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Old Winery
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.
North House
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.
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.
My favorite "light" quotes. Do you have one of your own?
----
"We can easily forgive a child who is afraid of the dark. The real tragedy of life is when men are afraid of the light."
- Plato
"I keep the subject of my inquiry constantly before me, and wait till the first dawning opens gradually, by little and little, into a full and clear light."
- Sir Isaac Newton
"The film of evening light made the red earth lucent, so that its dimensions were deepened, so that a stone, a post, a building, had greater depth, and more solidity than in any daytime light; and these objects were curiously more individual - a post was more essentially a post, set off from the earth it stood in and the field of corn it stood out against. All plants were individuals, not the mass of crop; and the ragged willow tree was itself, standing free of all other willow trees. The earth contributed a light to the evening. The front of the gray, paintless house, facing the west, was luminous as the moon is. The gray dusty truck, in the yard before the door, stood out magically in this light, in the overdrawn perspective of a stereopticon."
- John Steinbeck
"It doesn't matter how long we may have been stuck in a sense of our limitations. If we go into a darkened room and turn on the light, it doesn't matter if the room has been dark for a day, a week, or ten thousand years - we turn on the light and it is illuminated. Once we control our capacity for love and happiness, the light has been turned on."
- Sharon Salzberg
"At times our own light goes out and is rekindled by a spark from another person. Each of us has cause to think with deep gratitude of those who have lighted the flame within us."
- Albert Schweitzer
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.
Pierre-Auguste Renoir (French, 1841–1919) - Mixed Flowers in an Earthenware Pot - about 1869
Depost of Jake T. Spoelding opphe
Some Impressionist artists strived to bring highly naturalistic and living effects in their still lifes repressing the textures, colors, and vibrancy found in life.
In this rustic arrangement of dahlias, asters, and sunflowers, Renoir applied paint in two different ways, conveying the delicacy of petals with short, wet strokes and the solidity of the earthenware pot and burnished pears with broader, smoother brushwork. The picture marks Renoir’s closest collaboration with Monet; the young artists painted the same still life, sitting side by side before the arrangement. Monet’s version of the composition is now in the J. Paul Getty Museum.
"The film of evening light made the red earth lucent, so that its dimensions were deepened, so that a stone, a post, a building, had greater depth, and more solidity than in any daytime light; and these objects were curiously more individual - a post was more essentially a post, set off from the earth it stood in and the field of corn it stood out against. All plants were individuals, not the mass of crop; and the ragged willow tree was itself, standing free of all other willow trees. The earth contributed a light to the evening. The front of the gray, paintless house, facing the west, was luminous as the moon is. The gray dusty truck, in the yard before the door, stood out magically in this light, in the overdrawn perspective of a stereopticon."
-John Steinbeck, The Grapes of Wrath
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.
Olympus digital camera
LIGHT
Direction: side light
Quality: harsh shadows, soft within pine needles
Quantity: medium to large, dappled/ filtered by tree branches
COMPOSITION
Angle: high
Emphasis: the solidity and texture of the tree trunk within the branches
Composition: texture, rule of thirds
Pierre-Auguste Renoir (French, 1841–1919) - Mixed Flowers in an Earthenware Pot - about 1869
Depost of Jake T. Spoelding opphe
Some Impressionist artists strived to bring highly naturalistic and living effects in their still lifes repressing the textures, colors, and vibrancy found in life.
In this rustic arrangement of dahlias, asters, and sunflowers, Renoir applied paint in two different ways, conveying the delicacy of petals with short, wet strokes and the solidity of the earthenware pot and burnished pears with broader, smoother brushwork. The picture marks Renoir’s closest collaboration with Monet; the young artists painted the same still life, sitting side by side before the arrangement. Monet’s version of the composition is now in the J. Paul Getty Museum.
Rushville, NE (Sheridan County)
Built in 1904, the Sheridan County Courthouse is a relatively unaltered, unpretentious example of the Property Type, County Capitol. Identifying features of the Property Type include its standing as a good example of public architecture in the community, presence of features distinctive to courthouse use, a tower, use of permanent materials, provision for fireproof storage vaults, and the impression of a government building of permanence and solidity. Built in 1901 and 1904, respectively, the courthouses for adjacent Cherry and Sheridan Counties are alike in massing, materials, and overall design, and both were the work of Omaha architect W.T. Misner.
A three-part small stone veterans' memorial with three flagpoles is located at the northwest corner of the courthouse site. While attractive and suited to a courthouse site, it is of recent (1970s?) construction and therefore a noncontributing object for this nomination. The jail is also a noncontributing element because of its recent construction date. (1)
References (1) NRHP Nomination Form s3.amazonaws.com/NARAprodstorage/lz/electronic-records/rg...
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.
Old Winery; courtesy of Rhine House Collection
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.
Cathedral - west face.
By moving round a bit, and including some human figures, perhaps a better impression of size and solidity?
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
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.
After the first black-and-white test film of my Rolleiflex 3.5F model-3 (or « K4F », see details given below), I decided to do a negative-color film with a roll of Kodak Ektar 100. I expected for some weather improvements but finally it was essentially overcast during the session giving a very soft light to the scene. The sun came after on my way back for a moment only.
For all the frames, the Rolleiflex was equipped with the Rollei RII protecting filters (UV) on both lenses and the taking lens additionally equipped with the Rollei RII original shade hood. The film was exposed for 100 ISO. Light-metering was done using a Minolta Autometer III equipped with a 10° finder for selective measures privileging the shadow areas or with the integrating white dome for incident light metering. The camera was held using the brand-new leather neck strap for the Rolleiflex that I received from China.
View Nr. 3 : 1/125s, f8 focusing @ Hyperfocal for infinite
March 25, 2025
Parc de la Tête d'Or
69006 Lyon
France
After the view #12 exposed, the film was fully rolled to the taking spool and was developed using the C41 protocol by a local laboratory service (one-hour service).
Digitizing was made using a Sony A7 camera (ILCE-7, 24MP) held on a Minolta vertical macro stative device and adapted to a Minolta MD Macro lens 1:3.5 f=50mm. The light source was a LED panel (approx. 4x5') CineStill Cine-lite fitted with film holder "Lobster" to maintain flat the film.
The RAW files obtained were inverted within the latest version available of Adobe software Lightroom Classic (14.2) and edited to the final jpeg pictures without intermediate file. They are presented either as printed files with frame or the full size JPEG together with some documentary smartphone pictures.
About the camera
I got this stunning Rolleiflex 3.5F from a French artist near Paris, France. The camera came in it original box and leather bag with accessories and a reference book year 1955. The whole kit is in a remarkable state of conservation.
The Rolleiflex 3.5F is the model-3 that Rollei-Werke Franke & Heidecke produced in about 50.000 units in Germany from 1960 to 1965. The Rolleiflex originates from 1928 for the very first model and was produced still in a limited number until the years 2000’s. The 3.5F model 3 was available etheir with a Schneider-Kreuznak Xenotar taking lens or the Call Zeiss Planar 1:3.5 f=75mm as this camera. The Rolleiflex, that was a quality reference for many professional photographers in the 50’s for the medium-format 6X6 camera’s. Many worked both with the Leica M3 (starting from 1954) as small-format 24x36mm camera and the Rolleiflex for other appliances. The Rolleiflex remained one of the most iconic and trusted camera of all the times.
This specific 3.5F is labelled on the right side with nice badge made of enameled brass « T » « Telos » that was the exclusive first French importer of Rollei to France until 1972.
The Rolleiflex 3,5 F model 3 is equipped with the Synchro-Compur central shutter MXV CR00 with cone-wheel differential. The distance scale is only in meters here with automatic DOF indication.
Serial number with ‘3,5F’ prefix on of top name shield.
I detailed the camera and accessories and studied carefully the user manual and the book to be more familiar with this beauty before waiting for a quiet moment to prepare for a test film. I did not trust the solidity of the old leather original neck strap to carry this precious machine on the field to avoid the real risk to drop the camera. I first used my modern Peak-Design Leach safe strap before using a Chinese nice remake of the original leather strap, reproducing even the famous « crocodile » connectors.
The Postcard
A postally unused carte postale bearing no publisher's name. The card has a divided back.
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.
The 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.
Marseille
Marseille (English: Marseilles) is a city in southern France, capital of the Bouches-du-Rhône department.
Marseille is, with 859,543 inhabitants, the second most populous city in the country after Paris. It is the main economic center and the largest metropolis in the French South, and brings together nearly 1,605,000 inhabitants in its urban area, the third largest in the country, after Paris and Lyon.
It is the most important commercial port in the French Mediterranean and in the whole of France. It is a center of industrial activity specializing in petrochemicals and oil refining, shipbuilding and various industries.
Marseille is also a communications hub where the routes between Paris, Italy, Switzerland and Spain converge. Marseille is the seat of an archdiocese and of the University of Aix-Marseille, founded in 1409.
Marseille developed under the name of Massalia as a trading colony founded by Phocaean sailors around 600 BC., preserving the oldest remains of viticulture in France introduced in the fourth century BC.
It was incorporated into the French crown in 1481, and took advantage of its strategic alliance with the Ottoman Empire during the Renaissance and the Ancien Régime for its growth.
After the Revolution the city was the scene of the so-called White Terror, and during the 19th. century , the scene of rapid progress with French colonial expansion into Algeria and the opening of the Suez Canal.
It was partially destroyed during World War II, and one of the objectives of Operation Dragoon. It was a traditional place of passage for the migratory flows that increased the multicultural character of the city.
However the economic crisis of the 1970's, caused a notable decrease in the population, the loss of purchasing power and the accentuation of social conflicts in the last quarter of the 20th. century. Nevertheless Marseille has recovered to become one of the most important cities in the Euro-Mediterranean region.
-- Main Sights of Marseille
Marseille is listed as a major centre of art and history. The city has many museums and galleries, and there are many ancient buildings and churches of historical interest.
Most of the attractions of Marseille (including shopping areas) are located in the 1st., 2nd., 6th. and 7th. arrondissements. These include:
-- The Old Port or Vieux-Port, the main harbour and marina of the city. It is guarded by two massive forts (Fort Saint-Nicolas and Fort Saint-Jean), and is one of the main places to eat in the city. Dozens of cafés line the waterfront. The Quai des Belges at the end of the harbour is the site of the daily fish market. Much of the northern quayside area was rebuilt by the architect Fernand Pouillon after its destruction by the Nazis in 1943.
-- The Hôtel de Ville (City Hall), a baroque building dating from the 17th. century.
-- The Centre Bourse and the adjacent Rue St.-Ferreol district (including Rue de Rome and Rue Paradis), the main shopping area in central Marseille.
-- The Porte d'Aix, a triumphal arch commemorating French victories in the Spanish Expedition.
-- The Hôtel-Dieu, a former hospital in Le Panier, transformed into an InterContinental hotel in 2013.
-- La Vieille Charité in Le Panier, an architecturally significant building designed by the Puget brothers. The central baroque chapel is situated in a courtyard lined with arcaded galleries. Originally built as an alms house, it is now home to an archeological museum and a gallery of African and Asian art, as well as bookshops and a café.
-- The Cathedral of Sainte-Marie-Majeure or La Major, founded in the fourth century, enlarged in the 11th. century and completely rebuilt in the second half of the 19th. century by the architects Léon Vaudoyer and Henri-Jacques Espérandieu. The present day cathedral is a gigantic edifice in Romano-Byzantine style. A romanesque transept, choir and altar survive from the older medieval cathedral, spared from complete destruction only as a result of public protests at the time.
-- The 12th.-century parish church of Saint-Laurent and adjoining 17th.-century chapel of Sainte-Catherine, on the quayside near the cathedral.
-- The Abbey of Saint-Victor, one of the oldest places of Christian worship in Europe. Its fifth-century crypt and catacombs occupy the site of a Hellenic burial ground, later used for Christian martyrs and venerated ever since. Continuing a medieval tradition, every year at Candlemas a Black Madonna from the crypt is carried in procession along Rue Sainte for a blessing from the archbishop, followed by a mass and the distribution of "navettes" and green votive candles.
In a virtually black and white world, the shapes and textures of winter stand out like objects in some surreal amusement park, but all represent the forces of nature...gravity, liquidity, temperature, solidity combine
Paint chips on concrete parking curb. The combination of colors, values, textures and lines in the many layers of paint creates depth and motion. The yellow brush lines against red offer contrast to the solidity of the pink chips. The shapes and textures resemble lichen on tree bark.
In my series “Golden Rocks”, I invite you to explore the subtle, intimate beauty of nature, where the raw material of the rocks rises majestically in contrast to the softness of the sky, light and sea.
Through my images, I've sought to capture the delicate harmony between the solidity of the golden rocks and the lightness of the nuances that surround them. Each shot reveals a dialogue between rough textures and peaceful reflections, a silent dance between earth and sky.
“Golden Rocks” offers a soothing contemplation, inviting us to appreciate the richness of detail and the serenity of these landscapes shaped by time.
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.
I love this little van - despite being something of an antique it doesn't look like it has been heavily renovated - witness the dents and rust on the side. Great to see it still in use, and wearing with such handsome and durable solidity.
This is a composite of three frames, hand held at 11mm. No HDR, just fiddling about with layers in Elements.
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
No. 2 - 2: Exploring Ulmer Münster., Germany: (13/5/10)
View of the buttresses and pinnacles on the south side of Ulmer Münster.
Characteristics of Gothic churches and cathedrals
In Gothic architecture, a unique combination of existing technologies established the emergence of a new building style. Those technologies were the ogival or pointed arch, the ribbed vault, and the flying buttress.
The Gothic style, when applied to an ecclesiastical building, emphasizes verticality and light. This appearance was achieved by the development of certain architectural features, which together provided an engineering solution. The structural parts of the building ceased to be its solid walls, and became a stone skeleton comprising clustered columns, pointed ribbed vaults and flying buttresses.
A Gothic cathedral or abbey was, prior to the 20th century, generally the landmark building in its town, rising high above all the domestic structures and often surmounted by one or more towers and pinnacles and perhaps tall spires. These cathedrals were the skyscrapers of that day and would have, by far, been the largest buildings that Europeans would have ever seen.
Flying Buttress.
- a flying buttress, or arc-boutant, is a specific type of buttress usually found on religious buildings, not all of which are cathedrals. They are used to transmit the horizontal force of a vaulted ceiling through the walls and across an intervening space (which might be used for an aisle, chapel or cloister), to a counterweight outside the building. As a result, the buttress seemingly flies through the air, and hence is known as a "flying" buttress.
Its presence outside the clerestory walls created a web of stonework that disguised the solidity of the structure, and gives the impression that the cathedral is being suspended from heaven. It balanced the network of ribs under the interior vaults that give the same impression, as if the upper stonework is forming a tent-like canopy over the congregation. It has been suggested that these external arches created a screen that 'hid' the walls to diminish the impact of weightiness so common in earlier architecture. From the inside the wide windows and the increasingly thin shafts under the vaults continued the feeling that the building was an illusion, that weight had become weightless. Hence the phrase Canopy of Paradise.
Construction
- to build the flying buttress, it was first necessary to construct temporary wooden frames which are called centering. The centering would support the weight of the stones and help maintain the shape of the arch until the mortar was dry. The centering was first built on the ground by the carpenters. Once that was done, they would be hoisted into place and fastened to the piers at the end of one buttress and at the other. These acted as temporary flying buttresses until the actual stone arch was complete."[4]
Because the majority of the load is transmitted from the ceiling through the upper part of the walls, making the buttress as a semi-arch extending far from the wall provides almost the same load bearing capacity as a traditional buttress engaged with the wall from top to bottom, yet in a much lighter and cheaper structure. And because the flying buttress relieves the load bearing walls with a much smaller area of contact, much larger voids are able to be built into those walls, such as for windows, than would otherwise be possible. Occasionally, due to the great height of the vaults, two semi-arches were used one above the other, and there are cases where thrust was transmitted through two or even three buttresses in a series. The vertical counterweight portion of flying buttress were often capped with pinnacles to give greater power of resistance.
Wikipedia
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To see Large: farm4.static.flickr.com/3300/4589012191_1cd470a2e5_b.jpg
Taken on October 17, 2007 at 13:13
Distillery
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.
Jingyuen shows off the profile which would become the hallmark of Elswick's later second & third-class cruisers. The hull, with raised forecastle & poop, had pleasing lines and a certain poise which was accentuated by the shielded main gun positions. The low-slung secondary guns added an element of workmanlike solidity, while the slightly raked pole masts & funnel together with the light forward bridge gave an overall impression of grace. The result was two very handsome ships, even if somewhat stout by later Elswick standards at only 235 feet in length.
Bronze busts in Giardini Carducci, Perugia.
Seen during the guided tour.
Guglielmo Calderini (1837 - 1916).
Guglielmo Calderini (Perugia , March 3 , 1837 - Rome , February 12, 1916) was an Italian architect.
An exponent of academic eclecticism , he was a professor at the University of Perugia , at the University of Pisa and at the Higher School of Engineering in Rome . He also worked for a long time as an engineer of civil engineering as well as superintendent of monuments.
He was a professor of architecture at the "Pietro Vannucci " Academy of Fine Arts in Perugia from 1868 to 1882, then at the universities of Pisa and Rome and at the Application School for engineers in Rome.
In 1884 his project won the competition for the construction of the Palace of Justice in Rome (the so-called "Palazzaccio" in Piazza Cavour ), where he used elements taken from late Renaissance and Baroque architecture . The long and troubled construction of the imposing building ( 1888 - 1910 ), the controversies on the solidity of its foundations were the origin of harsh criticisms and a parliamentary inquiry ( 1912 ).
Also in Rome, he built the quadriportico in front of the basilica of San Paolo fuori le mura , which was rebuilt after the fire of 1823 . In his hometown he built the church of San Costanzo , Palazzo Bianchi and Palazzo Cesaroni , the current seat of the Regional Council of Umbria , as well as the imposing palace that bears his name and built on the site of the demolished Rocca Paolina .
Among his other works, the facade of the cathedral of Savona and the town hall of Messina are to be mentioned . In Città di Castello Calderini designed the building of the Terme di Fontecchio . The exacerbating criticisms received by the Perugian designer in reference to the construction of the Palace of Justice in Rome contributed to spreading the urban legend according to which he would have committed suicide, almost octogenarian. The chronicles of the time, on the other hand, never recorded such a biographical note.
Freemason , in 1881 he was among the founders of the Loggia Francesco Guardabassi of Perugia .
The Norman crypt of St Mary's is the oldest part of the present building and is remarkable for the solidity of the construction with it's massive pillars, propping up the chancel above as they have done for the best part of a millennium.
We were appointed by PGR Healthfoods to design, from scratch, an identity and form a brand for a range of promotional material for a new pasta range especially for people with coeliac disease. Red and green, the traditional colours associated with pasta, were complemented by a deep yellow to form a strong, identifiable brand. For the logo, a solid serif typeface was used to give solidity and longevity. This was accented by the abstract ‘sun’ to emphasise the natural and organic qualities of the business.
The 12 principles are a guidline you must follow to achieve good animation.
Timing- is how it takes to complete an action, a ball bounce quickly fast timing bou
spacing is the difference between the two poses so as the ball bounces slower the spacing should get smaller.
squash and stretch (compression)- The illusion of weight and volume to a character as it moves. I have an extreme use of squash and stretch because my character jumps to move, the amount of use of squash and stretch depends on what is required in animating the scene. Usually it's broader in a short style of picture and subtler in a feature.
Anticipation- A movement that prepares the audience for a major action a character is about to perform, such as, starting to jump or change expression. My animation uses lots of anticpation because it jumps a lot of move a about because its got no legs. Feature animation is often less broad than short animation unless a scene requires it to develop a characters personality.
Staging- A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the story line.
Straight ahead animation- starts at the first drawing and works drawing to drawing to the end of a scene. You can lose size, volume, and proportions with this method, but it does have spontaneity and freshness. Fast, wild action scenes are done this way. Pose to Pose is more planned out and charted with key drawings done at intervals throughout the scene. Size, volumes, and proportions are controlled better this way, as is the action. The lead animator will turn charting and keys over to his assistant. An assistant can be better used with this method so that the animator doesn't have to draw every drawing in a scene. An animator can do more scenes this way and concentrate on the planning of the animation. Many scenes use a bit of both methods of animation.
Follow through and overlapping action- When the main body of the character stops all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing, coat tails or a dress, floppy ears or a long tail (these follow the path of action). Nothing stops all at once. This is follow through. Overlapping action is when the character changes direction while his clothes or hair continues forward. The character is going in a new direction, to be followed, a number of frames later, by his clothes in the new direction. "DRAG," in animation, for example, would be when Goofy starts to run, but his head, ears, upper body, and clothes do not keep up with his legs. In features, this type of action is done more subtly. Example: When Snow White starts to dance, her dress does not begin to move with her immediately but catches up a few frames later. Long hair and animal tail will also be handled in the same manner. Timing becomes critical to the effectiveness of drag and the overlapping action.
Slow in, Slow out- As action starts, we have more drawings near the starting pose, one or two in the middle, and more drawings near the next pose. Fewer drawings make the action faster and more drawings make the action slower. Slow-ins and slow-outs soften the action, making it more life-like. For a gag action, we may omit some slow-out or slow-ins for shock appeal or the surprise element. This will give more snap to the scene.
Arcs- All actions, with few exceptions (such as the animation of a mechanical device), follow an arc or slightly circular path. This is especially true of the human figure and the action of animals. Arcs give animation a more natural action and better flow. Think of natural movements in the terms of a pendulum swinging. All arm movement, head turns and even eye movements are executed on an arcs.
Secondary Action- This action adds to and enriches the main action and adds more dimension to the character animation, supplementing and/or re-enforcing the main action. Example: A character is angrily walking toward another character. The walk is forceful, aggressive, and forward leaning. The leg action is just short of a stomping walk. The secondary action is a few strong gestures of the arms working with the walk. Also, the possibility of dialogue being delivered at the same time with tilts and turns of the head to accentuate the walk and dialogue, but not so much as to distract from the walk action. All of these actions should work together in support of one another. Think of the walk as the primary action and arm swings, head bounce and all other actions of the body as secondary or supporting action.
Exaggeration- Exaggeration is not extreme distortion of a drawing or extremely broad, violent action all the time. Its like a caricature of facial features, expressions, poses, attitudes and actions. Action traced from live action film can be accurate, but stiff and mechanical. In feature animation, a character must move more broadly to look natural. The same is true of facial expressions, but the action should not be as broad as in a short cartoon style. Exaggeration in a walk or an eye movement or even a head turn will give your film more appeal. Use good taste and common sense to keep from becoming too theatrical and excessively animated.
Solid Drawing- The basic principles of drawing form, weight, volume solidity and the illusion of three dimension apply to animation as it does to academic drawing. The way you draw cartoons, you draw in the classical sense, using pencil sketches and drawings for reproduction of life. You transform these into color and movement giving the characters the illusion of three-and four-dimensional life. Three dimensional is movement in space. The fourth dimension is movement in time.
Appeal- A live performer has charisma. An animated character has appeal. Appealing animation does not mean just being cute and cuddly. All characters have to have appeal whether they are heroic, villainous, comic or cute. Appeal, as you will use it, includes an easy to read design, clear drawing, and personality development that will capture and involve the audience's interest. Early cartoons were basically a series of gags strung together on a main theme. Over the years, the artists have learned that to produce a feature there was a need for story continuity, character development and a higher quality of artwork throughout the entire production. Like all forms of story telling, the feature has to appeal to the mind as well as to the eye.
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.
Special education & orthopedagogical expertise centre. The building is a single volume with a neutral, oval basic form. The separate entrances and schoolyards were carved out of this main form. These incisions give the different sections their identity, and each features its own colour and material. The oval outer wall is made of rough natural stone and exudes solidity, while the inner sides are made of glass and steel and have a much more delicate feel: like a hard shell with a soft centre. Inside, each section has its own world, organized around its own stairwell, directly accessible from its own schoolyard. The common gymnasium and the expertise centre are located in the central part of the building. (built 2004-2008, see tags for further known data). Op dit werk is een Creative Commons Licentie van toepassing.
(Escaneado de un negativo)
"Nunca observamos atentamente la calidad de un árbol;
nunca lo tocamos para sentir su solidez, la rugosidad de su corteza,
para escuchar el sonido que le es propio.
No es el sonido que produce el viento en las hojas,
ni la brisa de la mañana que las hace susurrar, sino un sonido propio,
el sonido del tronco, y el sonido silencioso de las raíces.
Hay que ser sumamente sensible para captar ese sonido.
No es el ruido del mundo, la verborrea del pensamiento,
ni el ruido de las disputas humanas y de las guerras,
sino el sonido propio del universo."
ENGLISH
"We never watch the quality of a tree;
we never touch it to feel its solidity, the roughness of its bark,
to listen to its own sound.
It is neither the sound of the wind blowing through the leaves,
nor the morning breeze. It is its own sound,
the sound of the trunk, and the quiet sound of the roots.
We must be very sensitive to grasp that sound.
It is neither the madding crowd, the verbosity of the mind,
nor the noise of the arguments and wars,
but the sound itself of the universe."
(Krishnamurti)
Above the Clouds, 2017, Stainless Steel, sculptured by Ren Zhe.
Born in Beijing in 1983, Ren Zhe is a new talent in the field of Chinese scupture, whose artistic achievements are highly respected. He excels at absorbing from traditional Chinese ideological and cultural resources and creating a bridge between the temperament of Oriental meditation and the charms of Western modernity combining Oriental culture and tradition with a contemporary trend; cleverly transforming it into his own artistic language. His works are full of vitality and spontaneity; the beauty of imagery combines with a concept of converting anticipation into actual form, expressing the spirit through his passion, this is what the artist continuously strives to achieve. Between tradition and modernity, Oriental and Western, he seeks within a fourth dimensional space a balancing point, to form a unique artistic style.
"Above the Clouds" depicts a sea of consciousness where sky becomes Earth. They are not two figures, as may appear, but rather one man facing off against, and aspiring to surpass himself. The works beckons viewers to an ethereal space, inspiring them to contemplate the spiritual world and the transcendence of self. There is a transformation of values - at first. "Above the Clouds" presents a clashing duality between the unyielding steel and the dynamism of water. But, upon further reflection, their solidity and movement quietly complement one another; in aa measmerising coexistence.
Central (中環) is the central business district of Hong Kong. It is located in Central and Western District, on the north shore of Hong Kong Island, across Victoria Harbor from Tsim Sha Tsui, the southernmost point of Kowloon Peninsula. The area was the heart of Victoria City, although that name is rarely used today.
As the central business district of Hong Kong, it is the area where many multinational financial services corporations have their headquarters. .
Newport Transporter Bridge. Newport. South Wales.
Looking down form the high level walkway. Not a great deal of solidity beneath one's feet as you can see. All who crossed were encouraged to purchase a bravery certificate for 50p (all in a good cause i'm sure)
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
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.
Metropolitan - Foster and Partners
The site of the Metropolitan office development is at the northern edge of Pilsudski Square, one of Warsaw’s most important public spaces and home to the Tomb of the Unknown Soldier and national ceremonial events. Formerly Victory Square, the large space was bordered by the seventeenth-century Saski Palace and the Baroque Brühl Palace, however both were destroyed during the war. The new building completes the missing edge of the square, providing a modern counterpart to neighbouring historic buildings, while sympathetically echoing their height, massing and materials.
The building extends to the perimeter of the site to establish an appropriate presence on the square, while an open public space, 50 metres wide at its heart, maintains pedestrian routes through the site. The drum-like space provides the social focus of the scheme and is lined with cafes and restaurants. At its centre is a dramatic water feature, surrounded by a ring of mature trees. The circular motif continues with a ring of light, cantilevered from the first floor of the building, which provides illumination for evening al fresco dining, and a gently glowing halo of light around the top of the building.
Above the ground level shops and restaurants there are five storeys of flexible office accommodation, grouped in three separate, yet connected buildings. Below, the underground parking level provides space for 400 cars. The glazed façades 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. Transforming the building’s appearance from solid to transparent according to the viewer’s perspective, the fins give the façade a rich texture appropriate to the significance of the Metropolitan’s setting.
5Thirty: Yonce hairbase
Synnergy: Holiday backdrop
Cynful: Winter baby lingerie, socks & hat
Punklist: "Punk" wig
Rosary: Solidity nails
Bronze busts in Giardini Carducci, Perugia.
Seen during the guided tour.
Guglielmo Calderini (1837 - 1916).
Guglielmo Calderini (Perugia , March 3 , 1837 - Rome , February 12, 1916) was an Italian architect.
An exponent of academic eclecticism , he was a professor at the University of Perugia , at the University of Pisa and at the Higher School of Engineering in Rome . He also worked for a long time as an engineer of civil engineering as well as superintendent of monuments.
He was a professor of architecture at the "Pietro Vannucci " Academy of Fine Arts in Perugia from 1868 to 1882, then at the universities of Pisa and Rome and at the Application School for engineers in Rome.
In 1884 his project won the competition for the construction of the Palace of Justice in Rome (the so-called "Palazzaccio" in Piazza Cavour ), where he used elements taken from late Renaissance and Baroque architecture . The long and troubled construction of the imposing building ( 1888 - 1910 ), the controversies on the solidity of its foundations were the origin of harsh criticisms and a parliamentary inquiry ( 1912 ).
Also in Rome, he built the quadriportico in front of the basilica of San Paolo fuori le mura , which was rebuilt after the fire of 1823 . In his hometown he built the church of San Costanzo , Palazzo Bianchi and Palazzo Cesaroni , the current seat of the Regional Council of Umbria , as well as the imposing palace that bears his name and built on the site of the demolished Rocca Paolina .
Among his other works, the facade of the cathedral of Savona and the town hall of Messina are to be mentioned . In Città di Castello Calderini designed the building of the Terme di Fontecchio . The exacerbating criticisms received by the Perugian designer in reference to the construction of the Palace of Justice in Rome contributed to spreading the urban legend according to which he would have committed suicide, almost octogenarian. The chronicles of the time, on the other hand, never recorded such a biographical note.
Freemason , in 1881 he was among the founders of the Loggia Francesco Guardabassi of Perugia .
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.
Pierre-Auguste Renoir (French, 1841–1919) - Mixed Flowers in an Earthenware Pot - about 1869
Depost of Jake T. Spoelding opphe
Some Impressionist artists strived to bring highly naturalistic and living effects in their still lifes repressing the textures, colors, and vibrancy found in life.
In this rustic arrangement of dahlias, asters, and sunflowers, Renoir applied paint in two different ways, conveying the delicacy of petals with short, wet strokes and the solidity of the earthenware pot and burnished pears with broader, smoother brushwork. The picture marks Renoir’s closest collaboration with Monet; the young artists painted the same still life, sitting side by side before the arrangement. Monet’s version of the composition is now in the J. Paul Getty Museum.
Sherry Shack
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.
ZEN MAGNETS - Neodymium Magnetic Balls (@~1631) - Stegosaurus;
Contest Entry for: 58: Unlimited Zen Dinosaurs;
www.zenmagnets.com/blog/58-zen-dinosaurs/
Video: youtu.be/Nt-WRZBeu9s
I approached this by creating a core center blueprint to define the overall shape/proportions of the Head, rounded Body, and Tail shape silhouette using coupled layering. Next I build layers outward (on both sides) to provide the 3D body volume. From those layers, grew the front and rear legs, which continued the outward layering. The top plate radiators (normally split apart and staggered, but not feasible for this scale since they would have been too thick) were created using triangle to diamond shapes of varying sizes (tiny, small, medium, large). The quadruple spiked tail finished off this iconic herbivore dino. The completed build is completely solid and heavy.
The challenging aspects with this build include: how to generate a 3D look building outward, how to create the legs strong enough to support the body, how to get the rounded body profile layer by layer, how to balance & prevent the head and tail from tipping, and how to create and arrange the plates. Coupled magnetic fields across multi-stacked layers proved difficult to maintain alignments at times. Solidity density amplified the field attraction, especially when adding new single-layer components, causing strong attraction and/or deflection to target area affecting magnet positioning.
en.wikipedia.org/wiki/Stegosaurus
Build Component Breakdown:
===========================================================
(@952)= Core Center head,body,tail(top-bottom = 2x(10+20+26+32+40+48+8+58+10+74+52+20+9+28+8+20+10 -> (1+2x4+1)+(1+2x9+1)+(1+2x12+1)+(1+2x15+1)+(1+2x19+1)+((1+2x23+1)+(1+2x3+1))+((1+2x31+1)+(1+2x4+1))+(1+2x36+1)+(1+2x25+1)+(1+2x9+1))+((2x4+1)+(1+2x16+1)+(1+2x3+1))+(1+2x6+1)+(1+2x4+1));
(@456)= 1st outer layer = 2x(3+8+11+14+17+(22+3)+(27+4)+35+35+(4+14)+13+18);
(@252)= 2nd outer layer = 2x(5+8+11+13+15+16+16+15+13+14);
(@080)= 2nd rear leg layer = 2x(3+4+5+4+6+5+4+3+3+3);
(@070)= 2nd front leg layer = 2x(2+3+(6x4)+3+3);
(@082)= 3rd rear leg layer = 2x(3+4+5+5+5+4+3+(3x2));
(@020)= 3rd front leg layer = 2x(2+3+3+3+(4x2)+1);
(@068)= Large plate - 4x(4x(9-ball triangle)-(1x2 mount point));
(@048)= Medium plate - 2x(4x(6 triangle));
(@032)= Small plate - 2x(2x(6 triangle)+4);
(@006)= Tiny plate - 2x3 triangle;
(@027)= Tail - 4x(4+1 spikes)+(6+1 tip);
================================================================
~1631 Total (approximate due to fine tuning and changing on fly)
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.