Iglesia de San Martín, Segovia, España.

Levantada en el siglo XII, ya existía en 1117, pues en el testamento de Domingo Petit aparece como testigo su abad.​

Está situada en la actual plaza de Juan Bravo, a mitad de camino entre la catedral de Santa María y el acueducto romano. Se trata de un templo de origen mozárabe con estilo románico.

El templo difiere en parte del original, ya que algunas partes han sido reconstruidas o eliminadas, como es el caso del ábside central, que fue sustituido. Posee tres naves, crucero con cimborrio de ladrillo y cabecera tripartita.

Del templo son destacables la torre del campanario, que es de estilo románico-mudéjar, y posee arcos de ladrillo sobre columnas de piedra. También es recalcable su galería porticada, que rodea toda la iglesia menos la cabecera. Este pórtico posee arcos de medio punto que descansan sobre columnas con capiteles románicos.

La portada de la fachada occidental es una de las puertas más grandes del románico español. Se trata de una portada de cinco arquivoltas, decoradas con motivos vegetales. Está cobijada por un pórtico, a modo de nártex, cuya abertura es un gran conjunto de arquivoltas soportadas por estatuas humanas que representan personajes del Antiguo Testamento.

Raised in the twelfth century, it already existed in 1117, because in the testament of Domingo Petit his abbot appears as a witness.

It is located in the current square of Juan Bravo, halfway between the Cathedral of Santa Maria and the Roman aqueduct. It is a temple of Mozarabic origin with Romanesque style.

The temple differs in part from the original, as some parts have been reconstructed or eliminated, as is the case with the central apse, which was replaced. It has three naves, a transept with a brick dome and a tripartite head.

Of the temple they are remarkable the bell tower, that is of Romanesque-Mudejar style, and owns arches of brick on stone columns. It is also remarkable its porticoed gallery, which surrounds the entire church except the head. This portico has semicircular arches that rest on columns with Romanesque capitals.

The front of the western facade is one of the largest doors of Spanish Romanesque. It is a cover of five archivolts, decorated with plant motifs. It is sheltered by a portico, like a narthex, whose opening is a large set of archivolts supported by human statues representing characters from the Old Testament.

A old part of the City of Nottingham. Redeveloped for modern Business and luxury apartments.

Stanford Street on the south side of Castle Gate is quite a modern thoroughfare and was not formed until 1853. In certain old documents and maps it is referred to as Stamford Street, but it really gets its name from a certain Mr. Stanford, a wealthy silk merchant who lived at its corner. This gentleman was an extreme Royalist and in 1789 when George III. recovered from his mental malady and the town was illuminated Mr. Stanford's house was noticeable for the gorgeousness of its decorations, and further than this Mr. Stanford gave half a hogshead of ale to the neighbouring populace in which to drink the King's health. His house still stands and is one of the most magnificent houses in the whole of Nottingham, but its history goes back much further than Mr. Stanford's time for it was the town house of the celebrated family of Howe of Langar of which notable family the most prominent member was Richard, Admiral Howe, who, on June 1st, 1794 gained the great victory over the French fleet off Brest which victory we celebrate under the name of "The Glorious First of June."

Stanford House is Grade II Listed Building. Warehouse, now offices. c1854. By TC Hine of Nottingham for J Lewis & Son. Converted late C20. Red brick with ashlar dressings, those to the ground floor painted. Roof not visible behind coped parapet. Plinth, moulded string course, first floor sill band, moulded eaves cornice. 4 storeys; 10 windows, arranged 1:9. To left, slightly recessed entrance bay with a tripartite round-arched doorcase with Doric double columns and double 6-panel doors. Above, a tall round-arched cross mullioned window with shouldered surround, and above it, a smaller segment-arched cross mullioned window. Main block has on the ground floor 6 windows, some blank, flanked by blank doorways. To right, a double door with overlight. All these openings have moulded surrounds. Above, regular ranges of 9 segment-arched glazing bar casements with transoms.

On a Splendid Mariposa Lily (Calochortus splendens)

Mission Trails Regional Park, San Diego, CA

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P4300131

Columbia is a city in Missouri and the county seat of Boone County.[8] Founded in 1821, it is home to the University of Missouri and is the principal city of the Columbia metropolitan area. It is Missouri's fourth most-populous city, with an estimated 120,612 residents in 2016.

As a Midwestern college town, the city has a reputation for progressive politics, persuasive journalism, and public art. The tripartite establishment of Stephens College (1833), the University of Missouri (1839), and Columbia College (1851), which surround the city's central business district to the east, south, and north, has made Columbia a center of learning. At the center of Downtown is 8th Street, also known as the Avenue of the Columns, which connects Francis Quadrangle and Jesse Hall to the Boone County Courthouse and the City Hall. Originally an agricultural town, the cultivation of the mind is Columbia's chief economic concern today.

Three of the five towers at St George Wharf, Vauxhall.

ID

87424

britishlistedbuildings.co.uk/300087424-edwards-fresh-food...

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.

Basilica di Santa Giusta

La facciata della basilica mostra, come il resto della struttura, i blocchi squadrati di arenaria a vista.

Si tratta di una facciata ripartita in tre registri, corrispondenti alla suddivisione interna in navate.

Mentre i registri laterali sono piuttosto spogli di decorazioni, segnati solo dalle paraste d'angolo, il registro centrale appare assai più elaborato.

Questo, infatti, è diviso a sua volta in tre pseudo-registri da alte lesene, chiuse da archi, di cui quello centrale di gran lunga più largo di quelli laterali. Questo pseudo-registro centrale ospita il portale e la trifora.

Il portale è delimitato ai lati da due stipiti marmorei, conclusi da pseudo-capitelli decorati a foglie, e da un architrave, anch'esso marmoreo.

Questo reca scolpiti alle estremità un leone e una leonessa nell'atto di ghermire dei cervi: il sesso delle due fiere è particolarmente enfatizzato, e la leonessa mostra sulla coscia una croce, realizzata attraverso una differente realizzazione del pelo.

Conclude il portale una lunetta al centro della quale campeggia una croce in basalto scuro.

La trifora è un delicato elemento architettonico caratterizzato da esili colonnine marmoree, dotate di base e di capitello. Questa è l'unica apertura esistente sulla facciata capace di assicurare luce all'interno.

La sommità della facciata è conclusa da un timpano tripartito, la cui suddivisione contraddice però la tripartizione del resto del registro centrale. Nella campitura centrale del timpano campeggia una losanga gradonata.

Ai fianchi delle lesene del registro centrale si alzano due colonne marmoree, di cui quella di destra spezzata.

Basilica of Santa Giusta

The facade of the basilica shows, like the rest of the structure, the square blocks of exposed sandstone.

It is a facade divided into three registers, corresponding to the internal division into naves.

While the lateral registers are rather bare of decorations, marked only by the corner pilasters, the central register appears much more elaborate.

This, in fact, is in turn divided into three pseudo-registers by high pilasters, closed by arches, of which the central one is far wider than the lateral ones. This central pseudo-register houses the portal and the three-light window.

The portal is bordered on the sides by two marble jambs, terminated by pseudo-capitals decorated with leaves, and by an architrave, also in marble.

This one has a lion and a lioness sculpted at the ends in the act of snatching deer: the sex of the two beasts is particularly emphasized, and the lioness shows a cross on her thigh, made through a different realization of the hair.

The portal ends with a lunette in the center of which stands a dark basalt cross.

The three-light window is a delicate architectural element characterized by slender marble columns, equipped with a base and a capital. This is the only existing opening on the facade capable of ensuring light inside.

The top of the façade is concluded by a tripartite tympanum, the subdivision of which contradicts however the tripartition of the rest of the central register. In the central section of the tympanum stands a stepped lozenge.

At the sides of the pilasters of the central register rise two marble columns, of which the one on the right is broken.

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ID

3271

britishlistedbuildings.co.uk/300003271-capel-tabernacl-co...

The St. Louis Post-Dispatch Building is an eight-story steel frame office/publishing building located in Downtown St. Louis. Faced with gray limestone in the Beaux-Arts Classical style, the building was constructed from 1916 to 1917 utilizing a design by George D. Barnett of Barnett, Haynes & Barnett (St. Louis). Structurally, the weight of the building is supported by forty-eight caissons placed 50 to 70 feet down to the bedrock to the specifications of engineer H.H. Humphrey. In a 1965 modernization project, the building received a curtain wall which covered the primary south and west elevations (seen in the photograph above) as well as one bay on the east elevation. Thirty-four years later (1999) the curtain wall was removed, returning an important design and significant piece of history to St. Louis' central business district. Despite the impact of a few losses resulting from the curtain wall, the dominant defining characteristics of the strongly stated tripartite Beaux-Arts Classical design survive intact and convey the building's historical associations. Major articulating features that remain include the monumental two-story Corinthian colonnade with recessed arches at the top of the building; the four-story shaft with carved stone portrait roundels and pierced work; and the entablatured center bays at the base which feature arches with intrados of carved stone rosettes.

When opened in 1917, the building became home to the leading newspaper in St. Louis, the sixth largest city in the United States. The growth of the paper had already warranted three previous moves from smaller buildings (all since demolished) and required the construction of this eight-story building. While in the building at 1139 Olive Street, the paper became widely recognized as a forerunner of "crusading journalism", investigating & exposing many of the political & community issues of the time. In 1922, the St. Louis Post-Dispatch Building was home to St. Louis' first broadcast radio station, KSD, which was owned by the Post-Dispatch. Later in 1938, the Post-Dispatch was the first in the world to publish a daily paper by radio. The importance of the St. Louis Post-Dispatch Building is further magnified by the fact that it is one of only three remaining historic newspaper buildings in a city with strong journalistic heritage. And on February 11, 2000, this building was recognized by the National Register of Historic Places (NRHP) as significant under criterion A in the area of Communications for its long, rich history described above. All the information above was found on the original documents submitted to the NRHP for listing consideration and can be viewed here: catalog.archives.gov/id/63820972

Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.

"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/

Brokerage baron Paul Brown made his start in the tobacco industry. In 1893 he moved his company to St. Louis from Montgomery City, Missouri. Bought out by the American Tobacco Company, Brown soon became one of Downtown St. Louis' largest property holders. His 1927 obituary reported that at the time of his death, in addition to the newly completed namesake building, he also owned the Frisco (NRHP listing) and Ely-Walker Dry Goods Company buildings and a controlling interest in the Chemical Building (NRHP listing). He had also previously owned the Title Guaranty and Union Electric buildings in downtown St. Louis (both now razed).

The Paul Brown Building in Downtown St. Louis occupies the western half of a city block bounded by Ninth Street on the west, Olive Street on the north, Eighth Street on the east, and Pine Street on the south. Designed in 1925 by Preston J. Bradshaw (whose body of work is among of the city's most important architectural legacies of the 1920's), the building is 16 stories on its southern half and 12 on the northern half. The building's buff brick exterior features lavish terra cotta ornamentation at its base and at the roof line which is a rare example of an intact cornice in the downtown area of St. Louis. The building is also one of only two in the downtown core displaying characteristics of the 1920's tripartite revival style buildings.

On December 12, 2002, the Paul Brown Building was determined to be eligible for National Register of Historic Places (NRHP) listing under Criterion C for its local significance in the area of Architecture. All the information above (along with many more details) was found on the original documents submitted to the NRHP for listing consideration that can be viewed here: catalog.archives.gov/id/63820603

Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.

"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11

The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/

To the west of the Taj is the Mosque,made up of Red sand stone.

It faces the direction of the holy city of Mecca

Adorned with pietra dura on the outside, the mosque

boasts of 4 octagonal towers and 3 elegant domes.

The sparkling floor is made up of a material that appears to be velvet

red in shade and is

laid out with the outlines of 569 prayer rugs in black marbles.

The interiors of the mosque are inscribed with delicate calligraphy

citing the name Allah and quotations from scriptures.

The mosque has a basic tripartite design:a long hall surmounted by three domes.

The mosque has one of the finest architectecture in terms of design,detailing,symmetry and beauty that i have seen.........

Explored Nov 18 #4

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"This narrow one-bay building originally made up a small part of a larger structure with similarly engaged pilasters and tripartite windows. Built as a triple tenement by George Pratt some years after the 1838 fire [some say c.1850], a brick archway ran through the tenements just east [to the right] of the surviving structure to a rear courtyard with several outbuildings.... The larger portion of the building was demolished in the 1950s." --Jonathan Poston, The Buildings of Charleston (1997).

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.

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.

A more advanced Dusky Coral Pea leaf cluster, showing the characteristic tripartite form.

SMC PENTAX (K) 85mm f1.8

Check out my book of detachable acquaintance cards: May I See You Home?: 19th-Century Pickups for 21st-Century Suitors, by Alan Mays.

"May I see you home?"

An orange version of a popular acquaintance card. See below for another example.

Gravesend 15th July 2019.

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.

Until the capital was transferred to Moscow in 1918, the building served as the headquarters of the General Staff, Foreign Ministry and Finance Ministry.

en.wikipedia.org/wiki/General_Staff_Building_(Saint_Petersburg)

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.

Iglesia de San Martín, Segovia, España.

Levantada en el siglo XII, ya existía en 1117, pues en el testamento de Domingo Petit aparece como testigo su abad.​

Está situada en la actual plaza de Juan Bravo, a mitad de camino entre la catedral de Santa María y el acueducto romano. Se trata de un templo de origen mozárabe con estilo románico.

El templo difiere en parte del original, ya que algunas partes han sido reconstruidas o eliminadas, como es el caso del ábside central, que fue sustituido. Posee tres naves, crucero con cimborrio de ladrillo y cabecera tripartita.

Del templo son destacables la torre del campanario, que es de estilo románico-mudéjar, y posee arcos de ladrillo sobre columnas de piedra. También es recalcable su galería porticada, que rodea toda la iglesia menos la cabecera. Este pórtico posee arcos de medio punto que descansan sobre columnas con capiteles románicos.

La portada de la fachada occidental es una de las puertas más grandes del románico español. Se trata de una portada de cinco arquivoltas, decoradas con motivos vegetales. Está cobijada por un pórtico, a modo de nártex, cuya abertura es un gran conjunto de arquivoltas soportadas por estatuas humanas que representan personajes del Antiguo Testamento.

Raised in the twelfth century, it already existed in 1117, because in the testament of Domingo Petit his abbot appears as a witness.

It is located in the current square of Juan Bravo, halfway between the Cathedral of Santa Maria and the Roman aqueduct. It is a temple of Mozarabic origin with Romanesque style.

The temple differs in part from the original, as some parts have been reconstructed or eliminated, as is the case with the central apse, which was replaced. It has three naves, a transept with a brick dome and a tripartite head.

Of the temple they are remarkable the bell tower, that is of Romanesque-Mudejar style, and owns arches of brick on stone columns. It is also remarkable its porticoed gallery, which surrounds the entire church except the head. This portico has semicircular arches that rest on columns with Romanesque capitals.

The front of the western facade is one of the largest doors of Spanish Romanesque. It is a cover of five archivolts, decorated with plant motifs. It is sheltered by a portico, like a narthex, whose opening is a large set of archivolts supported by human statues representing characters from the Old Testament.

St. Nicholas's Church is the centerpiece of the Museum of Folk Architecture and Rural Life in Lviv. This traditional tripartite timber church, encircled by a wooden fence, was transferred to Lviv from Kryvka village, Turkivskyi Raion in 1930. It was originally built by Boiko carpenters in 1763.

Circa late 17th century The Old Rectory at Lathbury, Buckinghamshire. 17Apr21 grade II listed.

The following is from Historic England

Name: THE OLD RECTORY AND THE WING

Designation Type: Listing

Grade: II

List UID: 1115932

House, former rectory. Late C17, refronted C18, c1850 south block and north service building. Brick, stone rear elevation. Tile roofs, slated to service blocks. 2 storeys plus attic. East front 5 bays, C18 in chequer brick and 2 bay gabled south block. C18 bays doorway at left, C19 flush 2-panel door with key pattern ornament at top and bottom, arched fanlight in double recessed brick opening. Moulded' stone plinth. Box sashes, lst floor band course. 5 first floor sashes with shutters. 3 2-light dormers. Stacks flank original 5 bays with moulded brick cornices, c1690. Victorian south block in brick with tripartite ground floor sash, band course and 2 1st floor sashes with shutters. Arched recess in gable. South front has 2 cement rendered bay windows and 3 first floor sashes. At right of house and set back 2 storey hipped slated service buildings with sashes. Rear elevation stone with sashes and blocked windows, some c1690. Interior: c1690 closed string full-height staircase with turned balusters. C19 staircase also: wave mould at tread ends.

This complete reimagining of my 2011 original was designed over the course of a single day while waiting for parts to arrive for my First Century Jerusalem landscape. While I have undoubtedly made use of the newer 1x2 white ingot tiles for façade texture, much of the other areas of improvement are accentuated by long-extant elements. Most notably, there are binoculars and stretcher wheels for arches (both of which were directly informed by my interpretation of St. Peter's Basilica), minifigure blasters of LEGO Classic Space fame for the crown, and Star Wars jetpacks used for the tripartite pyramidal cornices at the roof of the major block.

Other, more obscure areas of improvement include a more accurate distribution of the horizontal bands delineating the façade of the major block, as well as splashes of sand blue and dark tan near the top, and especially in the crown.

Jerusalem, , Israel: Large, green, tripartite leaf, with copper-colored attendants…

The Tempio Malatestiano (Italian Malatesta Temple) is the unfinished cathedral church of Rimini, Italy. Officially named for St. Francis, it takes the popular name from Sigismondo Pandolfo Malatesta, who commissioned its reconstruction by the famous Renaissance theorist and architect Leon Battista Alberti around 1450.

The church is immediately recognizable from its wide marble façade, decorated by sculptures probably made by Agostino di Duccio and Matteo de' Pasti. Alberti aspired to renew and rival the Roman structures of Antiquity, though here his inspiration was drawn from the triumphal arch, in which his main inspiration was the tripartite Arch of Constantine in Rome, though as Rudolf Wittkower remarked, he drew details (the base, the half-columns, the discs, mouldings) from the Arch of Augustus. The large arcades on the sides are reminiscent of the Roman aqueducts. In each blind arch is a sarcophagus, a gothic tradition of interment under the exterior side arches of a church.

Due to the strong presence of elements referring to the Malatesta's history, and to Sigismondo Pandolfo himself (in particular, his lover Isotta), the church was considered by some contemporaries to be an exaltation of Paganism. Pope Pius II, Sigismondo's deadliest enemy, declared it as "full of pagan gods and profane things"

Jesmond Dene Banqueting Hall is a former entertainment facility for important guests in Jesmond Dene Road, Jesmond Dene, Newcastle upon Tyne. The building, which is currently derelict, is a Grade II listed building.

The building was commissioned by William Armstrong, 1st Baron Armstrong as an entertainment facility for important guests to complement the large mansion (since demolished) that he had built to the west of Jesmond Dene in 1835. Armstrong had tunnels built to connect his house with the banqueting hall. The banqueting hall was designed by John Dobson in the Italianate style, built in rubble masonry and was completed in 1862. The design, which was orientated from north to south, was a rectangular structure with tall round headed windows at both ends.

The complex was extended to a design by Norman Shaw with a gatehouse, reception hall and art gallery between 1869 and 1870. The gatehouse provided access to the other structures, which included the banqueting hall, all of which were reached down a steep staircase and were swept back down the hill. The design of the gatehouse, the only part of the structure visible from Jesmond Dene Road, involved an asymmetrical main frontage of three bays. The left-hand bay featured an arched opening with an archivolt and a hood mould with a tall mullioned and transomed window in the gable above. The central bay was fenestrated with a pair of square mullioned and transomed windows on the ground floor and a tripartite mullioned and transomed window on the first floor with a small gablet above. The right-hand bay contained a small arched doorway on the ground floor.

Armstrong donated the banqueting hall together with Jesmond Dene gardens to Newcastle Corporation in 1883, on the understanding that the complex would be used for the arts, literature, science or education. The Prince of Wales was one of the guests entertained, to celebrate the donation of the gardens, in 1884.

During the first half of the twentieth century, the banqueting hall was used by Newcastle Corporation for entertaining civic guests, and the works of art included a 20 feet (6.1 m) portrait of Prince Hal. However, by 1970, the complex was disused and in 1977 the roof was removed from the original hall.

In September 2017, Newcastle City Council sought expressions of interest on how the complex might be brought back into use. The Tyne and Wear Building Preservation Trust asked the Miller Partnership to prepare design proposals for development of the complex; drawings were duly submitted. However, the complex was listed by The Victorian Society as one of the top ten buildings at risk in May 2024.

Circa 1691 - The Brewers Arms Public House in Brightlingsea, Essex 03 July 2021 - grade II listed.

The following is from the Historic England website.

Name: THE BREWERS ARMS PUBLIC HOUSE

Designation Type: Listing

Grade: II

List UID: 1111403

Public House. Circa 1691 documented building of possibly earlier origin, with later alterations and additions. Timber framed, plastered front and weatherboarded rear. Double range red plain tiled roofs. Central red brick chimney stacks. 2 storeys and attics with lower ranges to right. 3 flat headed dormers with small paned vertically sliding sashes. 2 similar rear dormers with C19 2 light casements. Dentilled cornice. 3 window range of mainly tripartite small paned vertically sliding sashes. Central 4 panel 2 light door, fluted pilasters with moulded capitals and bases, dentilled soffit to pediment. The right range with a single small paned vertically sliding sash and end chimney stack. Iron gutter brackets. New Street left return, weatherboarded, an attic and 2 first floor small paned vertically sliding sash windows. A blocked shop front with 3 pilasters and fascia, 3 light window, and end window and door. 2 first and 3 ground floor rear windows, one a bow and one with a canopy on brackets. Gabled weatherboarded porch to left. The lower left range with single window, C20 door, canopy on brackets. Philip Sainty - a founder of Yacht building in England, who built the schooner "Pearl" for the Marquis of Anglesea, lived in this building circa 1790

Iglesia de San Martín, Segovia, España.

Levantada en el siglo XII, ya existía en 1117, pues en el testamento de Domingo Petit aparece como testigo su abad.​

Está situada en la actual plaza de Juan Bravo, a mitad de camino entre la catedral de Santa María y el acueducto romano. Se trata de un templo de origen mozárabe con estilo románico.

El templo difiere en parte del original, ya que algunas partes han sido reconstruidas o eliminadas, como es el caso del ábside central, que fue sustituido. Posee tres naves, crucero con cimborrio de ladrillo y cabecera tripartita.

Del templo son destacables la torre del campanario, que es de estilo románico-mudéjar, y posee arcos de ladrillo sobre columnas de piedra. También es recalcable su galería porticada, que rodea toda la iglesia menos la cabecera. Este pórtico posee arcos de medio punto que descansan sobre columnas con capiteles románicos.

La portada de la fachada occidental es una de las puertas más grandes del románico español. Se trata de una portada de cinco arquivoltas, decoradas con motivos vegetales. Está cobijada por un pórtico, a modo de nártex, cuya abertura es un gran conjunto de arquivoltas soportadas por estatuas humanas que representan personajes del Antiguo Testamento.

Raised in the twelfth century, it already existed in 1117, because in the testament of Domingo Petit his abbot appears as a witness.

It is located in the current square of Juan Bravo, halfway between the Cathedral of Santa Maria and the Roman aqueduct. It is a temple of Mozarabic origin with Romanesque style.

The temple differs in part from the original, as some parts have been reconstructed or eliminated, as is the case with the central apse, which was replaced. It has three naves, a transept with a brick dome and a tripartite head.

Of the temple they are remarkable the bell tower, that is of Romanesque-Mudejar style, and owns arches of brick on stone columns. It is also remarkable its porticoed gallery, which surrounds the entire church except the head. This portico has semicircular arches that rest on columns with Romanesque capitals.

The front of the western facade is one of the largest doors of Spanish Romanesque. It is a cover of five archivolts, decorated with plant motifs. It is sheltered by a portico, like a narthex, whose opening is a large set of archivolts supported by human statues representing characters from the Old Testament.

M863 HNLMS Vlaardingen, Alkamaar (Tripartite) class Minehunter, Royal Netherlands Navy.

La divisione della vita umana in tre fasi adottata da Aristotele era già presente nel celebre enigma posto ad Edipo dalla Sfinge. L’animale mitologico viene usualmente raffigurato avente le zampe di leone, il corpi di toro, le ali d’aquila e il volto umano, tripartito in espressione delle età, come rappresentato nella statua in bronzo lungo il torrente Vezza a Seravezza.

Seravezza (Lucca) – The statue of Sphinx

The division of human life into three phases adopted by Aristotle was already present in the famous enigma required to Oedipus by the Sphinx. The mythical animal is usually depicted with the legs of a lion, the body of a bull, the wings of an eagle and the face of human tripartite expression of age, as shown in the bronze statue along the river Vezza in Seravezza.

Use without permission is illegal.

Please don't use this image on websites, blogs or other media without my explicit permission.

Circa 1911-12 - Unionist Club, St John Street, Newport Pagnell Buckinghamshire 18May21 grade II listed.

Now an Italian Restaurant.

The following is from the Historic England website.

Name: UNIONIST CLUB

Designation Type: Listing

Grade: II

List UID: 1380124

Unionist Club. 1912-13. Ashlar stonework and brick, the upper brick panels pebbledashed. Steep tiled roof between raised coped gables. Brick stack off centre. Two storeys, attic and cellars. Designed in an Edwardian Free Style. The facade is an essay in balanced assymetry. A recessed centre section with a 2-storey canted bay with 8-pane sash windows, to the left of which springs a keyed arch over the entrance of radial voussoirs. The pair of part-glazed doors is approached by steps. To the right of the bay window, a keyed blind oculus, and above, the date 1913 in a baroque frame. To the left of the bay, on the first floor, a glazed door opens to a railed balcony over the porch arch. The right hand bay has a tripartite 12-pane sash window on both floors, the narrow left bay has a tall panelled door and deep plain overlight. All openings have ashlar stone lintels with the lower arris carved. Open rafter eaves and two 3-light paned dormers in the roof. Interior: The entrance leads to a lobby and a stair to the steward's apartments on the upper floors. To the right the interior has been opened out and modernised, with a long bar on the right.

Chiesa di San Nicola.

La facciata si sviluppa su tre ordini; l'ordine inferiore è diviso in tre specchi, con al centro il portale architravato e sormontato da un arco a tutto sesto. Come quello inferiore, anche il livello mediano è tripartito, con lesene che reggono tre arcatelle, di cui quelle laterali ospitano al loro interno dei rombi decorativi, mentre quella centrale include una bifora. Il livello superiore presenta una falsa loggia, costituita da cinque arcatelle su lesene; quest'area del prospetto è decorata da piccoli bacini ceramici. Lesene e archetti pensili scandiscono l'intero paramento esterno del tempio.

Church of San Nicola.

The façade develops on three orders; the lower order is divided into three mirrors, with the architraved portal in the center surmounted by a round arch. Like the lower one, the middle level is also tripartite, with pilasters supporting three arches, of which the lateral ones host decorative rhombuses inside, while the central one includes a mullioned window. The upper level has a false loggia, consisting of five small arches on pilasters; this area of the façade is decorated with small ceramic basins. Pilasters and hanging arches mark the entire external face of the temple.

Le chasseur de mines Céphée prés a être débarqué du cargo Trina au retour de déploiement dans le Golfe Persique.

Mine hunter Céphée was disembarked from the cargo ship Trina on his return from deployment in the Persian Gulf.

The Lion is a late 15th century hotel, which is protected by Grade I Listing.

The hotel, comprises of 3 buildings. Earliest building is late C15, altered early C19, the others late C18. Earliest building render over timber-frame with plain tiled roof, the others brick, roofs not visible behind parapets.

EXTERIOR: earliest building in the middle of the row: 3 storeys, 2-window range. Tripartite sashes with traceried glazing in brick lower storey are C20 insertions, echoing the design of the upper windows. First floor has projecting outer bays with traceried tripartite sashes linked by a balcony with paired cusped arches over it. Traceried glazing to horizontally sliding sashes in upper storey.

Main block to right built as hotel in later C18, possibly incorporating earlier structure. 4 storeys, 6-window range. Painted brick to ground floor, with central door with Doric columns carrying entablature which supports statue of lion, flanked by 12-pane sash windows. Carriage entry to right. Upper windows also 12-pane sashes with flat-arched gauged brick heads (6 panes to attic). Central windows have moulded stone architraves. Plain parapet eaves. Rear wing with bowed gable end and round-arched windows houses ball room and music room. Parapet has stone panel with mutilated coat of arms, and formerly supported a lion carved by John Nelson of Shrewsbury in 1777.

Lower block incorporated into hotel is c1800. 2 storeys, 4-window range. Painted brick to lower storey. Doorway to right in open pediment, and 3 round-arched windows with traceried glazing recessed in round-arched arcade. Upper windows are 12-pane sashes with flat-arched gauged brick heads. Moulded cornice to parapet eaves, gable end stacks.

INTERIOR: exposed framing visible in central section. Ball room in rear wing on ground floor has dado panelling and fine plasterwork panels between windows. Music room above has very fine and elaborate decorative scheme in the style of Adam, with low relief plaster swags and emblems of music in wall panels, plain dado and enriched frieze. Paired marble fireplaces. Balcony carried on polished marble columns, now partitioned below. Open hall in front block is an early C20 feature, perhaps based on original structure, though nothing survives. Wide segmentally-arched stone fireplace with quatrefoil timber panels in hood. Leaded lights with armorial stained glass panels. An historic inn, closely associated with the London - Holyhead mail coaches and with such persons as Dickens, De Quncey, Paganini and Jenny Lind.

FS Pegase - M644

French Navy Tripartite class Mine Hunter

Length: 50 m

Beam: 8 m

Visiting London. Moored at South Dock, Canary Wharf.

15.10.22.

The foundations of the Michaeliskirche (St. Michael's Church) were laid in 1010 and constructed in an early Romanesque style. The church was consecrated by Bishop Bernward in 1022. The church has a double cruciform architectural plan with two choirs, east and west. It also has double tripartite transepts at either end of the nave, and six towers. The west transept is in view here.

Two large towers are located over both of the crossings, and four other tall and narrow ones are attached to the small sides of the two transepts. The east choir features three apses, and the west has a large single apse, a chapel that rises above the main nave. The crypt with the grave of Bishop Bernward is located underneath the west choir.

Some modifications were made in the middle of the 12th century, such as the choir of angel screens, stucco figures, and the replacement of older capitals. The most stunning feature is the wood panel ceiling that was created around 1230. It shows the genealogical tree of Jesus (Jessebaum).

Town hall, now arts centre. 1899, by GE Bond, converted 1988. Bath limestone ashlar with ragstone rock-faced plinth and slate roof with copper cupola. STYLE: Free Renaissance. PLAN: irregular quadrangular plan with central well. EXTERIOR: 3 storeys and basement; SW front is 3:5 bays. Symmetrical 5-bay section has projecting 3-window centre, rusticated ground-floor and cornices between floors, with a raised, pedimented centre dated 1899; 4 round-arched ground-floor windows, tripartite first-floor windows with the Chatham City arms, and round-arched second-floor windows with foliate aprons. 3-bay left-hand section divided by giant attached columns to upper floors with figures on top and blocked pilasters beneath, blocked round arches to ground floor are entrances and to first floor open with balustrades. To the left, a 3-stage square tower with a curved balcony and clock to each side, with an open bell turret with projecting corners with paired columns, and an octagonal, domed cupola. NW elevation is 4 bays with a central first- and second-storey canted bay, and round-arched ground-floor windows. SE elevation to former Council chamber has 8 bays divided by pilasters, paired round-arched ground-floor windows and large depressed 3-centre arched upper windows with mullions and transoms and carved aprons, the right-hand gable return in 3 sections with a large 3-centre arched upper window in a raised central section, with pedimented parapet. N corner a 2-storey range including a chamfered corner with a large 5-light oriel on a moulded corbelled base. Balustrade extends all round. INTERIOR: richly detailed, includes a large entrance hall with curved stair with decorative rail and newel, first-floor enriched former Council Chamber to rear has a cast-iron balcony, wainscotting and panelling, large former meeting hall with proscenium arch and 6 roof trusses, Mayor's Parlour with original sanitary fittings and ceramic tiles, and half-glazed doors with enriched surrounds.

By respected builders/architects John Watherston and Sons, 1876-7. 3-storey, 10-bay (arranged 6-1-3) Italianate tenement and shops with splayed corner; single storey corniced block far left to S elevation with doorway and window. Sandstone ashlar. Painted ashlar shopfronts to S elevation, segmental arched tenement doorway to E with flanking shop windows. Full height pilasters at angles (channelled at 1st and 2nd floors). Large single console brackets at corner splay, guillochéd balcony above. Consoled pediment to tripartite windows at 1st floor. Moulded cill course at 1st and 2nd floors; prominent consoled corniced eaves course. Corniced and consoled 1st floor windows. Moulded architraved 2nd floor windows.

Confident and well ordered Italianate design for a commercial and residential block, typical of the 1870's. The design takes particular account of the prominent corner site, and the splayed corner and pedimented tripartite windows are a particularly good feature. The Italianate style reflects the broader range of sources which are drawn on by this period. The best example of this is the development of Shandwick Place. The style suggests that the original design for this block was by John Lessels.

The Watherston's practice built large parts of Edinburgh's West End speculatively, often conforming to the plans of the Walker and Heriot Trusts. The practice functioned as both architects and builders, and as well as their work in Edinburgh the firm also did country house work in the same way. Their role here is slightly unclear as drawings only survive detailing general elevations, with later elevations for alteration to the site.

GREAT YARMOUTH

TG5208SW NORTHGATE STREET 839-1/11/134 (West side) 05/08/74 No.7 (Formerly Listed as: NORTHGATE STREET, Whitehorse Plain No.7)

GV II

Shop and flat. Late C18 altered C20 and with an early C19 rear extension. Rendered and colourwashed brick under a pantiled roof. 2 storeys; 2-window range. Late C19 shop front comprising a recessed central entrance flanked by a 3/3 unhorned sash right and left. To the right of this is a plank door leading to first-floor flat. Two 2/2 horned sashes to the first floor. Gabled roof. One internal gable-end stack to east shared with No.6 (qv). The west gable is rendered following demolition of adjacent houses in 1970s. The rear has an attached one-storey and dormer attic extension under a pantiled Mansard roof. One of the 2 dormers has a tripartite sash with 2/2 glazing bars, the other has a late C20 top-hung casement. Central ridge stack. INTERIOR not inspected.

From -

historicengland.org.uk/listing/the-list/list-entry/124600...

Vent in Art déco style.

Restaurant on 10th floor of the Nebotičnik building. Ljubljana, Slovenia.

"Nebotičnik (English: the Skyscraper) is a prominent high-rise located in the centre of Ljubljana, Slovenia, and is one of the city's most recognisable landmarks. Its thirteen storeys rise to a height of 70.35 m (231 ft). It was designed by the Slovenian architect Vladimir Šubic for the Pension Institute, the building's investor. Construction began on 19 April 1931 and the building opened on 21 February 1933. It was, upon completion, the tallest building in the Kingdom of Yugoslavia, and the ninth-tallest high-rise in Europe. It was and would remain for some time the tallest residential building in Europe. [...]

The Nebotičnik building, originally designed as an eight-storey structure, was designed by Vladimir Šubic. [...] Its design is based on the neoclassical and art-deco styles, and is crowned with pilasters on the upper floors. Its design follows the classical tripartite division of tall buildings pioneered by the American architect Louis Sullivan—it is composed of a base designed to interact with the street and pedestrians, a homogeneous shaft, and a crown, topped by a cylindrical colonnade with a mounted flag pole, which was added after the completion of the tower. The façade is interrupted by evenly distributed rectangular windows framed in stone, an accentuated ground level and first floor, and semi-circular windows in the café on the eleventh storey.

The entrance on the ground floor leads to a lobby lined with Karst marble. Upper storeys are accessible by elevator or the spiral stairway at the centre of the building. Two of the elevators are fast and lead visitors to the café on the upper floors, while the third is slower and leads to the residential levels. The stairway terminates at the tenth floor. [...]

Construction of the Nebotičnik building, ordered by the Pension Institute, was controversial. Being the first building to surpass the Baroque silhouette of city's bell towers, some residents of Ljubljana feared it would spoil the skyline, and labelled the building a "freak". [...]"

(Wikipedia)

Primula (M924) is a Tripartite-class minehunter of the Belgian Naval Component, launched on 20 December 1990 at the Mercantile-Belyard shipyard in Rupelmonde and christened by Mrs. Adriaensens, the wife of the then Mayor of Willebroek, on 12 June 1991. The patronage of Primula was accepted by the city of Willebroek. It was the tenth and last of the Belgian Tripartite-class minehunters. (Wikipedia)

French Navy, Tripartite-class minehunter, FS Céphée, Portsmouth, 05/10/18.

Circa 1824 - The conservatory at Alton Towers, Staffordshire on 10 August 2021.

Grade II * listed.

The following is from the Historic England website.

Name: THE CONSERVATORY AND ATTACHED WALL, STEPS AND URNS

Designation Type: Listing

Grade: II*

List UID: 1191969

Conservatory. Wall, steps and urns. Circa 1824. By Robert Abraham. Ashlar and cast iron. Aligned east-west facing south with circular central bay. One storey; 5 bay central block and 3-bay end blocks all with panelled pilasters and bracketed cornices, linked by set-back 8-bay loggias with fluted columns; the central bay is tripartite and bows outwards, all bays are glazed, those to the ends of each block have fanlights with radiating glazing bars; 7 glazed domes with decorative cast iron glazing bars and pineapple finials, the central dome is much larger and has a louvre. Interior: the central bay contains a circular pool. Low retaining wall attached to the left sweeping round to the front where it is terminated by a flight of stone steps flanked by cast iron urns, urns in front of each loggia and one to the right hand end of the conservatory on a stone pedestal. This item forms part of the important garden layout at Alton Towers which is included at Grade I on the HBMC Gardens Register.

Church. Rebuilt 1819-21. By John Kent of Southampton and Joseph Hannaford of Christchurch, in simplified Gothic style, broadly Perpendicular. Renovated 1893, when re-seated. Purbeck ashlar with slate roofs. PLAN: sanctuary with vestibule either side housing staircases to gallery, aisled nave and west tower flanked by vestry wings. Single bay projection to east end housing sanctuary and flanking vestibules, all under one roof. EXTERIOR: sanctuary has 5-light E window with chamfered surround extending well below bottom of present window, 4-centred head with hoodmould and Perpendicular-style tracery probably of 1897. Doorways N and S to vestibules which have 4-panel doors with pointed heads to main panels, overlights with timber Y-tracery, 4-centred heads and hoodmoulds. Above each door a 2-light window with timber and tracery, 4-centred head and hoodmould. Nave has 5-bay aisles under one roof with 2 tiers of 3-light windows N and S, all with chamfered surrounds, 4-centred heads and hoodmoulds; hollow-chamfered wood tracery to windows with quatrefoils to spandrels. 2 tiers of 2-light windows to W end of aisles with similar surrounds, Y-tracery with quatrefoils to heads and hoodmoulds. Offset buttresses between bays and diagonal offset buttresses to angles. 3-stage tower is built clear of body of church with short link to nave incorporating a newel stair either side, that to S leading down to heating chamber, that to S serving tower. Tower has large W doorway approached by 2 stone steps with chamfered surround, 2-centred head and hoodmould; Gothic panelled double-leaf doors and leaded overlight. Original iron lamp in bracket above. Middle stage has tall 2-light windows with Y-tracery, end hoodmoulds. Clock faces above windows with moulded stone surrounds and convex painted iron faces. Bell-chamber openings to top stage with similar tracery and hoodmoulds. Diagonal offset buttresses, 2 string courses and battlemented parapet. Flagstaff on roof with gilded dolphin weathervane. Single-storey vestries either side have a 2-light window to N, S & W sides with hoodmoulds and doorway to E side within short screen walls to gap between vestries and aisles, which have chamfered Tudor-arched doorways and coped parapets. Vestries have flat roofs and battlemented parapets. Chamfered plinths and battlemented parapets to body of church and eastern projection. INTERIOR: sanctuary has offset to side walls about half way up with ornamented cresting. Reredos removed from predecessor's church to which it was given in 1736 by Richard Pennel: it is of mahogany and has tripartite composition with Corinthian pilasters and open pediment; it displays the Lord's Prayer to the left, the Creed to the right and the Commandments in 2 panels to the centre; above outer panels at capital level winged cherubs' heads with flower swags and a dove or eagle in glory emerging from clouds above central panels and projecting into pediment, all carved in relief and gilded. C19 altar rail of mahogany on wrought-iron balustrade, the rails terminating in winged angels' heads either side of entry to Sanctuary. The nave arcades support galleries round 3 sides of nave at mid-height and a plaster rib vault. The columns are of pine from Trinity Newfoundland and are composed of 4 circular shafts bolted together to give piers of quatrefoil sections rising to plain capitals with circular top moulding. Galleries have panelled fronts. Royal Arms of George IV of carved and painted wood to centre to W gallery front presented by the Mayor of Poole George Welch Ledgard in 1821. Gallery clock of same date signed WATTS POOLE. Screen at W end of nave, inscribed on vestibule side with benefactors from 1612 to present day. Early C19 font of mahogany with tripod base on castors, stem of 3 clustered shafts with bell-shaped capital and circular bowl with quatrefoil ornament in lozenges which project below with pendant finials; reeded cover rising to urn finial. St Paul's chapel at E end of S aisle: C18 communion table of mahogany and reredos of C18 panelling with fluted pilasters and incorporating 5 Renaissance panels with grotesque ornament. Organ at E end of N aisle removed from W gallery presented to church in 1799 by Benjamin Lester with pipework from organ of St John at Hackney by Sneteler. Brass lectern of 1887 and oak pulpit of 1894. E window, called the Mariners Window of 1897. MEMORIALS: extensive series of wall monuments, many removed from old church, including brass inscription plaque to Edward Man d.1608, another to Edward Man, 1622; white marble wall monument to George Lewen d.1718, a cartouche on a draped background with cherubs' heads and scull above acanthus bracket; another to Sir William Phippard MP, d.1724, of veined white marble with cherubs' head and urn finial erected 1774 and signed M Meatyard. Other leading citizens commemorated include Peter Jolliff, d.1730, on white marble drapery tablet surmounted by cartouche of arms, erected 1737; Sir Peter Thompson FSA, MP for St Albans d.1770 on white marble tablet surmounted by flat obelisk with coat of arms; William Spurrier d.1809 on a white marble tablet surmounted by draped female mourner clasping funerary urn, signed I Hiscock, and Thomas Parr, deputy provincial Grand Master, d.1824, on tall white marble wall monument in S gallery, carved in relief with cherubs and masonic symbols to head, erected by his brethren. HISTORICAL NOTE: the first mention of a church at Poole is in 1142, when the chapel of St James was given to endow the new Priory of Bradenstoke, Wilts together with the church of Canford (qv). The decision to rebuild the medieval parish church was taken in February 1819 but the rebuilding of the tower was not agreed upon until January 1820, which probably explains why it is a semi-independent structure. The original architects' model survives showing some features which were not finally executed: the tower was to have a spire with a ball finial and the eastern projection was to be divided into 2 floors with a vestry on the ground floor, and a Sunday school on the first floor, and to have 2 tiers of windows with a quatrefoil window to the gable. The foundation stone was laid 31 May 1819. The total cost of rebuilding was »11,740 to which the parish contributed »6,000, the Corporation »1,000 and subscribers »2,010. The tower cost »2,730. A stone tablet in the tower on E wall of first floor is inscribed 'This church was erected AD 1820 Revd Pet' Wm Joliffe Minister, JB Bloomfield Rob' Slade Jun' Churchwards Thos Benham, Builder'. The new church was opened on Easter Monday 23 April 1821, St Georges' Day. The rebuilding of St James's was the culmination of the almost complete rebuilding of the town which took place between 1700 and the early C19, the period of Poole's greatest prosperity. St James's is an exceptionally complete and virtually unaltered late Georgian church of high architectural quality.

I've been to Copenhagen many times before but I hadn't heard about the 'Genetically Modified Little Mermaid' before so I went to investigate.......

Click here to see more photos of Denmark from this and other trips : www.flickr.com/photos/darrellg/sets/72157601329109555

From the Afar.com website : "Mobs of tourists line up to get their photo taken in front of Copenhagen's iconic Little Mermaid statue. The bronze replica of Hans Christian Andersen's beloved fairytale mermaid was certainly cute. But I found the city's less famous mermaid to be much cooler (and totally crowd-free). The “Genetically Modified Little Mermaid” is on a square by Dahlerups Pakhus, an old warehouse in the Copenhagen Harbour, just a short walk from the real statue. Bjørn Nørgaard created the abstract mermaid as part of a larger sculpture group called the Genetically Modified Paradise. The collection of sculptures is supposed to be the artist’s ironic view of the postmodern society and a meditation on the way genetic technology is changing the way humans perceive themselves. His other works surround a large fountain and are abstract representations of Madonna, Adam, Christ, Maria Magdalena, Eve, the tripartite capital and a pregnant man. The mermaid is set apart on her own small island nearby. "

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