sense of dignity does not suppress the spirit of humor and intelligence that radiates from Madame de Wailly's fully mature countenance. This maturity is echoed in Pajou's handling of her torso, emphasized by the clinging cloth that partly exposes her chest and ample shoulders. The sinuous, weighty curls that frame her face and cascade over her shoulders are insistently sculptural, lending harmony and equilibrium to the work.
Founded by the legendary Parmar King of Dhar, Raja Bhoj (1010-1053), and named after him, Bhojpur, 28 km from Bhopal, is renowned for the remains of its magnificent Shiva temple.
The temple which has earned the nomenclature of the Somnath of the east, is known as the Bhojeshwar Temple. The temple was never completed and the earthen ramp used to raise it to dome-level still stands. Had it been completed, it would have had very few rivals. As it is, even with the ravages of time, it remains one of the best examples of temple architecture of the 11th - 13th centuries.
The lingam in the sanctum rises to an awe-inspiring height of 7.5 feet with a circumference of 17.8 feet. Set upon a massive platform 21.5 feet square, and composed of three superimposed limestone blocks, the architectural harmony of lingam and platform creates a superb synthesis of solidity and lightness.
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
Blythe size stand made of painted acrylic resin.
It shows a little bit of a cobbled street including a storm drain and it's inspired by cities like Rome or Lisbon.
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 your doll.
Measures
Base height: 0.8 inch / 2 cm.
Total height: 7.5 inch / 19 cm.
Diameter: 4.7 inch / 12 cm.
Weight: 0.8 pounds / 350 g. aprox.
Blythe model by Horseonthemoor.
"Perth has a Town Hall, which although erected in 1863, at a cost of $12,000 is still considerperth Opera Houseed one of the handsomest and most substantial municipal buildings in Easter[n] Ontario. Built of the white or cream-coloured freestone (Potsdam sandstone), which has been so extensively quarried on the outskirts of the town, this square two-storey structure with it cupola shaped, copper sheathed clock tower, seems to typify the solidity and permanence of the historic town of which it forms the hub. It was said in 1948 that its clock that was installed in 1874, had faithfully furnished the time to the citizens of Perth since it was installed, through the instrumentality of Mr. James Millar, brother-in-law of the Hon. John G Haggart, who was Mayor of Perth from 1873-74. Prior to the opening of the public hall, which occupied the entire upper story of the fine building, Perth had no adequate accommodation for theatrical performances, concerts and large functions and gatherings of any sort. Up to that time , the comparatively small ‘Music Hall’ in the Farmer stone block on D’Arcy Street was the only auditorium available. The building has housed the Perth Opera House, the Town Council Chamber, the offices of the Town Clerk an Tax Collector, the Lock-up, Police Headquarters, accommodation for Perth’s famous Citizen’s Band, the caretaker’s residence and in the portion of the building which served so long as the Perth Post Office, the office and workshop of the Perth hydro Electric System were all situated on the ground floor. The Post Office closed in 1932 and moved across the street to the newly constructed post office building." - info from Perth Remembered.
"Perth is a town in Eastern Ontario, Canada. It is located on the Tay River, 83 kilometres (52 mi) southwest of Ottawa, and is the seat of Lanark County.
The town was established as a military settlement in 1816, shortly after the War of 1812. The settlement of Lanark County began in 1815. In that year "the Settlement forming on the Rideau River" as it was officially referred to (and which soon became known as "Perth Military Settlement") began to function under Military direction. The settlement was named Perth in honour of acting Governor-General Sir Gordon Drummond, whose ancestral home was Perthshire.
The Tay River splits into two main channels for much of its course through Perth. Much of downtown Perth, including the town hall, is on the island formed by the two channels. During the summer and fall of 2015, the fork in the river was modified to reduce erosion and flooding downstream.
The heritage downtown core of today's Perth consists of boutiques, specialty shops, cafés and restaurants, including crafts, antiques and flea markets, and summer Farmers' and Craft Markets. Most of these operate out of the century-old stone buildings in town. Code's Mill began as a tannery in the 1840s and then produced socks and felts until the mid-1900s. It was renovated in 1998 and now features a restaurant, boutique shops and wedding hall. The Perth Museum, situated downtown at the Matheson House, is a historic house constructed in 1840 and is designated as a National Historic Site of Canada." - info from Wikipedia.
Late June to early July, 2024 I did my 4th major cycling tour. I cycled from Ottawa to London, Ontario on a convoluted route that passed by Niagara Falls. during this journey I cycled 1,876.26 km and took 21,413 photos. As with my other tours a major focus was old architecture.
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At the northern end of the north transept was formerly a large chapel (possibly an earlier Lady Chapel?) which consisted of a nave and chancel divided by an open arch with slender 'Y' tracery supported by a slender column. Following the Dissolution the 'nave' part of this chapel was demolished but the eastern part beyond the arch was retained with the archway partially blocked with the remainder glazed to form a large window. This fine vaulted room is at present closed to visitors, being used as the Abbey's choir room.
In 2005 I was still working for Norgrove Studios who were commissioned to reglaze the arch with quarries in handmade glass. I thus got to not only get inside a part of the Abbey not normally seen by the public but also had the rare chance to see the openings of the arch re-opened while it was reglazed, return to its original state, if only for a mere few hours.
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 Postcard
A postally unused carte postale published by Neurdein et Cie of Paris.
Transbordeur Bridges
A transbordeur bridge has two tall metal pylons with a horizontal travel way fixed high above the river. A gondola (or platform) is suspended from a shuttle, usually powered by electricity, that runs along the travel way.
The gondola provides transport across the river, while the bridge itself still allows large ship traffic, such as sailing ships, to pass up and down the river. At least twenty-two transbordeur bridges have been built around the world, seven being in France (Bordeaux, Brest, Marseille, Nantes, Rochefort, Rouen, and a miniature one at Montceau-les-Mines). Five were also built in the UK.
Transbordeur bridges have their origin in the need to cross rivers used as maritime highways by sea-going sailing ships, particularly in port towns where providing the long approach ramp required for a very high road deck was impractical. The transbordeur bridge provided an elegant and efficient solution to this problem.
Ferdinand Arnodin
The transbordeur bridge design is generally regarded as being invented by Ferdinand Arnodin, a French industrial engineer who had previously specialised in cable-suspended bridges. He designed about 25 such bridges, inventing their spirally-wound double torsion steel wire ropes, as well as several other improvements to bridge safety and solidity.
The first of this new generation of suspension bridges built by Arnodin was the Pont de Saint Ilpize, Haut-Loire, completed in 1879. It still exists, having been repaired in 2004.
Arnodin was responsible for nine of the eighteen known transbordeur bridges to be built at the end of the 19th. century and early part of the 20th. century.
Destruction of the Rouen Transbordeur
The Rouen Transbordeur was built in 1899. It had a span of 140 m and a pylon height of 70 m. It was destroyed on the 9th. June 1940 by French troops in order to slow the German advance.
Rouen
Rouen is a city on the River Seine in northern France, and is relatively close to the English Channel. Formerly one of the largest and most prosperous cities of medieval Europe, the population of the metropolitan area is 702,945 (2018). People from Rouen are known as Rouennais.
“Upon approaching Rouen one is sure to be struck
by the insolent daring of its situation. Lying on a
sloping plain beside the river, it seems to disdain the
well-nigh impregnable site afforded by the steep cliffs
which rise just to the northeast.
The history of the city bears out the audacity of its
location. Through all the centuries, its inhabitants
concerned themselves so continuously in conquering
other peoples that little time was left in which to
consider the security of their own homes.”
-- Charles Hitchcock Sherrill, Stained Glass Tours in France (1908).
Rouen was the seat of the Exchequer of Normandy during the Middle Ages. It was one of the capitals of the Anglo-Norman dynasties, which ruled both England and large parts of modern France from the 11th. to the 15th. centuries.
From the 13th. century onwards, the city experienced a remarkable economic boom, thanks in particular to the development of textile factories and river trade. Claimed by both the French and the English during the Hundred Years' War, it was in Rouen that Joan of Arc was tried and burned alive.
Severely damaged by a wave of bombing in 1944, Rouen nevertheless regained its economic dynamism in the post-war period thanks to its industrial sites and busy seaport, which is the fifth largest in France.
Endowed with a prestige established during the medieval era, and with a long architectural heritage in its historical monuments, Rouen is an important cultural capital. Several renowned establishments are located here, such as the Museum of Fine Arts, the Secq des Tournelles Museum, and Rouen Cathedral.
“Perhaps the most characteristic feature of Rouen
when viewed from a distance is the great number
of its spires that shoot up above the housetops,
earning for it the sobriquet of the City of Churches.”
-- Charles Hitchcock Sherrill, Stained Glass Tours in France (1908).
Sadly not all of those churches are still there because of the ravages of war.
Seat of an archdiocese, Rouen also hosts a court of appeal and a university. Every four to six years, Rouen becomes the showcase for a large gathering of sailing ships called "L'Armada"; this event makes the city an occasional capital of the maritime world.
Rouen Cathedral
Rouen Cathedral was commenced in the 12th. Century on the site of an earlier structure. It has a Roman crypt.
The Butter Tower dates from the 16th. century. The name of the Tour de Beurre comes from the fact that butter was banned during Lent, and those who wished to carry on eating it had to donate 6 Deniers Tournois towards the building of the tower. Practically everyone in Rouen must have carried on eating butter in order to fund a tower like that!
The Victorian cast-iron Lantern Tower in the centre of the building made the cathedral the tallest building in the world from 1876 until 1880, when it was overtaken by Cologne Cathedral.
The Lantern Tower was designed by the architect Jean-Antoine Alavoine who proposed the use of cast iron, a modern material for the time, because it was less combustible than wood, and lighter than stone. The Lantern Tower took 50 years to construct. The 151 metre height of the spire still makes Rouen Cathedral the tallest cathedral in France.
The presence of a lantern tower at the crossing of the transept is a frequent feature in churches in Normandy (St. Ouen in Rouen, and Bayeux) and in England (Gloucester, Salisbury, and Winchester).
The lantern is in a bulge in the ironwork near the top of the spire, which is surmounted by a weathercock.
The Cathedral holds the heart of Richard the Lionheart. His bowels were buried within the church of the Château de Châlus-Chabrol in the Limousin. The cathedral seems to have got the better end of that particular deal!
Claude Monet painted a series of studies of the cathedral's façade 1894. Roy Lichtenstein also made a series of pictures of the front of the building.
The Cathedral has had to put up with a lot of wilful destruction during its lifetime:
- The Calvinists damaged much of what they could easily reach during the religious wars of the 16th. Century - the furniture, tombs, stained glass and statuary.
- The French State nationalised the building in the 18th. Century, and sold some of its furniture and statues to make money. The chapel fences were melted down to make guns.
- In WW2 the Cathedral was first bombed in 1944, taking 7 bombs. The bombs narrowly missed destroying a key pillar of the Lantern Tower, but damaged most of the south aisle, and destroyed two medieval rose windows. One of the bombs was fortunately a dud and failed to explode.
- As a consequence of a subsequent WW II bombing, the north tower, on the left of the façade, was entirely burned. During the fire the stonework calcified and the bells melted, leaving molten metal on the floor. The cathedral is still being restored after the extensive damage incurred during World War II.
Also, during the violent storm of December 1999, a copper-clad wooden turret weighing 26 tons fell into the Cathedral and damaged the choir and the stalls. The three other turrets were removed for maintenance and safety purposes before being replaced in 2012.
The Execution of Jeanne d'Arc
Jeanne d'Arc was executed not far from the Cathedral in the Vieux-Marché on Wednesday the 30th. May 1431.
The famous depiction of 19 year old Joan of Arc's execution showing her on top of a pile of wood and straw is wrong.
The site for her execution comprised a stake at the centre of a large ring of wood, with a gap left for Joan to be led to the stake. Once she was tied to the stake and the gap closed, she was hidden from sight.
One authority has suggested that her body would have burnt in the following sequence: calves, thighs and hands, torso and forearms, breasts, upper chest and face.
However in all likelihood she would have died from heatstroke, loss of blood plasma and carbon dioxide poisoning before the fire attacked the upper parts of her body.
After Jeanne had expired, the English exposed her charred body so that no-one could claim that she had escaped alive, then burned her body twice more to reduce it to ashes in order to prevent the collection of relics.
They then cast her remains into the Seine.
A modern church now stands on the site of her execution.
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.
Published for comparison with Zoom Browser (Canon) processing of raw image.
The concern is that Adobe introduces a higher level of ISO type image noise.
The effect is subtle, but noticeably degrades image solidity.
File: CRW_5848_ACR
Hey gang. Have you still got lots of lenses left from your old film SLR kit? Me too. Regular visitors to these pages may remember that back in March I dropped my Olympus E-520 digital and bust its 40-150mm kit lens. Seeing the thing in pieces left me with a rather low opinion of its build quality. Plastic elements and plastic tubing.
A few weeks ago I was looking at Mrs B's old Canon A1. As soon as I picked it up I was impressed by its enormous solidity and weight. Her old macro zoom lens, made from real glass and actual metal, was also built like a tank. It made modern kit lenses look like something out of a Jamboree Bag. I thought of the nice chunky lenses from my old Chinon CM3, unused for nearly ten years. I also had a set of extension tubes, so much more "user friendly" than the bloody silly, constantly re-autofocusing macro and "nature macro" modes ...I still don't know what the difference is. Then, browsing on eBay, I saw that there were many adapters available for coupling old lenses to new cameras. Such a device for linking my old 42mm screw-mount lenses to an Olympus four-thirds body cost £14.99. Well, you couldn't go far wrong.
This was taken with my old Chinon 55mm standard lens and the smallest ring of my extension tube set, linked via an adapter to the Olympus body. The drawback, of course, is the loss of electrical contact between camera and lens. The method is to set the camera to M for manual and select a shutter speed. The aperture is guesswork. It is necessary to use the lens manually. This means that the viewfinder darkens as you reduce aperture. The best strategy seems to be to focus wide open and then close to your selected f-stop. Digitals have some advantages of course, and if you misjudge the exposure you can see it immediately on the playback screen and, with luck, have another crack at it. I've not yet had time to practice much, but my impression is that quality is better, and certainly no worse. It also gives you greater "hands-on" control and more of a traditional SLR "feel". There are tons of beautiful old lenses going cheaply on eBay and I'm watching a 70-230mm zoom which comes up tomorrow and currently has a bid of 99p. I can see myself flogging the kit lenses.
A very pleasant solidity and tactility to this one. (Holly Cole's record company will probably sue me now).
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
Built in around 1970 in a prominent position, the building society promoted an image of solidity, security etc with ribbed concrete. Note the clock on the rooftop plant room.
I just love the solidity - the clean face of rock and all the colors, but of course, the best part of the picture is Jo Ann - looking so small against the sandstone.
She's actually standing on the debris of the gigantic 'chip' that separated from the sandstone monolith behind her and created the concave shape that focuses sound as a perfect echo at a very specific point a little further away from the wall. Since there was no way to capture the echo, I posed her up on the rocks to get her and the canyon into one shot..
Fca to the maximum on the US prospects
January 5, 2018Business Leave a comment 6 Views
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Sitting up sharply for Fca in Piazza Affari: the stock has increased by 8.3% to € 16.800 at its closing maximum, after having exceeded during the session also € 17 and after to have been suspended due to an excess of an increase. Strong trade, equal to triple compared to the eve, with a drag effect on the parent company Exor (+ 6.8%), Ferrari (+ 4.1%) and Cnh (+ 3.11%). The performance on the stock exchange, which someone has reconnected to a repositioning of the market over the entire auto sector, yesterday's sector well-tuned on the European markets, comes after the sales data in December in the American market, better than expected results despite the first decline after seven years of growth. Numbers that analysts welcomed. In particular, in the USA FCA saw December sales fall by 11%, a drop that was conditioned by the choice – appreciated by the market – of reducing fleet sales to rental companies, a segment that offers lower margins to manufacturers. However, according to analysts, the solidity of the US market can especially reward FCA, the best positioned in the United States among European brands after the merger with Chrysler and also thanks to trade policies with greater margins. In addition to good prospects for Alfa Romeo back in fact in the US only last year. With satisfactory numbers: in the last 12 months the Biscione brand passed from 528 cars at the end of 2016 to over 14 thousand models sold. The highest ever, higher than the peak reached in 1986, with over 8 thousand cars sold. Yesterday's increase in FCA, however, enriches a positive balance in terms of creating value for the group led by Marchionne. In 2017 FCA was the best title at Piazza Affari with a rise of 73%, which comes to 100% if you look at Wall Street where yesterday the shares have updated new historical highs exceeding 20 dollars. A resounding growth, that on world markets, which is to be sought according to analysts not only in the data and prospects of the US market but especially waiting for some big deal, perhaps an alliance with another manufacturer, by the Italian American group . Scomm they are added to the expectations for the spin-off of Comau and Magneti Marelli, on the agenda in 2018, and more in general for the new business plan of the Italian-American group that will most likely be presented between May and June the last to bear the signature of Sergio Marchionne.
At the northern end of the north transept was formerly a large chapel (possibly an earlier Lady Chapel?) which consisted of a nave and chancel divided by an open arch with slender 'Y' tracery supported by a slender column. Following the Dissolution the 'nave' part of this chapel was demolished but the eastern part beyond the arch was retained with the archway partially blocked with the remainder glazed to form a large window. This fine vaulted room is at present closed to visitors, being used as the Abbey's choir room.
In 2005 I was still working for Norgrove Studios who were commissioned to reglaze the arch with quarries in handmade glass. I thus got to not only get inside a part of the Abbey not normally seen by the public but also had the rare chance to see the openings of the arch re-opened while it was reglazed, return to its original state, if only for a mere few hours.
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 the mexican Día de Muertos' skulls, this stand shows a big eyed and toothy one which has conveniently lost its jaw in order to fit on the shelf ;)
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
"The Tannersville Cranberry Bog or Cranberry Swamp, is a sphagnum bog on the Cranberry Creek in Tannersville, Pennsylvania. It is the southernmost boreal bog east of the Mississippi River, containing many black spruce and tamarack trees at the southern limit of their ranges. Technically, it can be classed as an acid fen, as it receives some groundwater flow. The site was designated a National Natural Landmark in December 1974. It was purchased by The Nature Conservancy and the Conservation and Research Foundation in 1957. Like many bogs, its terrain presents an image of solidity, but a liquid mass of decaying peat lies beneath a six-inch (152 mm) layer of sphagnum and a network of supporting tree roots. However, this bog may be viewed from a floating walkway." en.wikipedia.org/wiki/Tannersville_Cranberry_Bog
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.
Seen from the Garda Memorial Garden, the Garda (Police) Museum is situated in the 13th century Norman 'Record Tower'. This is the last intact tower not only of Dublin Castle but also of medieval Dublin itself and was once a top security jail for state prisoners.
In 1813, the Architect Francis Johnston rebuilt the upper section and added the battlements to match the adjoining Chapel Royal, then under construction. The Viceroy had access from the State Apartments to his gallery in the Chapel Royal through a connecting external Gothic passageway.
Constructed between August, 2009 and February, 2010, the Garda Memorial Garden was designed by OPW staff. In an article in 2010, chief architect, Ana Dolan, described the garden: The materials used in the garden, Dublin granite and Roscommon limestone were selected for their solidity and endurance. The memorial wall to the rear of the garden is a seemingly solid stone structure cut through by a glass shard. This wall represents the fragility of our lives, the illusion that we are invincible and eternal. Two specially commissioned sculptures sit in the garden; one in glass made by Killian Schurmann commemorates the sacrifice of the families left behind and another in stone by Jason Ellis is a tribute to all deceased members of An Garda Síochána.
The Monument & The Windowed Giant
Stephen Sandoval
June 13, 2007
They stare at each other in their skeletal permanency.
Friends have they been for many weathered years.
The clouds look downward in their jealousy.
Oh how they wish they could possess something of solidity.
A pigeon flies overhead making its own contribution to the monument.
Gainsborough News 1895,
Ice accident on the trent ,yesterday as three men were crossing the Trent in there boat belonging to Mr George Wells, through a passage cut in the Ice.
The solidity of the Ice having been sapped by the tides,and when in the middle of the river a large section of floating Ice came down upon the boat, Mr Gleadell realised the danger and a rope was thrown across the Ice, as near the boat as possible.
One of the men in a fright leaped out of the boat on to the Ice, and scrambled on to a packet boat moored close to hand, the other man seized the rope and was pulled on to the Ice.
The boat overwhelmed by the weight of the Ice shortly went to the bottom of the Trent.
Blythe size stand made of painted acrylic resin.
It shows a little bit of a cobbled street including a storm drain and it's inspired by cities like Rome or Lisbon.
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 your doll.
Measures
Base height: 0.8 inch / 2 cm.
Total height: 7.5 inch / 19 cm.
Diameter: 4.7 inch / 12 cm.
Weight: 0.8 pounds / 350 g. aprox.
Blythe model by Horseonthemoor.
This is a picture of trash and recycling cans at the University of California: Davis. This represents a bright future in two ways. First, the fact that it is on a college campus shows a bright future because going to college makes one’s future bright. Second, the fact that there is a recycling can next to the garbage can shows a bright future. Recycling is imperative to a bright future because we need to conserve and recycle our resources. Trash is one of the biggest problems in our society today. Landfills are becoming too full and are eating up land in order to expand. Recycling is a way that we can cut down on the amount of trash that goes into our landfills. In addition it conserves precious resources like the fossil fuels used to make plastic. The cans are made out of cement which gives a sense of solidity.
Great Bedwyn, Wiltshire
St.Mary
A cruciform church of C12-C13, outside a preaching cross, with some remaining detail. of particular note is the nave with its fine capitals, which even though over restored, still have a shapely grandeur and solidity that makes them and the church worthy of special attention. The chancel is long with lancet windows, the whole feel of the place is grand and well proportioned.The monument is of John Seymour brother of Jane Seymour Queen of Henry VII. The heraldic glass was brought from Wolfhall by Georgina wife of the 5th Marquess of Ailesbury in 1905 from Wolf Hall at Burbage.
Contemporary jewellery inspired by the Cornish coastline. Organic shapes and finishes with a feeling of weight and solidity. Unusual and individual.
Mr. Brown Pelican said that 75 million years ago, a galactic tyrant named Xenu solved the overpopulation problem of his 76-planet federation by transporting the excess people to Earth, chaining them to volcanoes, and dropping H-bombs on them. Can you believe that? At least his statement made me realize that he ignores a breathtaking number of facts, most notably:
Fact: His language is designed to make lies sound truthful and to give an appearance of solidity to pure wind.
Fact: The first casualty of his off-the-cuff comments is justice.
Fact: He thinks that he can make me lie awake at night wondering who his next victim will be if he can keep essential documents hidden from the public until they become politically moot.
Mr. Pelican recently got caught red-handed trying to scapegoat easy, unpopular targets, thereby diverting responsibility from more culpable parties. Well, surprise, surprise, surprise, as Gomer Pyle would say. He doesn't use words for communication or for exchanging information. He uses them to disarm, to hypnotize, to mislead, and to deceive. It is time for someone to establish a supportive—rather than an intimidating—atmosphere for offering public comment. Will that someone be you?
The chantry chapel to the north of the high altar (mirroring in design the Despenser chantry opposite) contains the grave of Robert Fitz-Hamon (d.1107), 2nd cousin to William the Conqueror and founder of the Abbey. He was originally buried in the Abbey's chapter house (lost since the Dissolution) but was reinterred here in a new chapel in the latter half of the 14th century. The interior of the chapel is generally innaccessible to the casual visitor, but its fan-vault can be glimpsed from the ambulatory.
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.
Astounding! Gracious custom built single family home in Chicago's East Village. All brick residence offers elegant finishes with coffered ceilings and crown molding and perfectly selected stones and tiling. Comfortable rooms including massive master suite with a spa-like bath. This is a home that will not disappoint, especially the attached garage or decks atop the home and garage. Call Tom McCarey to arrange private showing at 773.848.9241. Delightful custom built single family in Chicago's East Village. What sets this home apart? Its profound solidity of construction, made of all brick with limestone accents, the detail within with coffered ceilings and crown molding, and the degree of detail with perfectly chosen stones and mosaic tiling in the baths. The home features three outdoor areas that include decks atop the home and garage and a balcony off the home's great room. Another unique and unexpected plus is an attached two-car garage. Arrange private showings with Tom McCarey of The Real Estate Lounge Chicago at 773.848.9241.
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 St Faith's chapel.
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.
Wall Dale Cubed (2018) was created for Inside Outside, an exhibition in 2018 of painting and sculpture by renowned Irish-born artist, Sean Scully.
Although Scully is acknowledged as one of the most important international abstract painters working today, in recent years he has made large-scale sculpture. The artist created experimental three-dimensional work in the 1970s whilst studying on a scholarship at Harvard University, but didn’t return to this aspect of his practice for another thirty years. His sculptures are extensions of his paintings, with lines, stripes and grids dominant throughout. Raised in an economically deprived South London household, Scully recalls being a darner of socks for the family, and considers that the weft and weave of this early experience informed the development of his grid-like painting and sculpture.
This monumental work takes inspiration from the series of paintings, Wall of Light, which he began in the 1990s. Made for YSP, Wall Dale Cubed uses 1000 tonnes of Yorkshire stone from a local quarry and was constructed over many weeks. Importantly to the artist, this colossal work is built in the same way throughout, which connects to ancient stone walls in Ireland, so that ‘when looking at the outside of the block, one can feel the inside without being able to see it’.
Another ambitious work by Scully is Crate of Air (2018) in Country Park. Contrasting with the solidity of Wall Dale Cubed, this welded steel sculpture is constructed of ‘boxes of air’ that form their own frames to the landscape.
‘When you look at a tree, you are looking at the outside knowing the inside. When you look at a rock or the sea, you look at the outside knowing the inside. Seeing and knowing are involved in this work, in what it is. And if some of it, is taken away, it will still be what it is.’
Sean Scully
old courthouse on the corner of Half-Way Tree and Cross Roads. The balcony has been filled in with lattice work giving the elevation of the structure a strange solidity
Research on Pieter Saenredam, accompanied by initial designs for interiors of cathedrals using perspective sketches. I also looked into what the shapes in the architecture communicate, for example the gothic arcs pointing up to God, and also the rounded arches built by the romans which represent solidity. December 2010.
This is actually taken from the window of my home. The clouds show uncharacteristic solidity, and I feel the range of colour and brightness makes it a powerful image.
At the northern end of the north transept was formerly a large chapel (possibly an earlier Lady Chapel?) which consisted of a nave and chancel divided by an open arch with slender 'Y' tracery supported by a slender column. Following the Dissolution the 'nave' part of this chapel was demolished but the eastern part beyond the arch was retained with the archway partially blocked with the remainder glazed to form a large window. This fine vaulted room is at present closed to visitors, being used as the Abbey's choir room.
In 2005 I was still working for Norgrove Studios who were commissioned to reglaze the arch with quarries in handmade glass. I thus got to not only get inside a part of the Abbey not normally seen by the public but also had the rare chance to see the openings of the arch re-opened while it was reglazed, return to its original state, if only for a mere few hours.
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.
A green transparent bottle is sitting next to a leather suitcase. This couple is surrounded by colorful fabrics - yellow, blue, green and red. The whole composition is suffused in strong light which helps to emphasize the numerous contradictions of its players - transparency versus solidity, glass versus leather and cloth, red versus green and yellow, and so on.
Napa County, CA
Listed: 08/17/2001
The Beringer Winery Historic District is a complex of buildings and structures consisting of a winery, residential buildings, winery support structures, a series of circulation routes, and a number of significant landscape elements that retains a high degree of integrity from its period of significance. At the height of Beringer activity at the site, the property looked remarkably like its present configuration. In fact, it appears to be one of the few Napa wineries that retains all four of the central site components present at most wineries: the winery building, support structures, and the crucial site circulation, as well as the residential structures and precincts. A comparison of an 1878 Lithograph of the property with Sanborn Maps from the years 1886, 1889, 1910, and 1944 give a strong indication of the appearance of the Beringer property as it developed during its period of significance.
The historical resources within the Beringer Winery Historic District are significant at the state level under National Register Criterion A in the area of California agriculture, specifically the statewide development of the viticultural industry during the nineteenth and twentieth centuries. Unlike early Southern California wineries which diminished in production and distribution as other agricultural uses became more lucrative in that area of the state, the Northern California wineries expanded from the mid nineteenth century until Prohibition. Significant as a continuously family-operated agricultural enterprise, the Beringer Winery differs from other early California wineries in that it remained family-run through Prohibition, Repeal, World War II, and the beginnings of the second wine boom of the 1960s. The Beringer family operated one of the "Big Four" family wineries in the Napa Valley and utilized innovative agricultural and business practices to achieve this status. Leaving Charles Krug's winery and establishing his own winery, Jacob Beringer erected a large, modern winery incorporating the latest technology. In the late 1870s, the St. Helena Star called the Beringer wine cellar "the most handsomely finished of any in the valley, and for solidity of build and completeness of appointments can have no superior anywhere." Similar to other wineries developing in Napa during the third quarter of the nineteenth century, the Beringer Winery site consisted of a residential precinct; a winery, distillery, and storage buildings located in an industrial precinct for wine production; as well as vineyards, orchards, and gardens. Elevating its significance within an agricultural context, the Beringer Winery Historic District is one of the few California wineries remaining that fully illustrates the relationship of the industrial wine making precinct to the more residential components of the winery site linked by extant circulation routes. In conjunction with establishing modern wine making practices, the Beringer winery produced large quantities of wine and distributed products across the country, including an outlet in New York.
One district contributor, the Rhine House, is currently listed on the National Register of Historic Places under Criterion C, architecture. The Rhine House, built on the property in the 1880s as Frederick Beringer's residence, is representative of the work of a significant local architect, Albert Schroepfer; it is a good example of the use of local stone; and possesses distinctive characteristics including a remarkable collection of stained glass. Additionally, the Beringer Brothers Winery building is a California State Historical Landmark.
I took this photo not far from the city of Lecce after a drive to see the sea in December.
My daughter is an artist living in Italy. When she was in school she used at art technique called 'stippling'. Stippling is the technique of using small dots to simulate varying degrees of solidity or shading. This reminds me of the art she did when she lived back here in the states.
I use to take students on European tours. Afterwards, my daughter would go through my pictures and use them to create her art works. I took this photo for her to use for her art work. I hope you find you like it. :) Deb V.
Apulia, or Puglia in Italian, is the region of Italy commonly called the heel of the boot. The heel is really the Salento peninsula in southern Italy bordering the Adriatic Sea. Since the region is very narrow, much of Puglia is coastline. Puglia is one of the regions less visited by travelers to Italy but has a lot to offer, including beaches, good wine and olive oil, and interesting towns.
Rome is a fascinating city for the study of architectural styles from the Classical to the Renaissance and Baroque. One style which is often overlooked is the 1930’s “Fascist” style popular with Mussolini, Il Duce. There are many fine examples including the main railway station (Termini), countless police stations, public buildings, sports venues and Ministries including this one, now the headquarters of the United Nations Food and Agriculture Organisation (UN FAO) near the Aventine Hill.
The style culminates in “EUR” (see www.italyheaven.co.uk/rome/areas/eur.html), the Esposizione Universale Romana, a whole suburb built in this impressive fusion of classical styles with a bold, “square” theme. As with many 'fascist' monuments, the style was designed to both show the links with the past - in this case Imperial Rome - and a modernist look forward combined to show solidity and make a statement that the world of the time would 'last for ever'. Oh well......