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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.
Digital Design (Spring 2011)
Oklahoma State University
Professor Justen Renyer
Illustrator, Soundbooth, Cinema 4D, After Effects
This Kinetic Typography project was created from the dialogue of Conan O'Brien's final episode of The Tonight Show on NBC. In this farewell address, he describes his feelings towards NBC and the situation at hand. His personality exudes positivity and humor allowing this dialogue to describe his character very well. Even through the hardships of leaving NBC he promotes hard work and kindness.
The concept behind this video is to show Conan O'Brien as a the monumental entertainer and solid wall that he is. Conan O'Brien is and will continue to be a seasoned television entertainer. After drawing inspiration from Lou Dorfsman's Gastrotypographicalassemblage, this concept was achieved by creating a literal wall from over 60 individual typographic layouts. These custom crafted layouts reference a variety of eclectic type design. The combination of eclectic typography and modern 3D letter forms achieved in Cinema 4D provides a contrast between old and new. This contrast emphasizes time to create a sturdy and timeless object. This solidity and timelessness is the perfect representation of Conan O'Brien.
View my other projects at:
www.behance.net/jacobgilbreath
Watch this video on Vimeo. Video created by Jacob Gilbreath.
"Be joyful then, all ye children of Mary; remember that she adopts as her children all those who wish her for their mother. Joyful; for what fear have you of being lost when this mother defends and protects you? Thus says St. Bonaventure: Every one who loves this good mother and trusts in her protection, should take courage and repeat: What do you fear, oh my soul? The cause of thy eternal salvation will not be lost, as the final sentence depends upon Jesus, who is thy brother, and upon Mary who is thy mother." St. Alphonsus Liguori, The Glories of Mary.
Image: Fra Angelico, The Virgin of Humility,1435-45,Tempera on panel.
"In this painting, the image of Mary recalls the ideal of beauty promoted in International Gothic art, although her pose and shape give her a three-dimensionality and solidity closer to the art of Masaccio. The Virgin is placed, following the traditional iconography of the Virgin of Humility, on a cushion rather than a throne.
"The painting is notable for its brilliant and luminous palette, in which reds, blues and golds are harmoniously combined. Also outstanding is the sweetness and spirituality of the faces of the figures, whose poses and gestures are depicted with great naturalism." ~ Web Gallery of Art
Foundation stone 7 Mar 1937 by Archbishop Andrew Killian, architect Herbert H Jory, Mount Gambler coraline limestone, opened 27 Jun 1937. Earliest services began in Institute. First church foundation stone 16 Apr 1883 by Bishop Christopher Reynolds, opened Feb 1884.
“the church, had it been three times its size, would have been crowded. As it was, only a comparatively, small number of those desirous of witnessing the ceremony were able to gain admittance. The church, which is a neat little edifice, was hung with a number of pictures, and the altar was decorated with flowers.” [Border Watch 27 Feb 1884]
“ ‘That little church on the hill, which was built 54 years ago,’ said Father Sparkes, indicating the existing Catholic Church across the road, ‘has outlived its suitability as a place of Divine worship’.” [Narracoorte Herald 12 Mar 1937]
“Ruskin, prince of architectural writers in English, lays it down as a norm that, taking it by and large, a church should be architecturally as beautiful as possible, and structurally as faithful as possible. That both conditions are fulfilled in the building at Naracoorte seems evident from even a cursory glance at the plans and specifications. . . The facade is in the manner of the English village church. Here pleasing effects are obtained by grille openings in pressed cement, and, notably, by a rose window towards the apex filled with choice glass of many tints. Six buttresses in stone impart an air of great strength and solidity to this northern aspect.” [Southern Cross 18 Jun 1937]
Albi Cathedral is one of the most unique, awe-inspiring churches ever concieved, quite simply one of the wonders of the medieval world.
Although contemporary with the great gothic cathedrals of Northern France, this largely 13th century structure is radically different, being constructed almost entirely of brick and built like a mighty fortress; mostly unadorned walls rise uninterrupted from the ground like sheer cliff-faces of brick. The simplicity of the design gives it an almost modern appearance, and it's massive scale exudes a quite overpowering presence.
The cathedral's powerful fortified appearance is largely down to two factors, the form of the building is consistent with local forms of gothic churches in southern France and northern Spain, whilst thr fortified solidity can be associated with the supression of the Cathars in this area during the Albigensian Crusades, the building serving as a lesson in strength and permanence as a warning to any rebellious locals.
The plain exterior was relieved in the more stable climate of the 16th century by the huge flamboyant porch on the south side of the nave, more like an enormous spikey canopy open on three sides. It remains the main entrance to the cathedral, the base of the enormous tower being so massively constructed as to leave no room for a traditional west entrance.
On entering this vast edifice one's senses are overwhelmed yet again, this time by the profusion of decoration in the cavernous interior. The walls and ceilings are entirely covered by frescoes dating from the early 16th century, mostly in Renaissance style, much of it colourful geometric patterns. The most memorable sections are the earliest frescoes at the west end from an enormous Last Judgement; the central section was sadly removed in the 18th century but the extensive and graphic depiction of the torments of Hell remains.
In addition this cathedral is rare in preserving it's 'jube' or choir screen), a late medieval masterpiece of decoration and sculpture which extends into a lavishly sculpted choir enclosure adorned with a riot of angels and saints.
All in all this unforgettable cathedral is a monument that defies description alone and bombards the senses!
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.
Olive trees
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.
By G A Cox for the paper merchants Keay and Co. Built 1909. A massively solid building giving out the image "we're here to stay ... you can trust us". It has the solidity of a bank. I like the off-centre door.
Keay and Co did indeed stay around for many years eventually being swallowed up by Wiggins Teape sometime around the late 1960s. The building continued to be used by WT for at least another decade.
Blythe size stand made of painted acrylic resin.
It shows a little bit of a cobbled street including a storm drain and it's inspired by cities like Rome or Lisbon.
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
The pole is removable and it's crossed by a tin wire that can be bent to grab your doll.
Measures
Base height: 0.8 inch / 2 cm.
Total height: 7.5 inch / 19 cm.
Diameter: 4.7 inch / 12 cm.
Weight: 0.8 pounds / 350 g. aprox.
Blythe model by Horseonthemoor.
National Gallery of Scotland, Edinburgh.
The Mystic Marriage of Saint Catherine.
Nicolas Poussin (1594-1665).
Oil on panel, c1628-29.
The figures are arranged across the picture as though in a classical sculpted frieze. Their ample solidity and richly coloured robes reflect the influence of Raphael and Titian on Poussin's early work in Rome. Saint Catherine of Alexandria receives a ring symbolising her spiritual marriage to Christ. She was baptised a Christian (supposedly in the fourth century) and refused to marry the Roman Emperor. He had her tortured on a wheel (after which the 'Catherine wheel' firework is named) but it broke miraculously. She was then beheaded. The palm frond and sword symbolise her martyrdom. Unusually, the painting is on five oak panels rather than canvas.
Stone wall
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.
Christian Ploderer, 2008
A new line of ceiling and wall lamps by designer Christian Ploderer.
The name "Brikett" recall the solidity of the compact body that keeps a versatile use and is characterized (in both the shorter and longer version) by an accent lighting (spot) or a diffused lighting (flood).
Ceiling lamp for diffused (flood) or accent (spot) lighting. Body lamp in matt white or black painted aluminium. White or black screen-painted crystal screen cover.
Una nuova serie di elementi illuminanti a soffitto e a parete del designer Christian Ploderer.
Il nome Brikett ad evocare la solidità di un corpo compatto, in due dimensioni, caratterizzato da un impiego polivalente e da un emissione luminosa d’accento (spotlight) piuttosto che diffusa (floodlight).
Lampade da soffitto a luce diffusa (floodlight) o d’accento (spotlight).
Corpo in estrusione di alluminio verniciato nei colori bianco o nero opachi.
Chiusura inferiore in cristallo serigrafato bianco o nero.
"…if one of the wheel's teeth got broken…the whole cycle will stop…hold on...fight and be strong…keep the cycle of life moving…" (amal shehab)
The Norman crypt of St Mary's, Warwick 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.
Nothing special, though I like the massive solidity (and openness) of the bridge, and the play of light and dark. The oval thing on the windshield is a Lions Club sticker. 1/21/06 find.
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.
If there's one place in London that merits an Art Deco Fair, it's Eltham Palace,
with its Art Deco entrance hall, created by the textile magnates the Courtaulds in 1936. The much-loved weekend fair is held twice a year - once in the summer and a second time in September - giving visitors the chance to buy original 1930s objects, from furniture and collectables to hats, handbags and jewellery. Browse the original 1930s objects, from jewellery to furniture while you take in the magnificent Art Deco surroundings of the Palace. Ticket price includes entry to Eltham Palace and gardens and you can see the house by guided tour.
About Eltham Palace
Restored by English Heritage, this fantastic house boasts Britain's finest Art Deco interior and offers visitors the chance to indulge in the opulence of 1930s Britain whilst at the same time experiencing the solidity and symbolism of medieval London. Eltham Palace began to evolve during the 15th century when Edward IV commissioned the Great Hall, which survives today as a testament to the craftsmanship of the period. More about Eltham Palace
The old 1850 Nantes courts have been turned into a Radisson Hotel. This is it's replacement built on the old industrial quayside once known as Fernand-Crouan but subsequently renamed in honour of the dead French President Francois Mitterand.
The competition to design the building was launched in 1993 and the building was completed in 2000 to the design of Jean Nouvel.
As is usual the aesthetics of the new building received mixed reviews but, for what it's worth I quite like it. I don't think it's supporters helped themselves by trotting out the usual architectural bollox speak that the building demonstrated the cardinal virtues of a Judicial system in it's 'visibility, transparency and solidity' while designed in the context of respect for the history & the landscape of the building site .
It also didn't help that bits kept falling off, it leaked,the heating and ventilation didn't work as advertised and the the doors were not good at opening or closing.
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. .
From the museum label:
During the early months of 1907 in Collioure, a town on the French Riviera, Matisse painted Blue Nude, a work that marked a pivotal point in his career. Produced at the end of his Fauvist period, this remarkable life-size nude was unprecedented in its scale and physicality. It was the first major painting Matisse executed after the death of his artistic mentor Paul Cézanne in 1906. With its predominately blue palette and sense of solidity and form, it was his homage to Cézanne. It was also a strong reaction against the more traditional idealized nudes that were popular in the nineteenth century.
In Blue Nude the figure is vigorously painted and sculpturally modeled, and the work evokes a world conceived in terms of dynamism and flux. The painting also reflects Matisse's admiration for African art (he was one of the first European artists to appreciate its inherent aesthetic qualities). The earthy and sensual figure is symbolic of the primitive intensity of Africa, inspired by his first trip to North Africa in 1906. The palms in the background are a reference to the exotic landscape he saw in Algeria.
Matisse first exhibited Blue Nude at the 1907 Salon des Indépendants in Paris, where it was reviled by critics and attacked by the public for what they saw as its gratuitous ugliness. Leo Stein purchased the painting and later lent it to the Armory Show in New York, Chicago, and Boston in 1913 where it met with criticism, even prompting students at the Art Institute of Chicago to burn a reproduction of it in protest.
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
"In Untitled (Standing Figure) Matthew Monahan dissects the human form into a gelatinous coagulation of undulating lines. Using red ink to sanguine effect, Monahan’s drawing evolves with almost a comic horror as pink smudges, fluidy stains, and congealed puddles replicate gore with an indulgent splendour. The revulsion of Monahan’s figure, however, lies in its aberrant physiognomy. The entangled sticky mesh mutates the familiar into something barbaric and estranged as the solidity of muscle and bone is transformed into an oscillating glutinous mass".
This was drawn as a demonstration of the techniques taught, done by the course teacher - an artist in her own right - prior to we students having a go. I love it so much that I asked her if I could keep it, to which she generously agreed (adding her signature as icing on the cake).
I love it for many reasons. For one, it's the first portrait of me that anyone has ever done. There is something special (to me) about someone else paying that much attention to one's presence in this world, even if I was, principally, an 'object' with contours, edges, shapes and shading.
Then there is the completely life-like, three-dimensional quality of it all. I love all the hatching marks, both dark and light. I love the highlights that form my (oversized) ears, and the shadow shape of the lens of my spectacles and the arm. I look at it all and just marvel at it. It also fulfils so well its other function: that of being a demonstration of the sighting, measuring and marking techniques that we had been taught...in only five days! Amazing!
I am entranced as to how hand-drawn marks on a flat page can so clearly evoke the solidity of something so realistically, while at the same time not being photographic-like. There are many styles available in art, and I would like to become proficient in them all if I could. But for now, this style is the one that I wish for the most.
SOLD! Emily Nixon. Contemporary jewellery inspired by the Cornish coastline. Organic shapes and finishes with a feeling of weight and solidity. Unusual and individual.
Photo: Kathryn Campbell Dodd
Astounding! Gracious custom built single family home in Chicago's East Village. All brick residence offers elegant finishes with coffered ceilings and crown molding and perfectly selected stones and tiling. Comfortable rooms including massive master suite with a spa-like bath. This is a home that will not disappoint, especially the attached garage or decks atop the home and garage. Call Tom McCarey to arrange private showing at 773.848.9241. Delightful custom built single family in Chicago's East Village. What sets this home apart? Its profound solidity of construction, made of all brick with limestone accents, the detail within with coffered ceilings and crown molding, and the degree of detail with perfectly chosen stones and mosaic tiling in the baths. The home features three outdoor areas that include decks atop the home and garage and a balcony off the home's great room. Another unique and unexpected plus is an attached two-car garage. Arrange private showings with Tom McCarey of The Real Estate Lounge Chicago at 773.848.9241.
Hudson 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.
This window in the Edmund D. Lewis house, from the late 1880s, illuminates a broad staircase (according to a real estate photograph), so prisms would be useful. And there are grooves, but the grooves run vertically as well as horizontally. On the other hand, this does not have the solidity of the typical glass brick or block arrangement. Wishful thinking suggests that this narrow street would have been just right for a prism canopy. Where do such canopies survive?
Foundation stone 7 Mar 1937 by Archbishop Andrew Killian, architect Herbert H Jory, Mount Gambler coraline limestone, opened 27 Jun 1937. Earliest services began in Institute. First church foundation stone 16 Apr 1883 by Bishop Christopher Reynolds, opened Feb 1884, used as schoolroom until 1953. Church hall built 1957 from old school materials. New hall foundation stone 8 May 1988 by Monsignor Robert F Aitken, also has 1883 foundation stone.
“the church, had it been three times its size, would have been crowded. As it was, only a comparatively, small number of those desirous of witnessing the ceremony were able to gain admittance. The church, which is a neat little edifice, was hung with a number of pictures, and the altar was decorated with flowers.” [Border Watch 27 Feb 1884]
“‘That little church on the hill, which was built 54 years ago,’ said Father Sparkes, indicating the existing Catholic Church across the road, ‘has outlived its suitability as a place of Divine worship’.” [Narracoorte Herald 12 Mar 1937]
“Ruskin, prince of architectural writers in English, lays it down as a norm that, taking it by and large, a church should be architecturally as beautiful as possible, and structurally as faithful as possible. That both conditions are fulfilled in the building at Naracoorte seems evident from even a cursory glance at the plans and specifications. . . The facade is in the manner of the English village church. Here pleasing effects are obtained by grille openings in pressed cement, and, notably, by a rose window towards the apex filled with choice glass of many tints. Six buttresses in stone impart an air of great strength and solidity to this northern aspect.” [Southern Cross 18 Jun 1937]
"A super sports car soul and the functionality typical for an SUV: this is Lamborghini Urus, the world’s first Super Sport Utility Vehicle. Identifiable as an authentic Lamborghini with its unmistakable DNA, Urus is at the same time a groundbreaking car: the extreme proportions, the pure Lamborghini design and the outstanding performance make it absolutely unique. Urus’ distinctive silhouette with a dynamic flying coupé line shows its super sports origins, while its outstanding proportions convey strength, solidity and safety. Urus’ success factors are definitely the design, the driving dynamics and the performance. All these features allowed Lamborghini to launch a Super Sport Utility Vehicle remaining loyal to its DNA."
Source: Lamborghini Official
Photographed at Johnstown Estate, Enfield, Ireland at Cannonrun.
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Joseph Mallord William Turner
1775–1851
Fall of the Rhine at Schaffhausen, about 1805-06
Oil on canvas
Turner made his mark with the London public by showing large landscapes at the Royal Academy's annual exhibitions. For this painting, exhibited in 1806, Turner employed drawings he made during an 1802 visit to the Swiss Alps. He captured the force of the famous waterfall at Schaffhausen by flattening thick paint with a palette knife, so that the water seems to have the solidity of the rocks whose shape it echoes. In the foreground, a mother rushes to protect her child from fighting carthorses, underscoring the insignificance of human concerns before the awesome power of nature. Had Turner continued in the vein of Fall of the Rhine, he undoubtedly would still be known today as one of Britain's finest landscape painters. His embrace of contemporary subject matter, seen throughout this exhibition, helps define him as the very greatest.
(Description from the MFA website)
Turner’s Modern World
March 27–July 10, 2022
The stone of the tankstand matches the church!
Foundation stone 7 Mar 1937 by Archbishop Andrew Killian, architect Herbert H Jory, Mount Gambler coraline limestone, opened 27 Jun 1937. Earliest services began in Institute. First church foundation stone 16 Apr 1883 by Bishop Christopher Reynolds, opened Feb 1884, used as schoolroom until 1953. Church hall built 1957 from old school materials. New hall foundation stone 8 May 1988 by Monsignor Robert F Aitken, also has 1883 foundation stone.
“the church, had it been three times its size, would have been crowded. As it was, only a comparatively, small number of those desirous of witnessing the ceremony were able to gain admittance. The church, which is a neat little edifice, was hung with a number of pictures, and the altar was decorated with flowers.” [Border Watch 27 Feb 1884]
“‘That little church on the hill, which was built 54 years ago,’ said Father Sparkes, indicating the existing Catholic Church across the road, ‘has outlived its suitability as a place of Divine worship’.” [Narracoorte Herald 12 Mar 1937]
“Ruskin, prince of architectural writers in English, lays it down as a norm that, taking it by and large, a church should be architecturally as beautiful as possible, and structurally as faithful as possible. That both conditions are fulfilled in the building at Naracoorte seems evident from even a cursory glance at the plans and specifications. . . The facade is in the manner of the English village church. Here pleasing effects are obtained by grille openings in pressed cement, and, notably, by a rose window towards the apex filled with choice glass of many tints. Six buttresses in stone impart an air of great strength and solidity to this northern aspect.” [Southern Cross 18 Jun 1937]
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.
To the south of the high altar stands the chantry chapel of Edward le Despenser (d.1375) opposite the tomb of his father. Edward's effigy is unique, a kneeling, praying figure with its original colouring set beneath a canopy on the roof of the chapel (best viewed from the opposite side of the sanctuary). Within the chapel has a delicate fan-vaulted ceiling and a well preserved mural of the Trinity.
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.
Our bus tiptoeing its way across the temporary bridge. Rene, our driver, was very adept at driving over roads of varying solidity.
Attrezzatura da grande cucina, per pesare alimenti in granuli o polvere, risalente a fine 1800 - inizio 1900.
Dettaglio della targhetta di ottone (o bronzo), fusa, riportante la denominazione del costruttore : meravigliosa dopo un secolo d'uso !
Large kitchen equipment, to weigh food granules or powder, dating back to late 1800 - early 1900.
Detail of brass nameplate (or bronze), fused, indicating the name of the manufacturer: wonderful after a century of use!
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.
Export Building
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.
Before becoming a declaration of brazen androgynous hesitation, "Im Maman" was a love song of odd self-assertion. The original title was "I'm A Man," changed to "Im Maman"- as 'maman' is the French word for mother- as masculine solidity fades to a creature who's a marriage of mother & son, extending himself here to another man, or the man he might be? It may owe to the romance with Oatis Stephens, which inspired "Be Still."
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.
Rosary: Jaslin Bra & panties
Rosary: Jaslin heels
Punklist: Ketti wig
Luxrebel: Get Into It Yuh V2 #2
Rosary: Solidity Nails
Foxcity: Neighbourhood backdrop
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.
Over the Moon doesn't begin to describe how I am feeling right now.
Rock Solidity, for Sure!
"Thou wilt keep him in perfect peace, whose mind is fixed on Thee, because he trusteth in Thee" (Isaiah 26:3)
This verse was given to me at baptism by my Aunty Betty, and this photo is dedicated to her memory, with much love, for her great faith in me, all through my life. She suffered, terribly, for so many years with arthritis, but bore the pain with great dignity, and grace. I pray that Destiny Church will continue to bring much healing to the pain in this World, just as I have been so healed through their prayer ministry over the years.
Cam Bulldogs extended their flawless start to the season with a commanding 3-0 victory over Kingswood, maintaining their place at the summit of Stroud League Division Two with eight wins from eight.
The Bulldogs were ruthless in front of goal, finding the net to seal a comprehensive win. From the first whistle, Cam looked composed and confident, exploiting gaps in Kingswood’s defence and converting their chances with clinical precision.
Despite the defeat, Kingswood manager Ben Foxwell found positives in his team’s performance. “Coming off a good win against Randwick last weekend, we were confident we could challenge Cam. In the first half, the lads worked tirelessly, and we were very unlucky not to score. One shot looked like it crossed the line but wasn’t given,” he said.
Foxwell admitted the two quick goals from Cam in the first half were a blow. “It felt slightly undeserved given our hard work, but the second half was fairly even. Both sides created chances, though Cam eventually put the game to bed late and took all three points. Credit to them for making their chances count.” Cam’s victory highlighted their dominance this season, combining defensive solidity with attacking flair. The Bulldogs now look unstoppable as they continue their march toward another title, while Kingswood will take heart from their resilient display and aim to bounce back in their next fixture.
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.