View allAll Photos Tagged Tripartite
Fougéres' most famous monument and attraction is the Château de Fougéres, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
The Rock of Cashel, also known as Cashel of the Kings and St. Patrick's Rock, is a historical site located dramatically above a plain at Cashel, County Tipperary, Ireland.
According to local legends, the Rock of Cashel originated in the Devil's Bit, a mountain 20 miles (30 km) north of Cashel when St. Patrick banished Satan from a cave, resulting in the Rock's landing in Cashel. According to the Tripartite Life of Saint Patrick Cashel is reputed to be the site of the conversion of the King of Munster by Saint Patrick in the 5th century. (credit Wikipedia)
Il pilone che conferisce il nome all'attuale chiesa venne eretto nel 1587 in onore della Vergine; ritenuto miracoloso diviene oggetto di culto dal 1644. Nel marzo del 1645 risulta già in uso una piccola cappella, meta di grande affluenza e quindi da subito trasformata nell'attuale edificio con il sostegno del cardinal Maurizio di Savoia e di Cristina di Francia. Alla duchessa si deve in particolare la realizzazione dell'altar maggiore. La chiesa a pianta centrale, è coperta da una cupola ottagona inserita in un alto tiburio e affrescata con l'allegoria della Redenzione da Bartolomeo Guidobono (ante 1707). Tutto l'edificio mantiene ancora evidenti e forti i caratteri seicenteschi della fase d'impianto, sia nell'interno ricoperto da ricchi decori opera di stuccatori lombardo-ticinesi sia nella facciata conclusa da un grande frontone curvilineo. Il fronte, organizzato in due fasce tripartite, mostra nel registro inferiore le traccie di un impianto architettonico poi disatteso, caratterizzato da lesene in pietra suddivise in ordine maggiore e minore. Il campanile viene aggiunto nel 1787.
_____
The pylon that gives the name to the current church was erected in 1587 in honor of the Virgin; considered miraculous, it became an object of worship from 1644. In March 1645 a small chapel was already in use, a popular destination and therefore immediately transformed into the current building with the support of Cardinal Maurizio di Savoia and Cristina of France. The construction of the high altar is in particular due to the Duchess. The church with a central plan is covered by an octagonal dome inserted in a high lantern and frescoed with the allegory of the Redemption by Bartolomeo Guidobono (before 1707). The whole building still maintains the seventeenth-century characters of the planting phase evident and strong, both in the interior covered with rich decorations by Lombard-Ticinese plasterers and in the facade ended by a large curvilinear pediment. The front, organized in two tripartite bands, shows in the lower register the traces of an architectural plan which was later disregarded, characterized by stone pilasters divided into major and minor order. The bell tower was added in 1787.
Fougères' most famous monument and attraction is the Château de Fougères, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
Fougères' most famous monument and attraction is the Château de Fougères, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
Built circa 1901, this Classical Revival-style building was constructed to house the Citizens National Bank of Danville. The building features a stone principal facade with a tripartite parapet, with a gable parapet in the center flanked by two ziggaraut-like parapets on either side, a two-story portico at the center bay with doric columns and a decorative cornice, a glass and metal curtain wall at the rear of the portico with metal spandrel panels and decorative classical motifs, side bays flanking the central portico with doorways not he first floor and windows on the second floor, and the name “Citizens National Bank” carved into the facade above the portico columns. The building is a contributing structure in the Danville Commercial District Historic District, listed on the National Register of Historic Places in 1986.
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
Reedville, an unincorporated town in Northumberland County, Virginia was a major center of the menhaden industry in the last quarter of the 19th century. Today it houses Omega Protein, a company that harvests 90% of the menhaden in the United States. Menhaden is used for fish oil and fish meal. The oil which is used in nutritional supplements "helps with lowering blood pressure, fixing abnormal heartbeats, reducing the chance of a heart attack or stroke, and other health benefits." en.wikipedia.org/wiki/Menhaden
en.wikipedia.org/wiki/Reedville,_Virginia
"Captain Albert Morris, a native of New Jersey, was one of the leading industrialists in Reedville. Morris, along with his brother-in-law, Captain James Fisher, built the prosperous fish factory Morris & Fisher, Inc., which contributed to the growth of Reedville and Northumberland County during the early 20th century." www.facebook.com/NNVHS/photos/the-albert-morris-house-bui...
The highly detailed elaborate and lavish Albert Morris House is a George F. Barber House. Barber (1854-1915) operated a mail-order architectural firm out of Knoxville, Tennessee. en.wikipedia.org/wiki/George_Franklin_Barber The 1895 Albert Morris House is a Queen Anne-style (some would say Eastlake) 2-story frame house with a steep pitched hip roof below which is a bracketed cornice. It features a 3-story octagonal turret with a bell-cast roof and prominent finial. The topmost windows in the tower display diamond-shaped panes in the upper portion. The front gable is steeply pitched with a tripartite window and decorative splashes above and to the sides. Decorative fish scale shingling is used on the turret and around the small 2nd-floor porch. Above the arched porch is a carved frieze with a swag pattern. Elsewhere are bay windows and projecting elements. The front porch is wraparound with a turned balustrade and a spindle frieze. The columnar support of the roof consists of tripled Tuscan colonnettes resting on brick piers. Sadly the 2 images presented are not high-resolution and thus details of the many architectural features are not visible. The house has 4 baths and 5 bedrooms and is roughly 3900 square feet in area. Price: $1,500,000. theoldhouselife.com/2021/07/17/look-inside-the-waterfront...
The Albert Morris House is part of the Reedville Historic District, which was added to the National Register of Historic Places August 16, 1984 with reference number 84003556. The nomination form is located at www.dhr.virginia.gov/historic-registers/066-0083/
This is a link to an extensive gallery of interior and exterior shots plus views of local geography
www.landsofamerica.com/property/826-Main-Street-Reedville...
A house view:
www.facebook.com/NNVHS/photos/the-albert-morris-house-bui...
Numerous photos:
theoldhouselife.com/2021/07/17/look-inside-the-waterfront...
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Fougéres' most famous monument and attraction is the Château de Fougéres, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
The Thirty -Third Ion Prophecy - The Tech Idolatry and The Virtual Animism by Daniel Arrhakis (2021)
With the music : Hans Zimmer & Benjamin Wallfisch (Blade Runner 2049) — Wallace
"And with future times will come the new prophets announcing the New Worlds and the creation of the New Gods. And from the divine machines will arise the ideas that man no longer have, and from the illusions created by them will arise the Worlds that man will no longer be able to travel by his own foot.
The idols no longer have feet of clay but will be made of technology and intertwined circuits that will no longer have the shape of their creator and even less of their love.
And the word will no longer be the gesture and the will will have no destination because Oblivion will rule over everything and everyone."
A brief explanation - Core Cities Records - Senekon (1) Report
The technological success achieved by drones associated with electromagnetic advances allowed the new Generation of Orbs. These allowed a leap in telecommunications, urban planning but also in the arts and military defense.
But what we didn't expect was that they would also end up being idolized by religious movements that took advantage of society's growing skepticism towards traditional religions.
The Tech-Idolatry and the Tech-Animism initially spread through the "Core Cities" (2) until reaching their outskirts with their Orb Temples that soon took on other shapes and geometries.
If in the ancient animism it was believed that objects, places, and creatures all possessed a distinct spiritual essence, now it was Orbs and other technological objects that conveyed that divine presence.
Thus multiplied the temples with Orbs that levitated thanks to advances in electromagnetism and that flooded the audiences with real performances of light, color and sound purposely made to have a psychosomatic effect on believers.
The old gods now resided in technological advances and the spectacles they provided but also in the applications that were downloaded into memory and virtual reality inducers that could be accessed anywhere.
Some activist groups warned against what they called "The Casinos of Faith" because just as they had an addictive effect, it increased their members' dependence on technology and economic exploitation with the numerous neural interface devices and virtual reality applications that sold. The touted freedom and spiritual happiness was nothing more than a big deal for the big technology and virtual reality companies.
But the worst was yet to come when those who were connected almost uninterruptedly to the orbs began to appear.
In an attempt to remain permanently connected to the "Divine Machine" as many called it, they died inanimate, others who survived did not remember anything... not even who they really were...
________________________________________________
(1) Senekon - Part of the Tripartite Government in the political vision of the "Academy". The Senekon is equivalent to parliament and is elected by the people.
The other two constituents are Acron and Phoenix, the first with Members elected by Science and Mystical Academies (Or Main Religious Leaders) . The Second representative of the Military and General Security Forces .
(2) Core Cities - Extensive Urban Nucleus Megacities that bring together companies with new technologies and futuristic architecture and that combine futuristic tourism with the arts and research. The city of Dubai is an example given many times in the past.
_________________________________________________
Composition made with stock images and images of mine.
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
www.halsema.org/places/miami/GesuChurchandRectory.pdf
© All Rights Reserved - you may not use this image in any form without my prior permission.
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
www.halsema.org/places/miami/GesuChurchandRectory.pdf
© All Rights Reserved - you may not use this image in any form without my prior permission.
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
Notes from Historic Buildings:
The Corwen Union Workhouse was commissioned in 1837, and originally housed 150 paupers. The building was partly remodelled c1900, when many of the original windows, considered out of keeping with the more enlightened approach of the time, were replaced with larger ones. It closed in 1941, and was subsequently used as a factory. It is now a craft centre, café and candle factory.
Exterior
The workhouse is laid out on Benthamite principles, with a central octagonal top-lit tower and 4 radial wings. Mainly roughly coursed rubble (limewashed to front elevations) with slate roofs; the main gable facing the street is of well-coursed stone with ashlar dressings including continuous string course.
Principal entrance is in this gable in pedimented and slightly advanced central section: Doric portico in antis, the doorway flanked by 9-pane sash windows. 9 and 12-pane sash windows to either side of the pediment which has tripartite window in its upper storey. Similar sash windows in return elevations of this block.
The longest wings run E and W of the central octagon, which is expressed externally by slayed walls across each of the 4 angles between the radial wings. These walls have wide segmentally arched cast-iron small-paned windows (some later replaced by 4-pane sashes) on each floor.
The central octagon is surmounted by a glazed lantern and a high wooden cupola. Each of the long wings terminates in a slightly advanced hipped roofed pavilion: these were originally 3-window ranges, and some of the original round-arched windows with cast iron fixed lights survive, though most were later replaced by wider 4-pane sashes. At the inner angle of the wings and the central octagon on each side, the wing is stepped out slightly and contains a round-arched doorway with cast iron glazing to the overlight. Each side of rear wing has paired 4-pane sash windows to ground floor and doorway with round-arched overlight in re-entrant angle; some original window openings survive, but many have been replaced by wider windows.
For more photographs of Corwen please click here: www.jhluxton.com/Wales/Clywd/Corwen-District/
I built this thing a while back when I learned about an architectural concept called tripartite. Basically, way back in the day, they used rougher building materials near the base of the building where the peasants could touch and the facade of the building would become more refined and sleek as it rose. I figured that would translate nicely into a cyberpunk scene, and this MOC was born. It should be seen as a "slice" of a larger cityscape.
This creation was awarded with the "Small Planetary Structure" trophy at BrickCon 2015.
The General Staff Building is an edifice with a 580 m long bow-shaped facade, situated on Palace Square in Saint Petersburg, Russia, in front of the Winter Palace.
The monumental Neoclassical building was designed by Carlo Rossi in the Empire style and built in 1819–1829. It consists of two wings, which are separated by a tripartite triumphal arch adorned by sculptors Stepan Pimenov and Vasily Demuth-Malinovsky and commemorating the Russian victory over Napoleonic France in the Patriotic War of 1812. The arch links Palace Square through Bolshaya Morskaya Street to Nevsky Prospekt.
Здание Главного штаба — историческое здание, располагающееся на Дворцовой площади в Санкт-Петербурге. Строительство здания продолжалось с 1819 по 1829 год. Архитектор: К. И. Росси. Скульпторы: С. С. Пименов, В. И. Демут-Малиновский.
В западной части здания находится командование Ленинградского военного округа России. В восточной части здания Главного штаба с 1999 года размещаются коллекции Государственного Эрмитажа. В 2013 году завершилась полная реконструкция Восточного крыла здания, в котором разместились произведения западноевропейского искусства XIX—XX веков, а также проводятся временные выставки современного искусства.
Militärschiff (Military Ops) Minensuchboot | Aufnahme: 2022-06-20 | BELGIEN | Baujahr: 1991 | Breite: 9m | Tiefgang: 3,60m | Maschinenleistung: 1920 KW | Geschwindigkeit: 15 kn | Baureihe: Tripartite-Klasse
During the 1920s, many of the townhouses in Malaysia were build by wealthy Straits Chinese. Townhouses during this period were know to be of the Late Straits Eclectic Style. This style is most spectacular in the use of ornamentation and the tripartite arrangement of window on the façade to provide maximum ventilation and natural lighting. Furthermore, the facade incorporated several design from various sources such as Chinese and European ones. Moreover, the porch entrance is paved with tessellated floor tiles, and covered with decorative tiled dado. A swallow-tail ridge design was used on the jack roof. In the pass, this design could only be affortable by the wealthy.
Excerpt from pc.gc.ca:
Existing plaque: On wall between two buildings - left to small museum 900 Woodward Avenue, Hamilton, Ontario
This dignified building, reminiscent of the style of a Roman aqueduct, houses one of Canada's greatest surviving engineering achievements of the mid-19th century, the Hamilton Waterworks. Built between 1857 and 1859, it was designed by the prominent Canadian engineer, Thomas C. Keefer. Its grand interior, dominated by giant cast-iron doric columns, houses steam engines cast by the nearby Dundas foundry. The pumphouse produced as many as five million gallons of water daily until 1910, when increasing demand and improved technology forced its retirement.
Description of Historic Place
Hamilton Waterworks National Historic Site of Canada is a gracious complex of mid19th-century brick industrial buildings located just west of the present City of Hamilton Waterworks on a narrow strip of land between Woodward Avenue and the Queen Elizabeth Way. The complex can be readily identified by its tall chimney and the distinctive Italianate profile of the original waterworks pumphouse.
Heritage Value
Hamilton Waterworks was designated a national historic site of Canada in 1997 because it is an early, rare surviving example of a Victorian industrial building complex that is both architecturally and functionally largely intact.
The heritage value of Hamilton Waterworks National Historic site of Canada lies in its physical illustration of a Victorian industrial complex, in this case a municipal waterworks which survives as a rare representation of the Victorian use of industrial technology to improve quality of life. Value resides in the overall site, setting, design, materials and function of both the complex and its component parts, with particular emphasis upon those original to the 1859 waterworks.
Hamilton Waterworks was designed by Thomas Coltrin Keefer and built by the City of Hamilton in 1856-1859. Its purpose was to deliver large quantities of clean water for safe drinking and fire control to the rapidly expanding city. The facility was upgraded to address the needs of the growing city in the years that followed: its original Gartshore pumps were replaced in 1882; a second pumping station was built in 1887; a third station with electric and steam turbine engines was installed in 1910-1913. When the complex itself was replaced by a new waterworks on adjacent land in 1970, several buildings in the original group were demolished. Today the early waterworks complex consists of the 1859 Pumphouse with its engines and equipment, an original Boilerhouse, Chimney and Woodshed (all 1859), the Worthington Shed (1910) containing a small steam pump, a second Pumphouse (1913), a Carpenter's Shed (1915), and a large number of in-ground valves and valve chambers dating mainly from the 20th century. The City of Hamilton has restored the original waterworks, and today it is open for public visitation.
Character-Defining Elements
Key elements that contribute to the heritage value of this site include: the location of the complex near lake Ontario at the edge of the city; the functional grouping of late nineteenth-century industrial buildings and structures (1859 Pumphouse, 1859 Boilerhouse, 1859 Chimney, 1859 Woodshed, 1910 Worthington Shed, 1913 Pumphouse, 1915 Carpenter's shed) with its distinctive profile created by the tall chimney, irregular building heights and roof profiles; the footprints and spatial distribution of buildings and structures; the Italianate architectural style of the 1859 Enginehouse/ Pumphouse with its rectangular massing on a raised basement under a pitched slate roof, entry on the short end, four bays of tall narrow windows and bull's eye windows on the side elevations, classically inspired detailing such as corner pilasters and dentilled cornice, and rusticated limestone construction; the functional design of the Pumphouse with its use of fireproof construction materials (limestone, slate, tin, interior brick facing, cast iron window frames) and large open volume with mezzanine; the matching architectural treatment of the 1859 Boilerhouse with its smaller, shorter massing under a hip roof, its arcaded side elevation, and containing its original engines and 1882 replacement pumps; the 1859 Woodshed with evidence of its original timber frame post and beam construction and single open volume, wood shake roofing the 1859 Chimney in its tripartite classical design with limestone pedestal, red brick shaft and cap; the integrity of post 1859 portions of this complex (Worthington Shed, 1913 Pumphouse, Carpenter's Shed) in their design and materials; clarity of the spatial and functional relationships between all of these buildings; the location, spatial disposition, materials and forms of machinery and component parts illustrative of the Woolf Compound design of the waterworks' original technology (such as the large cast iron walking beams, large cast iron flywheels, two-cylinder design including high and low pressure cylinders both arranged vertically and attached to the end of the walking beam, double acting and condensing operation, Watt's patent parallel motion linkage, integration of the pumphouse building and its machinery); the integrity of the materials, design, craftsmanship, function and location of the waterworks' original Gartshore engines (including their double beat poppet valve system, variable contour cam system, high quality machining and engine part detailing); the operational capability of various examples of steam technology on the site; archaeological evidence of other early buildings and structures (such as the 1859 chief engineer's house, 1859 assistant engineer's house, 1887 pumphouse, boilerhouse and machine shop, as well as coalsheds, rail sidings and associated equipment of various dates); the absence of intrusions between and among the buildings, structures and archaeological remnants on the site; viewscapes from the early complex to the adjacent present waterworks complex, to Lake Ontario and Burlington Bay.
This kind of tripartite window was a popular motif in sacral architecture, found in many architectural styles, including Romanesque and Gothic.
The model you see here represents my free-folding style which differs quite a bit from my clean folding style. I use it when designing new models or improvising.
Folded from a sheet of paper I found in my stock. It was together with other Elephant Hide sheets, and it felt like EH during folding, but the pattern differs a little from other sheets of the same color I have. Maybe it’s from a different production batch. The sheet was a 20 cm square, the only one of this size, which also suggests a different source than my other sheets. Maybe I got it from someone?
Happy Easter!
Major changes on window detailing and minor change on design.
During the 1920s, many of the townhouses in Malaysia were build by wealthy Straits Chinese. Townhouses during this period were know to be of the Late Straits Eclectic Style. This style is most spectacular in the use of ornamentation and the tripartite arrangement of window on the façade to provide maximum ventilation and natural lighting. Furthermore, the facade incorporated several design from various sources such as Chinese and European ones. Moreover, the porch entrance is paved with tessellated floor tiles, and covered with decorative tiled dado. A swallow-tail ridge design was used on the jack roof. In the pass, this design could only be affortable by the wealthy.
WPD22Objects.
Kedleston Hall
Grade: I
List Entry Number: 1311507
Listing NGR: SK3127140296
Details
SK 34 SW PARISH OF KEDLESTON KEDLESTON PARK 3/41 Kedleston Hall 25.9.51 GV I Large country house, set in large landscape park. 1758-65 by Matthew Brettingham, James Paine and Robert Adam. Interiors complete by the 1780s. Red brick faced in ashlar and render. Hipped Welsh slate roofs. Various brick stacks largely hidden within the roof wells. Main rectangular block with quadrant colonnades and rectangular pavilions following Palladio's Villa Mocenigo. Rusticated basement, piano nobile and attic storeys. Principal north front: Centre block of eleven bays. Hexastyle, giant Corinthian portico over a basement of five round arches. Three statues on the pediment. Double staircase. In the portico, central doorway flanked by niches with statues. Medallions above depicting vintage, pasturage, ploughing, and bear hunting, 1769 by William Collins. Dentilled cornice and blocking course. Three bays on either side of the portico with square sash windows to the basement, glazing bar sashes in pedimented aedicules above and rectangular attic windows with moulded surrounds. Quandrants on either side without an attic storey. The basement continues the round-arched arcade, with windows set in. Glazing bar sashes above, with balustrading below the sills as on the main block. The bays divided by Tuscan pilasters. Tripartite windows to the return walls. Linked to identical pavilions, lower than the main block but still with basement, piano nobile and attic storeys. The upper storeys are cement rendered. Five bays, with four attached Ionic columns supporting a pediment. Similar fenestration to main block but with plain surrounds. South front of 3-3-3 bays. The centre piece derived from the Arch of Constantine. Four detached Corinthian columns standing close to the antae and pilasters against the wall. Each column carrying its own piece of entablature with statues above, in front of an attic with the date 1765 inscribed. Shallow lead dome above. Double staircase with sharply curved flights. Central door- way with pedimented Corinthian aedicule, set within a blind round arch, and flanked by niches with statues and medallions above, as on the north front. Frieze of swags and medallions above. The outer bays are given similar but less grand treatment, to those on the main north front. The east and west elevations of 2-3-2 bays are treated more simply, with the central feature of a Venetian window. That on the west side was at an early date blocked. The south elevations of the pavilions are likewise treated in a plainer manner, the three centre bays advanced beneath a pediment.
Interior: The main entrance is into the magnificent Marble Hall, about 67ft by 37ft, and 40ft high (taking in the attic storey). Two rows of giant Corinthian columns of pink Nottinghamshire alabaster. They were fluted in 1775, against the advice of Robert Adam. Frieze and coved ceiling with delicate stucco decoration by Joseph Rose to a design by George Richardson. Hoptonwood stone floor with inlay, designed by Adam. Around the walls are niches with casts of antique sculpture. Above are grisaille panels of Homeric subjects. Chimneypieces with elaborate over- mantles by Rose, incorporating painted roundels. Beyond, in the relationship of 'atrium' and 'Vestibulum', is the saloon, a full-height domed rotunda. Apsed niches in the corners filling the square outer walls. Coffered dome and central skylight. Pedimented doorcases with pilasters of blue scagliola. Frieze of anthemion and palmette. Painted panels of ruins, by Gavin Hamilton, and grisaille panels of scenes of British Worthies by J B Rebecca. In the niches are four cast iron vases on pedestals. Two of them are stoves. The Music Room has Ionic doorcases and delicate plaster ceiling designed by Adam. Marble chimneypiece inlaid with Blue John. The State Drawing Room, lit by a Venetian window to east. Corinthian order for the alabaster window and door surrounds. Chimneypiece with scene of virtue rewarded by honour and riches, by Spang. The Library with severe Roman Doric doorcase. Bookcases designed by Adam. Plaster ceiling divided into octagonal patterns. Triglyph frieze. Beyond the Saloon is the principal Dressing Room (also called the State Boudoir), preceeded by an anteroom, and the two divided by a tripartite screen with pierced segmental arch above the entablature. More delicate plaster ceiling. Chimneypiece brought from elsewhere c1908. Similar decoration in the State Bedroom with fine chimney- piece. Beyond is the Wardrobe (also called the Dressing Room) which communicates with the Dining Room. Apse at the west end, flanked by stucco medallions by William Collins. Ceiling with painted panels by Zucchi (continents), Hamilton (seasons) and Moorland (centre). Chimneypiece with termini caryatids by Spang. The Main Staircase is off the Marble Hall. Cantilvered stone staircase around a rectangular well. Carved tread ends, wrought iron balusters, delicate wreathed and ramped handrial. Stucco panels of 1924. The staircase leads up to the semi-state bedrooms with plain coved ceilings, dentil cornicing and plain marble chimneypieces. Some of the doors may be re-used from the earlier Hall. Three other staircases, of stone, cantilvered with stick balusters. Beneath the Marble Hall a low hall with two rows of stone columns, and two rows of iron columns inserted in 1806. The north west pavilion houses the kitchens and service rooms. The north east pavilion houses the family apartments.
Sources: Christopher Hussey: English Country Houses: Mid-Georgian 1760-1800
Country Life 1956, Second edition 1984. pp72-78
Unpublished information from Mr Leslie Harris, Kedleston Archives
Country Life 24 August 1901; 20 & 27 December 1913; 26 January 1978, pp 194-197, 2 February 1978 pp 262-266; 9 February 1978 pp 322-325
Listing NGR: SK3127140296
Sources
Books and journals
Hussey, C, English Country Houses Mid Georgian 1760-1800, (1956)
'Country Life' in 9 February, (1978), 322-325
'Country Life' in 26 January, (1978), 194-197
'Country Life' in 20 December, (1913)
'Country Life' in 24 August, (1901)
'Country Life' in 27 December, (1913)
'Country Life' in 2 February, (1978), 262-266
historicengland.org.uk/listing/the-list/list-entry/1311507
——————————————————————————————————————————-
Kedleston Hall is an English country house in Kedleston, Derbyshire, approximately four miles north-west of Derby, and is the seat of the Curzon family whose name originates in Notre-Dame-de-Courson in Normandy. Today it is a National Trust property.
The Curzon family have owned the estate at Kedleston since at least 1297 and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo. At the time a relatively unknown architect, Robert Adam was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with Adam's designs, that Adam was quickly put in charge of the construction of the new mansion.
World War II
In 1939, Kedleston Hall was offered by Richard Curzon, 2nd Viscount Scarsdale for use by the War Department.[1] Kedleston Hall provided various facilities during the period 1939–45 including its use as a mustering point and army training camp. It also formed one of the Y-stations used to gather Signals Intelligence via radio transmissions which, if encrypted, were subsequently passed to Bletchley Park for decryption.
National Trust
In the 1970s the estate was too expensive for the Curzon family to maintain. When Richard Nathaniel Curzon, 2nd Viscount Scarsdale died, his cousin Francis Curzon, 3rd Viscount Scarsdale offered the estate to the nation in lieu of death duties. A deal was agreed with the National Trust that it should take over Kedleston while still allowing the family to live rent-free in the 23-room Family Wing, which contained an adjoining garden and two rent-free flats for servants or other family members.
External design
The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, largest block contains the state rooms and was intended for use only when there were important guests in the house. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation. Plans for two more pavilions (as the two smaller blocks are known) of identical size, and similar appearance were not executed. These further wings were intended to contain, in the south east a music room, and south west a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.
If the great north front, approximately 107 metres in length, is Palladian in character, dominated by the massive, six-columned Corinthian portico, then the south front (illustrated right) is pure Robert Adam. It is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief. The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.
Gardens and grounds
The gardens and grounds, as they appear today, are largely the concept of Robert Adam. Adam was asked by Nathaniel Curzon in 1758 to "take in hand the deer park and pleasure grounds". The landscape gardener William Emes had begun work at Kedleston in 1756, and he continued in Curzon's employ until 1760; however, it was Adam who was the guiding influence. It was during this period that the former gardens designed by Charles Bridgeman were swept away in favour of a more natural-looking landscape. Bridgeman's canals and geometric ponds were metamorphosed into serpentine lakes.
Adam designed numerous temples and follies, many of which were never built. Those that were include the North lodge (which takes the form of a triumphal arch), the entrance lodges in the village, a bridge, cascade and the Fishing Room. The Fishing Room is one of the most noticeable of the park's buildings. In the neoclassical style it is sited on the edge of the upper lake and contains a plunge pool and boat house below. Some of Adam's unexecuted design for follies in the park rivalled in grandeur the house itself. A "View Tower" designed in 1760 – 84 feet high and 50 feet wide on five floors, surmounted by a saucer dome flanked by the smaller domes of flanking towers — would have been a small neoclassical palace itself. Adam planned to transform even mundane utilitarian buildings into architectural wonders. A design for a pheasant house (a platform to provide a vantage point for the game shooting) became a domed temple, the roofs of its classical porticos providing the necessary platforms; this plan too was never completed. Among the statuary in the grounds is a Medici lion sculpture carved by Joseph Wilton on a pedestal designed by Samuel Wyatt, from around 1760-1770.
In the 1770s, George Richardson designed the hexagonal summerhouse, and in 1800 the orangery. The Long Walk was laid out in 1760 and planted with flowering shrubs and ornamental trees. In 1763, it was reported that Lord Scarsdale had given his gardener a seed from rare and scarce Italian shrub, the "Rodo Dendrone".
The gardens and grounds today, over two hundred years later, remain mostly unaltered. Parts of the estate are designated as a Site of Special Scientific Interest, primarily because of the "rich and diverse deadwood invertebrate fauna" inhabiting its ancient trees.
Vessel Details:- Tripartite-class minehunter.
Vessel Name:- BNS PRIMULA M924.
IMO:-
MMSI:- 205212000.
Call Sign:- ORGP.
Length:- 51.5m.
Beam:- 8.96m.
Draught:- 3.6m.
Builder:- Built in 1990 by Mercantile-Belyard shipyard , Rupelmonde.
Power Plant:- 1 × 1370 kW Werkspoor RUB 215 V12 Diesel Engine.
Propulsion:- 1 x propeller and 2 × 180 kW ACEC active rudders.
Gross Tonnage:- 4100t.
Copyright 2021 Harry Garland, All rights reserved.
The spinner dolphin (Stenella longirostris) is a small dolphin found in off-shore tropical waters around the world. It is famous for its acrobatic displays in which it rotates around its longitudinal axis as it leaps through the air. It is a member of the family Delphinidae of toothed whales.
Spinner dolphins are small cetaceans with a slim build. Adults are typically 129–235 cm long and reach a body mass of 23–79 kg. This species has an elongated rostrum and a triangular or subtriangular dorsal fin.[5] Spinner dolphins generally have tripartite color patterns. The dorsal area is dark grey,
the sides light gray, and the underside pale gray or white.[6] Also, a dark band runs from the eye to the flipper, bordered above by a thin, light line. However, the spinner dolphin has more geographic variation in form and coloration than other cetaceans. In the open waters of eastern Pacific, dolphins have relatively small skulls with short rostra.[5] A dwarf form of spinner dolphin occurs around southeast Asia.
In these same subspecies, a dark dorsal cape dims their tripartite color patterns. Further offshore, subspecies tend to have a paler and less far-reaching cape. In certain subspecies, some males may have upright fins that slant forward. Some populations of spinner dolphin found in the eastern Pacific have backwards-facing dorsal fins, and males can have dorsal humps and upturned caudal flukes.
This image was taken in the Pacific Ocean as we sailed from the Panama Canal towards Huka Niva, one of the Marquesas Islands in French Polynesia
This is a 7-story, 3-bay domestic building in the Art Deco style built in 1937. The structural system is fireproof. The foundation is reinforced concrete. The exterior walls are stucco. The building has a flat parapet roof. Windows are replacement aluminum casements. Unique octagonal porthole windows just above "Park Central Hotel" signage on the central bay of east elevation and at the same height on the easternmost part of the south elevation; Continuous band of windows rounded at corners wraps around northeast and southeast corners of building There is a single-story, full-span open porch characterized by an integrated (under the main) roof. Simple full-span porch with aluminum railings; Multi-colored terrazzo floor design; Extends slightly out from building set back Primary entryway is centered on east elevation; Glass double-door framed by dark wood; Terrazzo floor design on the porch points directly towards the primary door, which is also ornamented on the interior by different multi-colored terrazzo floor designs.
Symmetrical tripartite design on the primary facade; Round masonry porthole design at cornice; Octagonal porthole windows directly above first-floor level; Horizontal banding at building's corners; Multi-colored terrazzo floor designs; Neon "Park Central Hotel" signage centered directly above the porch on the east elevation; "Park Central Hotel" signage painted vertically on the east corner of the south elevation; Stepped ziggurat parapet roofline on east elevation; Streamlined vertical design with a recessed central section; Rounded corner windows on northeast and southeast corners just above porch level; Lightly ribbed vertical pilasters ornamented with spandrels; on either side of central bay form an inverted "L" design; Aluminum railings.
Credit for the data above is given to the following website:
www.ruskinarc.com/mdpl/all/4630-640%20Ocean%20Dr/view
© All Rights Reserved - you may not use this image in any form without my prior permission.
This is a 7-story, 3-bay domestic building in the Art Deco style built in 1937. The structural system is fireproof. The foundation is reinforced concrete. The exterior walls are stucco. The building has a flat parapet roof. Windows are replacement aluminum casements. Unique octagonal porthole windows just above "Park Central Hotel" signage on the central bay of east elevation and at the same height on the easternmost part of the south elevation; Continuous band of windows rounded at corners wraps around northeast and southeast corners of building There is a single-story, full-span open porch characterized by an integrated (under the main) roof. Simple full-span porch with aluminum railings; Multi-colored terrazzo floor design; Extends slightly out from building set back Primary entryway is centered on east elevation; Glass double-door framed by dark wood; Terrazzo floor design on the porch points directly towards the primary door, which is also ornamented on the interior by different multi-colored terrazzo floor designs.
Symmetrical tripartite design on the primary facade; Round masonry porthole design at cornice; Octagonal porthole windows directly above first-floor level; Horizontal banding at building's corners; Multi-colored terrazzo floor designs; Neon "Park Central Hotel" signage centered directly above the porch on the east elevation; "Park Central Hotel" signage painted vertically on the east corner of the south elevation; Stepped ziggurat parapet roofline on east elevation; Streamlined vertical design with a recessed central section; Rounded corner windows on northeast and southeast corners just above porch level; Lightly ribbed vertical pilasters ornamented with spandrels; on either side of central bay form an inverted "L" design; Aluminum railings.
Credit for the data above is given to the following website:
www.ruskinarc.com/mdpl/all/4630-640%20Ocean%20Dr/view
© All Rights Reserved - you may not use this image in any form without my prior permission.
www.baronsat.net/baronshop/INSTRUCTIONS-ULYSSE-31-ANIME.htm
Here is a new version of the Tri Part shuttle from Ulysses 31 animated. This one is closer to the anime whereas my 2013 version was made to look like the Popy toy. By the way, it took a few centimeters in width and height, which allowed me to make a larger saucer (Dardos) with an interior that could contain 3 Lego minifigures. Despite everything, I wanted to keep a family resemblance with the 2013 version so that it is both modern and vintage.
This is a 3-story domestic building in the Art Deco style with International influences built in 1941. The structural system is concrete block stucco. The foundation is spread footing. Exterior walls are coral stone and stucco. Coral stone used as exterior material on porch wall and corners of the porch railing, as well as on projecting central mass; Other walls stuccoed The building has a flat roof. Windows are replacement aluminum jalacy sashes. There is a single-story, full-span open porch characterized by an integrated (under the main) roof with rectangular stuccoed posts on rectangular stuccoed piers. Porch characterized by large stuccoed balustrade ornamented by central porthole shape that is flanked by vertical posts; Three low steps from street lead to the porch directly at the center of the building, with the primary entryway directly beyond the steps; Multi-colored terrazzo floor design; Coral stone on walls and on large rectangular posts at corners of railings Double metal door flanked by a fixed window on top and a block of windows (6 windows across, 8 windows in height) on either side; Multi-colored terrazzo floor design on either side of the doorway.
Tripartite symmetry; Slightly projected central mass rises above the roofline to create a slightly stepped ziggurat roofline; Influence of International Style apparent in long horizontal bands of windows; Glass block ornamentation at the apex of the central bay; Interior and exterior multi-colored terrazzo floor design; Raised vertical bands punctuate horizontal bands of windows; Continuous eyebrow rounded at corners projecting out from the top of porch; "Ocean Plaza" signage at center bay directly above the primary entryway,
Credit for the data above is given to the following websites:
www.ruskinarc.com/mdpl/all/4670-1430%20Ocean%20Dr/view
www.miamidade.gov/Apps/PA/propertysearch/#/
© All Rights Reserved - you may not use this image in any form without my prior permission.
Fougères' most famous monument and attraction is the Château de Fougères, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
Historic Centre of Florence UNESCO World Heritage Site
----
it.wikipedia.org/wiki/Palazzo_Medici_Riccardi
en.wikipedia.org/wiki/Palazzo_Medici_Riccardi
----
Nikon Nikkor 18-200mm 1:3.5-5.6 G ED-IF AF-S VR DX
_DSC4685 Anx2 1400h Q90 Ap Q11
Fougères' most famous monument and attraction is the Château de Fougères, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
X Master from Vicenza - Nuptial chest in the battle and sacrifice rounds (1510) Walnut wood and tempera - 204 x 70 x 71 - tondi diameter 23 cm - Poldi Pezzoli Museum, Milan
Questo cassone nuziale intagliato, dorato e decorato con motivi a grottesche è stato probabilmente acquistato da Giuseppe Speluzzi nel 1879. Il fronte è tripartito da semicolonne in riquadri che recano al centro tre tondi: due dipinti e uno con lo stemma della famiglia Porto di Vicenza. Per quanto riguarda i due tondi dipinti, il cattivo stato di conservazione rende difficile una precisa valutazione stilistica che conduca ad un'attribuzione sicura. Si tratta comunque dell'opera di un maestro vicentino, databile al primo decennio del Cinquecento. Anche l'individuazione del soggetto raffigurato appare difficoltosa. Una delle scene rappresenta un gruppo di armati, alcuni a cavallo, che avanzano verso una città cinta da mura; dietro al condottiero, che monta un destriero bianco, si scorge uno stendardo rosso tagliato in diagonale da una barra dorata e con due soli, anch'essi in oro. L'altra presenta un sacrificio: al centro, l'altare con una statua di un dio, da identificarsi per gli attributi (il trofeo d'armi) con Marte; in primo piano, il montone sacrificale; a sinistra e a destra, due anziani sacerdoti versano bevande sacrificali sul fuoco, accompagnati da tre giovani pastori. Si è supposto che i tondi possano essere interpretati come episodi della storia di Romolo e Remo
This wedding chest, carved, gilded and decorated with grotesque motifs, was probably purchased by Giuseppe Speluzzi in 1879. The front is tripartite with semi-columns in squares that bear in the center three roundels: two painted and one with the coat of arms of the Porto family of Vicenza. As far as the two painted roundels are concerned, the bad state of preservation makes difficult a precise stylistic evaluation that leads to a sure attribution. However, they are the work of a master from Vicenza, datable to the first decade of the 16th century. Even the identification of the depicted subject appears difficult. One of the scenes represents a group of armed men, some on horseback, advancing towards a walled city; behind the leader, who rides a white steed, one can see a red standard cut diagonally by a golden bar and with two suns, also in gold. The other presents a sacrifice: in the center, the altar with a statue of a god, to be identified for the attributes (the trophy of arms) with Mars; in the foreground, the sacrificial ram; left and right, two elderly priests pour sacrificial drinks on the fire, accompanied by three young shepherds. It is assumed that the roundels can be interpreted as episodes from the story of Romulus and Remus.
Dutch Navy Mineseeper 'HMLNS Schiedam (M860)' one of 10 'Alkamaar' class vessel (Tripartite class minehunter) in service, used by the navies of Belgium, France and the Netherlands, as well as Pakistan, Indonesia, Latvia, and Bulgaria. Conceived in the 1970s and built in the 1980s. France built the mine-hunting equipment, Belgium provided the electronics, and the Netherlands constructed the propulsion train. France and the Netherlands originally bought 15, with Belgium buying 10 and a total of 45 were built. Leaves the River Clyde to participate in Joint Warrior exorcise . Seen passing Renfrew Ferry on 26th March 2017
Built in 1845 and modified to its present appearance in 1904, this Romanesque Revival-style building is known as the Lyon-Lichtenberger Building, and previously housed the New Harmony Masonic Lodge. The building features a red brick exterior, roman arched bays on the second and third floors, a stepped parapet with a corbeled brick cornice, one-over-one windows on the third floor with decorative brick hoods, a large tripartite feature window on the second floor with a limestone trim surround, a canopy at the first floor, and a large bay at the first floor with plate glass windows, transoms, a recessed entrance door, and cast iron pillars. The building is a contributing structure in the New Harmony Historic District, designated as a National Historic Landmark in 1965, and listed on the National Register of Historic Places in 1966.
Fougères' most famous monument and attraction is the Château de Fougères, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
Sailing out from the Clyde is the FS Andromede (M643), an Eridan-class (Tripartite) French Navy minehunter. This Warship is part of the NATO fleet taking part in Ex Joint Warrior April 2019.
Fougères' most famous monument and attraction is the Château de Fougères, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
Fougères' most famous monument and attraction is the Château de Fougères, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
Holy Trinity Church in East Cowick is a striking example of mid‑19th‑century Gothic Revival architecture nestled in the heart of the East Riding of Yorkshire. Constructed between 1853 and 1854, the church was designed by the renowned architect William Butterfield—a master of the Gothic Revival style—and commissioned for William Henry Dawnay, the seventh Viscount Downe. The building was constructed by Charles Ward of Lincoln, and its creation reflects the era’s dedication not only to spiritual life but also to architectural innovation and craftsmanship.
A Grade II listed structure, Holy Trinity Church stands out with its thoughtful use of materials and design details. The exterior is built with red brick laid in an English bond pattern, accented by sandstone ashlar dressings. Its roof is fashioned from Welsh slate, all of which contribute to a robust yet elegant appearance. The design is punctuated by carefully crafted Gothic elements such as pointed arches, traceried windows, and sturdy buttresses. These features are particularly visible in the church’s five‑bay aisled nave, the west tower which boasts a tripartite design including a central tower with a deeply recessed pointed window, and the south porch that warmly welcomes parishioners.
Inside, the architectural focus remains consistent with the exterior’s spiritual fervour. The intricate detailing—ranging from the recessed pointed windows to the prominent sill string courses and sloping bases of the window recesses—reveals the meticulous craftsmanship of a period that valued both form and function. Notably, repairs made in 1910 to the north arcade and nave walls point to an evolving narrative of maintenance and community care, preserving the structure for future generations while subtly adapting its internal features over time .
Beyond its architectural merits, Holy Trinity Church plays an integral role in the local community. As one of the five churches serving Great Snaith within the area and part of the Diocese of Sheffield, it continues to be a focal point for worship, fellowship, and local heritage. The church not only stands as a monument to Victorian religious and cultural sensibilities but also as a living space that adapts to the needs of its congregants and the community at large.
Vessel Details:- Tripartite-class minehunter.
Vessel Name:- BNS PRIMULA M924.
IMO:-
MMSI:- 205212000.
Call Sign:- ORGP.
Length:- 51.5m.
Beam:- 8.96m.
Draught:- 3.6m.
Builder:- Built in 1990 by Mercantile-Belyard shipyard , Rupelmonde.
Power Plant:- 1 × 1370 kW Werkspoor RUB 215 V12 Diesel Engine.
Propulsion:- 1 x propeller and 2 × 180 kW ACEC active rudders.
Gross Tonnage:- 4100t.
Copyright 2021 Harry Garland, All rights reserved.
Built in 1963 by Hawker Siddeley Aviation at Kingston and Dunsfold, this sixth and last P.1127 experimental V/STOL aircraft became the first to feature a swept (Kestrel) wing. The first flight was made from Dunsfold by Bill Bedford on 13th February 1964, with a Pegasus 5 engine, as the prototype Kestrel.
On 19th March 1965, with Hugh Merewether as pilot, the engine failed in a high speed dive at 28,000ft causing a fire. After a dramatic landing at RAF Thorney Island, Merewether received an OBE for gallantry.
XP984 flew again on 15th October 1965 and was loaned that December to the Tripartite Evaluation Squadron for demonstrations in Germany. On 25/th March 1966 Bill Bedford made XP984’s first flight with the new ‘03/1’ (Harrier) wing. Sea trials on HMS Bulwark followed from 18-20th June 1966.
This iconic British aircraft is now preserved at Brooklands Museum.
Fougères' most famous monument and attraction is the Château de Fougères, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.
The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.
The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.
ID
3250
Listing Date
23 September 1950
History
Conwy Castle was begun in 1283 following the successful conquest of Snowdonia by the armies of Edward I of England. It was one of a defensive ring of castles erected around the North Wales coast from Aberystwyth to Flint, and in addition protected a walled town that was the largest of the medieval boroughs of North Wales. Work began with digging the rock-cut ditches, under the direction of Richard of Chester, master engineer. The design of the castle and supervision of building was under the control of James of St George, Master of the King's Works in Wales and the foremost secular architect of his age. Other subordinate master craftsmen included Henry of Oxford and Laurence of Canterbury, both master carpenters, and John Francis who, like James of St George, was from Savoy. The castle and town wall were substantially complete by 1287.
Modifications were made to the buildings in 1346-7 by Henry de Snelleston, mason to Edward, Prince of Wales (the Black Prince). This included replacing original roof trusses and strengthening the roofs by adding masonry arches. By the end of the C15 its military importance was diminishing and the castle slowly decayed. It was described as in poor condition in 1627, and in 1631 it was sold to Charles I's secretary of state, who assumed the title Viscount Conway of Conway Castle. During the Civil War the castle was repaired and fortified for the Royalists under the leadership of John Williams, exiled archbishop of York and a native of Conwy. The castle surrendered in 1646 and in 1655 the castle was 'disabled' by blowing up a portion of the bakehouse tower, making a substantial breach. The castle was restored to the Conway family after the Restoration, when some of the buildings, and the lead roofs, were taken down. Ownership passed to the Seymour family until, in 1865, it was given to the town. During this period there was some restoration and the bakehouse tower was rebuilt by the LNWR, whose railway line passed the foot of the castle. Since 1953, when more substantial conservation work began, the castle has been a guardianship monument in the care of the state.
Exterior
A castle whose compact design is dictated by the rocky outcrop on which its stands. Roughly rectangular in plan, it has a curtain wall with 8 higher round towers enclosing an outer ward on the W side, and smaller near-square inner ward to the E overlooking the river. Additional defence was provided by barbicans at E and W entrances. Walls are coursed rubble, with freestone dressings of pink sandstone. They are embattled with saddleback copings to the merlons, which also have arrow loops on the towers. The round towers have loops and openings of 2-light mullioned windows, although few of the mullions have survived, and higher round stair turrets. Many features are consistent throughout the building, including freestone fireplaces with raked stone hoods, and window seats.
The main entrance from the town is on the W side. It retains part of a ramp on the N side from the modern Castle Square. The gap over which the drawbridge was lowered has been covered by a timber platform. The entrance arch to the W barbican has a pointed arch with portcullis slots, flanked by round turrets with corbel tables. Inside the gateway are later stone steps to a gate passage, where there is a modern breach in the wall for visitor access, and the springers and draw-bar sockets of another gateway. The W barbican has an almost straight wall with 3 turrets. The town wall is attached to the southernmost turret.
Entrance to the E barbican was from the Water Gate. The outer steps have disappeared, probably lost when Thomas Telford built the suspension bridge in 1822-6, but they are shown on the Buck brothers' 1742 engraving of the castle. Steps inside the barbican have survived, but of the doorway in the barbican wall only the draw-bar sockets have survived. The faceted E barbican wall has 3 turrets similar to the W side.
The castle has 8 towers, of which 6 enclose the outer ward, one at the corners and one half way along each of the N and S walls, and 4 enclose the inner ward, of which 2 (stockhouse and bakehouse towers) are common to both inner and outer wards. In the outer ward the S wall is faceted and the W wall is narrower than the E. Otherwise the whole castle is rectangular in plan. The W wall of the outer ward has a pointed arch, below deep corbels of former machicolations. On the N side of the outer ward, both sections of wall have 2 loops and 2 latrine shafts, including one on the W side contained within a shallow projection and low round turret. Attached to the stockhouse tower, between inner and outer wards, is the town wall. The inner ward N wall has 2 loops and 2 low-level outlets of latrine shafts. On the S side each section of the outer ward has 3 windows, 2 loops to the cellar and latrine shaft at wall-walk level. The bakehouse tower between inner and outer wards is partly rebuilt in snecked stone, with a battered plinth of rock-faced stone, repairs carried out by LNWR in the 1870s of the deliberate breach made in 1655. The inner ward S wall has a doorway at ground-floor level above a battered rubble plinth (the only section not built directly on bedrock). At 1st-floor level are 2 loops, a larger opening centre-R, and a former doorway at the R end. Above 1st-floor level are 3 latrine shafts. The E wall, from the E barbican, has a shoulder-headed doorway, 4 1st-floor windows with stepped lintels, and deep corbelled machicolations, although the embattled parapet has not survived.
In the outer ward, the gate passage has portcullis slots and draw-bar sockets, and a high-level door on the S side, to stone steps up to the wall walk. The inner side of the wall is corbelled out at parapet level. The NW and SW towers form a pair. They each have 2 superimposed newel stairs restored in concrete. Both have fireplaces to 1st and 2nd floors. In addition the SW tower has a domed bread oven at ground floor, and latrine to the 1st floor. The kitchen tower in the centre of the N side of the outer ward has a ruined newel stair. The wall walk is corbelled out around its faceted inner side. The prison tower on the corresponding S side has a dungeon, but otherwise similar details to the other towers, including restored newel stairs and ruined fireplaces, except for a 2nd-floor fireplace with flat stone arch instead of a corbelled lintel.
Remains of buildings can be seen against each of the outer ward walls. Of the guard rooms to the W, flanking the gate passage, and kitchen and stables on the N, only footings have survived. Against the S wall is a long faceted range housing lesser hall and a small chamber in the W facet, great hall in the central facet, passage and chapel in the E facet. At the W end are stone steps leading down to a pointed cellar doorway with continuous chamfer. To its L is a pointed window, its tracery missing but originally 2-light. Further L is a similar former 2-light window to the great hall that retains fragments of bar tracery. In the E facet are the passage doorway, the dressings of which are mostly missing and with modern stone steps, and 2-light chapel window, also with fragments of bar tracery. The chapel has a similar former 3-light E window. Inside, this range has one transverse arch and the springers and haunches of 7 others, all inserted in the mid C14 to support the roof. The lesser hall has a fireplace in its W end wall; the small chamber between halls has a N fireplace; the great hall has a fireplace against the prison tower. Access to the prison tower is from the embrasure of one the S windows of the great hall. The cellar has a dividing wall below the chapel with doorway.
On the E side of the outer ward is a stone-lined well, approximately 91 feet deep. Behind the well was a drawbridge to a small gatehouse at the middle gate between inner and outer wards. The gatehouse is square in plan with narrow loop in the W wall. The middle gate has a doorway with shouldered lintel to each end of its passage, and draw-bar socket.
The other entrance to the inner ward, the E gate, has draw-bar sockets, and a passage giving access to mural stairs to the king's tower and chapel tower. The stockhouse and bakehouse towers are similar to the towers in the outer wards. The bakehouse tower has a domed oven behind the ground-floor fireplace, and restored newel stairs. The stockhouse tower has ruined newel stairs. The NE chapel tower has a restored conical slate roof. From the inner ward is a C19 restored doorway with red sandstone jamb to the ground floor. It also has a passage and doorway above the water gate on the outer (E) side. A mural stair leads to the 1st-floor chapel, where there is also a separate latrine. The rib-vaulted chapel is round with an apsidal sanctuary. The sanctuary has wall shafts and cusped arcading, incorporating sedilia on the S side, below 3 pointed windows with leaded glazing. On the S side is a squint from a small cell. On the N side of the chapel is a deep window seat, which also features a squint to the sanctuary. A restored mural stair leads to the upper chamber. The SW king's tower has a restored newel stair. At 1st-floor level is a small keeled tunnel-vaulted chamber.
Buildings are ranged against the walls of the inner ward, including the king's private apartments. Against the S wall are the 1st-floor king's chamber on the E and king's hall on the W (known as presence chamber and privy chamber respectively in a survey of 1627), with a passage to the bakehouse tower at the W end. This passage has a segmental-pointed arch. Two windows to its L have dressings mostly missing, and further L is a segmental-headed ground-floor doorway and another window. Entrance to the 1st-floor hall is by a doorway above the passage, which has a 2-light cusped square-headed window immediately to its L. Further L are 2 hall windows and a 3rd to the king's chamber, all square-headed with relieving arches, bar-tracery fragments and fragments of sunk spandrels. Next L is the wall over the passage to the E gate (later used as a buttery). From inside the passage the range has a ground-floor doorway with chamfered dressings and springers of a possible cambered arch, and at the L end a 1st-floor doorway with segmental head. The W wall of the hall has 2 1st-floor doorways with segmental heads. Inside, beneath the hall is a ground-floor fireplace to the W wall, and larger former corbelled 1st-floor fireplace in the S wall. One floor-length window reveal in the S wall has a short passage to a latrine. Hall and chamber have one complete and the springers of 3 other C14 stone transverse arches supporting the former roof. In the king's chamber the 1st-floor has floor-length S and E window reveals opening to mural passages to a latrine and the king's tower.
Against the E wall of the inner ward are the passage to the E gate, and what was known in 1627 as the 1st-floor great chamber. The passage on the R has a pointed segmental arch, to the L of which the ground floor has a segmental-headed window and a small window further L. The 1st-floor great chamber was entered by a doorway at the R end over the passage, which has a cambered head. The chamber has one large square-headed W window under a relieving arch. Inside, fireplaces were built into the W walls, with tripartite lintel in the ground floor. The springers and haunches survive of 2 former transverse arches added in the mid C14 to support the roof.
Reasons for Listing
Listed grade I as one of the oustanding Edwardian medieval castles of Wales.
Scheduled Ancient Monument CN004
britishlistedbuildings.co.uk/300003250-conwy-castle-conwy...
A spinner dolphin (Stenella longirostris) is a small dolphin found in off-shore tropical waters around the world. It is famous for its acrobatic displays in which it spins along its longitudinal axis as it leaps through the air.
Spinner dolphins are small cetaceans with a slim build. Adults are typically 129–235 cm long and reach a body mass of 23–79 kg. This species has an elongated rostrum and a triangular or sub triangular dorsal fin.
Spinner dolphins generally have tripartite color patterns. The dorsal area is dark gray, the sides light gray, and the underside pale gray or white. Also, a dark band runs from the eye to the flipper, bordered above by a thin, light line. However, the spinner dolphin has more geographic variation in form and coloration than other cetaceans. In the open waters of eastern Pacific, dolphins have relatively small skulls with short rostra.
A dwarf form of spinner dolphin occurs around southeast Asia. In these same subspecies, a dark dorsal cape dims their tripartite color patterns. Further offshore, subspecies tend to have a paler and less far-reaching cape. In certain subspecies, some males may have upright fins that slant forward. Some populations of spinner dolphin found in the eastern Pacific have bizarre backwards-facing dorsal fins, and males can have strange humps and upturned caudal flukes.
This image was taken in the Red Sea as we sailed from Aqaba in Jordan towards Salalah in Oman.
The South-west Coastal Path passes between the building of this "castle"
Acton Castle is a small castellated mansion near Perranuthnoe, Cornwall. It is a Grade II* listed building. It was built c. 1775, and according to some sources around 1790, by John Stackhouse of Pendarves, who was a distinguished botanist with an interest in seaweed and plants mentioned by Theophrastus. Stackhouse constructed the castle, with the main purpose of studying marine algae. The primary material used for the construction is granite, with the facade and the chimneys made of dressed granite. It has a grouted roof with walls topped by embattled parapets. Wings of two storeys, with tripartite windows, were added at the beginning of the 20th century during its conversion to a country house.
The castle is named after Susana Stackhouse née Acton, the wife of John Stackhouse, and the heiress of Edward Acton of Acton Scott. ( an historic manor house and farm in Shropfhire ) John Stackhouse sold the castle to Bulkeley Mackworth Praed, son of William Mackworth Praed a short time before his death. Pread died at the castle on 6 October 1852. The castle passed to his sister, who sold it to Thomas Field, who took up residence at the castle and stayed here for a number of years. In 1861 he sold the castle to Richard Lanyon. After Lanyon's death, his widow remained at the castle till her death in 1899.
Below the castle is what is now known as Stackhouse Cove, where Stackhouse pursued his studies. Remains of several large tanks, they were used to hold the seaweed for Stackhouse's research and can still be found on the grounds today. In 1797 he published his illustrated work Nereis Britannica.
During the time the Stackhouses were the owners of the castle, one of their tenants, a local by the name of John Carter who rented the adjoining farm, took advantage of the infrequency of their residence at the castle and used the castle and the cove nearby as a smugglers den. Carter, a prolific smuggler, also known by his nickname, the "king of Prussia", gave Prussia Cove its name. At one occasion, he even secreted his brother Harry, who had escaped from prison, at the castle. According to local legends, he even constructed tunnels leading from inside the castle premises to the Stackhouse Cove below. The castle was converted into a country hotel during the middle of the twentieth century, but was closed down in 1980s due to lack of business. It was then developed into luxury holiday apartments, as can be seen today.
Tiger Lily scientifically known as Lilium lancifolium is an introduced herbaceous perennial in the Lily family (Liliaceae). It is an Asian species of lily, native to eastern temperate Asia—China (Anhui, Gansu, Guangxi, Hebei, Henan, Hubei, Hunan, Jiangsu, Jiangxi, Jilin, Qinghai, Shaanxi, Shandong, Shanxi, Sichuan, Xizang, Zhejiang), Japan and Korea. It is widely planted as an ornamental because of its showy orange-and-black flowers and has become naturalized in numerous scattered locations in eastern North America (particularly in New England). It bears the proper common English name tiger lily, but that name has been applied to other species as well. Devil Lily, Easter Lily, Garden Lily, Japanese Show Lily, Kentan, Lance-Leaf Tiger Lily, Martagon, Tiger Lily, Leopard Lily, Pine Lily, Lilium catesbaei, Columbia lily, Oregon Lily, Western Wood Lily, Chalice-Cup Lily, and Western Red Lily are few of the popular common names of the plant.
Tiger lily is regarded as an emerging or potential environmental weed in Victoria. It was first recorded as naturalized in Victoria in 1985, where it was reported to be locally abundant in the Dandenong Ranges. Tiger lily is currently mainly found in cooler highland areas and maybe a potential weed of the alpine and sub-alpine regions of south-eastern Australia. The tiger lily is usually gifted to others as a symbol of friendship. It is, however, also used as a symbol of wealth, pride, and prosperity. Its deep orange color symbolizes passion and love. There are several ancient stories of the tiger lily throughout Asian culture. One of these old myths tells the story of a hermit who found a tiger with an arrow jabbed into his body. The hermit attempted to remove the arrow and save the tiger, but the tiger died. However, the tiger told the grieving hermit that their friendship would survive after its death. Tiger’s body is then converted into the tiger lily flower, becoming an everlasting symbol of their friendship.
Plant Description
Tiger Lily is a hardy, vigorous, bulbous herbaceous, perennial plant that normally grows about 1 to 1.5 meters tall and can reach a width of 30 to 60 centimeters. The plant is found growing in woods, thickets, riverbanks, grassy slopes in lowlands, hillsides and mountains, buildings, cemetery prairies, savannas, abandoned homestead sites, vacant lots in urban areas, roadsides and areas along railroads. The plant grows well in full sun, in a well-drained, humus-rich loamy soil. It is widely cultivated in Asia for its edible bulbs and for medicinal uses. Stems are 0.8–1.5 m, erect, unbranched, light green, purplish green, or purple, terete, and moderately woolly-hairy to glabrous.
Bulbs
Bulbs are ovate to spherical, 4–8 cm across, scales broadly ovate, 2 cm long and wide, and are unsegmented. The bulb is occasionally used as a vegetable, like a parsnip. It must be boiled as it can be quite toxic. Its bitterish taste is a lovely companion to stews and other thick dishes. It was grown as a root crop for many years on farms in Asia. The bulb is anti-inflammatory and used as a diuretic in some instances. They are used in Korea to treat coughs, sore throats, and heart palpitations.
Leaves
The alternate leaves along the stem are densely distributed in pseudo-whorls and widely spreading. The lower leaves are 4-6 inches long and ½-¾ inches across. They are medium green, linear-lanceolate, smooth along their margins, glabrous, and sessile. The tips of the lower leaves are acute. The upper leaves are 1½-3 inches long and ½-¾ inches across. They are medium green, narrowly lanceolate to lanceolate, smooth along their margins, and glabrous, clasping the stem at their bases. The tips of the upper leaves are blunt. Leaf venation is parallel. At the bases of upper leaves, there are 1-3 aerial bulblets that are black to dark purple, ovoid in shape, up to ½ inches long, and sessile. Each bulblet consists of a single scale or 2-3 partially merged scales.
Flowers
Each flower consists of 6 strongly recurved tepals that are orange to orange-red, 6 strongly exerted stamens, a strongly exerted style with a tripartite stigma, and an ovary. Tepals are narrowly lanceolate and they have dark purple or maroon spots throughout their anterior (frontal) sides. The tips of the tepals bend back toward the base of the corolla or a little behind the corolla. The style and filaments of the stamens are whitish orange and filiform. Anthers are long, narrow, and dark-colored; their pollen is rust-colored. The blooming period occurs during mid- to late summer, lasting about 1-1½ months. Individual flowers are short-lived, but they are produced in succession. There is little or no floral scent. Because most cultivated and naturalized plants in North America are sterile triploids, usually no seed capsules are produced. Fertile flowers are followed by 3-valved, loculicidal capsule, 3–4 cm across, the margins of valves flat; seeds many, flat, in 2 rows in each cell.
The tincture is commonly made from the flower, harvested only in full bloom, and is used to treat congestion and sometimes to help with nausea. Some believe the flower can be used to treat heart disease. In ancient Asia, it was thought to help deal with issues of aggressivity. Somewhat paradoxically, the tiger lily is very toxic to cats, leading to symptoms of lethargy, vomiting, possible kidney failure, and even death. There is no known toxicity to other species.
History
Tiger lily is native to eastern temperate Asia mostly China (Anhui, Gansu, Guangxi, Hebei, Henan, Hubei, Hunan, Jiangsu, Jiangxi, Jilin, Qinghai, Shaanxi, Shandong, Shanxi, Sichuan, Xizang, Zhejiang), Japan and Korea. The species has also naturalized in other temperate regions of the world (e.g. northern and eastern USA, Canada, and New Zealand). It has been introduced and grown as ornamental in subtropical and temperate areas elsewhere.
This species is also a widespread but sporadic garden escape in eastern and north-eastern North America and seems to be naturalized mainly along roadsides in the cooler and wetter regions of this continent. However, there is one very recent report of thousands of tiger lilies growing in large patches in natural vegetation on a mountain-top in North Carolina. It is also a weed of roadsides, waste places, cemeteries, and bush margins in New Zealand.
Built in 1888, this Queen Anne-style house was constructed as the Commandant’s Quarters and first building at the former US Army base at Fort Thomas, which was active from 1890 until 1964, and sits on a prominent site overlooking the Ohio River at the end of Alexander Circle. The house was first occupied by Commandant Colonel Melville A. Cochran, whom laid out the roads on the military reservation at Fort Thomas and had the house constructed at the most prominent point of the bluff on which the reservation sits. The house features a red brick exterior, rusticated stone base, prominent stair tower on the front facade with rounded corners and a tripartite feature window with an arched transom and stone trim, topped with a balcony featuring a semi-circular roof, wooden columns, and wooden cladding on the low railing, one-over-one double-hung windows, hipped dormers with decorative brackets, stone lintels and sills, a front porch with a hipped roof, open pier foundation, and square columns, a front door with sidelights and a decorative glass transom, a two-story bay window on the side facade facing the Ohio River, a side porch facing the Ohio River with a rusticated stone base, square columns, and a hipped roof, and a rear basement garage addition with a rooftop deck, added in 2020. After sitting vacant since 2002, the was rehabilitated between 2018 and 2020, with the restoration of all intact character-defining features of the house. The house is a contributing structure in the Fort Thomas Military Reservation Historic District, listed on the National Register of Historic Places in 1986.