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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.
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.
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.
The Tempodrom is a nice venue for all kind of music and theatre. Though it was built 2000-01 by gmp von Gerkan, it looks like it's only a temporary temporary, lacking kind of solidity ...
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.
Confederate General D. H. Hill’s division crossed the Potomac River at Point of Rocks on September 4, 1862, and marched south to clear Union forces from the area. His men breached and drained the Chesapeake and Ohio Canal at several places, burned canal boats, and damaged the Spinks Ferry Lock (Lock 27) south of here. They also breached the Little Monocacy Culvert but did not have enough tools or spare gunpowder to damage the vital Monocacy Aqueduct.
A few days later, on Spetember 9, Confederate General John G. Walker’s division spent several hours attempting to destroy the aqueduct, but were stymied by its “extraordinary solidity and massiveness.” The Confederates pilled several kegs of gunpowder under one of the arches, lit the fuse, and ran like hell. When the smoke cleared, the great stone aqueduct remained standing and undamaged.
The Church of St. Trophime is a former cathedral in the city of Arles. It was built in the Romanesque Provencal architectural tradition between the 12th century and the 15th century.
"This important pilgrimage church was the starting point of the so-called Via Tolosa, the route that led from Arles to Toulouse (Saint Sernin) with the final destination being Santiago de Compostela. "This road was taken by pilgrims coming from Italy, Switzerland or Central Europe, as well as the "Romieux" who, after Rome, were going to Compostela, or vice versa. They had come after crossing the Alps at Montgenèvre Pass, or by the road along the Ligurian coast."
"This stone façade (12th century) features an arched entryway, columns, statues and reliefs of various biblical figures. The portal shows the influence of classical antiquity, particularly in its gable, classical columnar forms, statues with Roman solidity (albeit a bit squatty), and architectural details — fluted pilasters, classical moldings, and variations of Corinthian capitals.
The sculptures over the portal, particularly the Last Judgement, and the columns in the adjacent cloister, are considered some of the finest examples of Romanesque sculpture.
The porch includes various decorative elements: fluted pilasters, capitals with acanthus leaves, friezes adorned with Greek motifs, acanthus leaves, palmettes, other foliage."
Arles, Provence.
France, 2019
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.
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.
Natural Stippling...
FYI: Stippling is the creation of a pattern simulating varying degrees of solidity or shading by using small dots. Such a pattern may occur in nature and these effects are frequently emulated by artists.
once a barefeet
beggar poet
a shia
a dam madar malang
all human
all the same
to my school
reunion
in oxymoron
haste
hurriedly
i came
no rings
no turban
no chunky
jewellery
what a shame
life is light within
shadows
of a cosmic game
from the cradle
to the tomb
only honor to reclaim
shooting
naga sadhus hijras
my notoriety to fame
on good friday
14 stations of the cross
with jesus i walk
barefeet
a poet lame
hope humanity
peace pathos poetry
my only aim
my age old anger
my volatile nature
a reformed alcoholic
the demon within me
with prayers
i did tame
for what you are
you and only you
are to blame
a good school
gave me good
grounding solidity
of soulful purpose
respect within
my fathers name
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.
Victoria's Parliament House is one of Melbourne's best known landmarks. Facing the intersection of Spring and Bourke streets, the west facade of the building; sweeping steps, elegant lamps, grand colonnade, suggests solidity and strength.
Appearances are deceptive. Parliament House is incomplete. The generous vision of nineteenth century architect, Peter Kerr, has not been fully realised. The story of Parliament House is one of staged construction and architectural ambition thwarted.
Looking North from Northway Peak at sunset, April, 2011, Crystal Mountain, WA
After a slushy spring day, it froze hard :(
NOT the best solid ice bootpack up or chattery run down I've ever had, but plenty of vigorous exercise was involved.
Catching the sunset and some good cardio were my primary objectives, so I wasn't worried about the quality (solidity) of the snow. I got to practice kicking steps repeatedly into rock-hard snow (which was quite scary in places like Huckleberry) and I received a good full-body vibrating massage as I side-slipped and snow(ice)-plowed down the Gap Road with only dim, flat dusk light (facing East, nonetheless). Estimated temperature while I was at the summit: 25 F. Winds: 0-10 mph. Thanks for the ride down to employee housing, van-driving co-worker girl whom I had not met before that night and probably haven't seen since. By that point, my knees were totally beat up and needed recovery.
Next time, I'll pack crampons and some paragliding gear. (After I learn the necessary skills)
Blythe size stand made of painted acrylic resin.
Inspired by Michael Ende's novel, 'The Neverending Story', and the imaginery of the 1984 movie by Wolfgang Petersen's, it shows the Auryn, a medallion with two serpents carved in relief, a light one and a dark one that bite each other's tails.
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
The pole is removable and it's crossed by a tin wire that can be bent to grab the doll.
Corfe Castle, Dorset, 2 August 2019. First built in the 11th Century as one of the earliest stone castles in Britain. It was extended and altered in the 12-13th Centuries. In the English Civil War it was a Royalist stronghold which held out until 1645. After the war Cromwell ordered t to be slighted (dismantled) although its solidity meant it couldn't be totally destroyed.
Old Distillery and 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.
Elms
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.
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.
Victoria's Parliament House is one of Melbourne's best known landmarks. Facing the intersection of Spring and Bourke streets, the west facade of the building; sweeping steps, elegant lamps, grand colonnade, suggests solidity and strength.
Appearances are deceptive. Parliament House is incomplete. The generous vision of nineteenth century architect, Peter Kerr, has not been fully realised. The story of Parliament House is one of staged construction and architectural ambition thwarted.
Blythe size stand made of painted acrylic resin.
Inspired by the mexican Día de Muertos skulls, this stand shows a big eyed and toothy one which has conveniently lost its jaw in order to fit on the shelf ;)
Because of the nature of the material used, it has a nice strong and compact presence and a stone-like solidity.
Height: 7.5 inch / 19 cm.
Diameter: 4.7 inch / 12 cm.
Weight can vary: 0.9 pounds / 400 g.
Bauhaus Museum Weimar, Germany
German architect Heike Hanada designed a minimalist concrete museum to celebrate the Bauhaus in Weimar, where the design school was founded 100 years ago. The building is dedicated to the design school creates a physical cultural presence for the Bauhaus in the German city where it was based between 1919 and 1925. Located near the Nazi-era Gauforum square and the Neue Museum Weimar, the Bauhaus Museum is a simple five-storey concrete box broken only with its entrance and a couple of windows. The enclosing shell of light-grey concrete lends the cube stability and dynamic solidity. Equally spaced horizontal grooves run around the facades of the museum, with the words "bauhaus museum" repeated in a band near the top of the building. Hanada designed the museum to be a public building for the city and has attempted to clearly connect it to the neighbouring park. With elements such as plinths, fasciae, portals, stairways and a terrace to the park, the architecture incorporates classical themes that underscore its public character.
The museum contains 2,000 m2 of exhibition space, which will be used to display around 1,000 items from the Weimar Bauhaus collection. A shop and entrance hall is located on the ground floor, with a cafe and toilets below, and three floors dedicated to telling the story of the Bauhaus above. Each of the galleries overlooks double-height spaces and are accessed from a long ceremonial staircase that stretches the height of the building. The visitors ascend a succession of interchanging open spaces and staircases until they finally arrive at the top floor where they are presented with an unobstructed view of the park. The cascading staircases are encased by ceiling-high walls and function as free-standing, enclosed bodies in the interior space. The collection is arranged to inform visitors about the history of the design school, with the gallery on the first floor dedicated to its origins in Weimar and the Bauhaus manifesto that Walter Gropius wrote in 1919. The second floor has exhibits that show how these ideas were implemented, with galleries dedicated to each of the Bauhaus directors – Gropius, Hannes Meyer and Mies van der Rohe – at the top of the building.
The museum in Weimar has opened to coincide with the centenary of the Bauhaus, which was established in the city in 1919. The school was forced to relocate from Weimar to Dessau in 1925, where Gropius designed a new school building for the institution. Following a short time based in Berlin the school closed for good in 1933. Although only open for just over a decade, the Bauhaus is the most influential art and design school in history. The ideas and people associated with the school had an incredible impact on design and architecture, and to mark its centenary we created a series exploring its key works and figures.
The 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.
www.parino.it/center-table-living-room.html
COD: 7289
20th century Dutch center table. Furniture of particular shape and construction, in lacquered and painted wood. Living room table with central metal tub. On the sides there are four drawers of discrete capacity. Large-size table with eight legs, of good solidity. It shows some signs of wear and some color drops (see photo). Overall in good condition.
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