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National Trust. Lyme. Disley, Stockport, Cheshire, northwest England. (Cheshire & Greater Manchester).
Had a wonderful time visiting here. It's about 60 miles, 1 hour 50 mins drive for me.
Lyme is a glorious house, surrounded by gardens, moorland and a deer park. Nestling on the edge of the Peak District, Lyme was once home to the Legh family and, in its heyday a great sporting estate. The 1,400 acre estate with its medieval herd of red deer offers fantastic walks and stunning views.
There is an elegant Rose Garden, Ravine Garden or the luxurious herbaceous borders next to the reflecting lake where a certain Mr Darcy met Miss Bennet in the BBC production of 'Pride and Prejudice'.
The site catalogues approximately three-quarters of a million National Trust objects with more being added daily.
The house is the largest in Cheshire, and is recorded in the National Heritage List for England as a designated Grade I Listed Building. The estate was granted to Sir Thomas Danyers in 1346 and passed to the Leghs of Lyme by marriage in 1388.
The house dates from the latter part of the 16th century (1720s). The house is the largest in Cheshire, measuring overall 190 feet (58 m) by 130 feet (40 m) round a courtyard plan. It has a symmetrical 15-bay three-storey south front overlooking the the beautiful lake.
Architects were Giacomo Leoni and Lewis Wyatt incorporating the Elizabethan, Palladian, Baroque styles.
The house is surrounded by formal gardens of 6 hectares (15 acres) in a deer park of about 550 hectares (1,359 acres) which are listed at Grade II* in the National Register of Historic Parks and Gardens. In the gardens and deer park are a number of structures.
To the west of the house is the former mill pond. From the south side a lawn slopes down to another pond beyond which is a small ravine with a stone bridge.
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No Group Awards/Banners, thanks
"I'm trusting you...don't make me regret it..."
Damon Salvatore - The Vampire Diaries
"Mi sto fidando di te...non farmene pentire..."
Touchdown.
Another shot of our friendly, trusting Robin landing on Mary's hand to take a currant from her. Until last week they would only take from the floor near our front door. It was a real surprise when I was putting food out the other day to have a bird suddenly fly over and land on my hand. Since then we haven't been able to stop feeding and photographing him! We both feel very privileged.
in this frozen moment, the machine meets skin. there’s no blood, no pain – just pressure, breath, precision. the tattoo artist leans in, eyes locked on the fine tip, while latex hands control and stretch. the client’s fingers curl, half relaxed, half anticipating the sting. everything is clean, structured, tense – yet there’s intimacy. the monochrome palette strips away distraction and leaves only gesture, focus, and trust. this isn’t just about ink. it’s about the human act of imprinting meaning into flesh.
An exhibit at Washington DC's Newseum, the museum of journalism, asks visitors this question: "Do you trust blogs as much as traditional news media?"
Sheer Trust
I could see through you
your praises, your faults
your love for me your cause
entrusting you with my heart
I should surrender, now ever more...
location : kuwait
model : Abdulrahman al-ansary
lighting : sony ericsson flash gun =Pp
i had some problems with the lightning .. & also i`m not so good with photo shop .. so this is the best i could do =)
HDR Rendering of Downtown Baltimore in the tradition of Pop and Modern Art.
In this Picture: on the left side: , Burke's Restaurant, Parking Garage at 22 Light Street, Buidling with the Susquehanna Bank & 7-Eleven, MECU- Building with the Arches , Baltimore Trust, CitiBank, St Paul Plaza; on the right side: Wachovia Bank Building - with clock face, and various buildings in the Water Street Collective.
Now available on RedBubble: www.redbubble.com/people/projectart69/works/8157082-downt...
Format: Photograph
Find more detailed information about this photographic collection: acms.sl.nsw.gov.au/item/itemDetailPaged.aspx?itemID=395435
From the collection of the State Library of New South Wales : www.sl.nsw.gov.au/
A quick peek at a series I have started shooting for a National Trust project.
These images were taken on a trip home to Devon, where I managed to rally together some wonderful volunteers to model for me! A huge thank you to everyone involved, and apologies for muddied feet and rain frizzed hair!
Inspirations and recreations include Tim Walker, The Selby, Lucia O'Connor Mccarthy, Eleanor Hardwick and Ellie Goulding.
Model: Jessica May Goodman
Wardrobe: Lauren Coates
Photography/Art Direction: Hannah Coates
Fidelity-Philadelphia Trust Company Building
currently Wells Fargo Building
sculptors: Piccirilli Brothers
window designers: d'Ascenzo Studios
architect: Simon & Simon, 1927-28
architectural style: Beaux-Arts
Center City - Rittenhouse Square
Avenue of the Arts - Broad Street Historic District
123-151 S. Broad St.
Philadelphia, Pennsylvania
Kedleston Hall is a neo-classical manor house owned by the National Trust, and seat of the Curzon family, located in Kedleston, Derbyshire, approximately 4 miles (6 km) north-west of Derby. The medieval village of Kedleston was moved in 1759 by Nathaniel Curzon to make way for the manor.[2] All that remains of the original village is the 12th century All Saints Church, Kedleston.[3]
Background
The current house was commissioned in 1759 by Nathaniel Curzon and designed by Robert Adam.[4]
The Curzon family, whose name originates in Notre-Dame-de-Courson in Normandy, have been in 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 his designs that Adam was quickly put in charge of the construction of the new mansion.
On the death of Richard Curzon, 2nd Viscount Scarsdale in 1977, expenses compelled the heir, his cousin (Francis Curzon), to transfer the property to the care of the National Trust.[5]
Exterior
Kedleston Hall was Brettingham's opportunity to prove himself capable of designing a house to rival Holkham Hall. The opportunity was taken from him by Robert Adam who completed the North front (above) much as Brettingham designed it, but with a more dramatic portico.
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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, corps de logis, the largest block, contains the state rooms and was intended only for formal entertaining. 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 never executed. These further wings were intended to contain, in the south-east a music room, and in the southwest 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.
The north front, approximately 117 yards [107 m] in length, is Palladian in character, dominated by a massive, six-columned Corinthian portico; however, the south front (illustrated right) is pure neoclassical Robert Adam. This garden facade 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.
Hall
Marble Hall 1763, decoration completed in 1776-7
Entering the house through the great north portico on the piano nobile, one is confronted by the marble hall. Nikolaus Pevsner describes this as one of the most magnificent apartments of the 18th century in England.[6] It measures 67 feet (20 m) by 37 feet (11 m) in plan and is 40 feet (12 m) high.
Twenty fluted pink Nottingham alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. Niches in the walls contain casts of classical statuary by Matthew Brettingham the Younger and others;[6] above the niches are grisaille panels of Homeric subjects inspired by Palladio's illustration of the Temple of Mars. The stucco in the ceiling was created by Joseph Rose in the 1770s.[6]
The floor is of inlaid Italian marble. Matthew Paine's original designs for this room intended for it to be lit by conventional windows at the northern end, but Adam, warming to the Roman theme, did away with the distracting windows and lit the whole from the roof through innovative glass skylight.
The overmantels to the fireplaces are by Joseph Rose with firebaskets by Robert Adam.[6]
At Kedleston, the hall symbolises the atrium of the Roman villa and the adjoining saloon the vestibulum.
Saloon
The saloon
The saloon, contained behind the triumphal arch of the south front, like the marble hall rises the full height of the house, 62 feet (19 m) to the top of the dome, where it too is sky-lit through a glass oculus. Designed as a sculpture gallery, this circular room 42 feet (13 m) in width was completed in 1763.
The decorative theme is based on the temples of the Roman Forum with more modern inventions: in the four massive, apse-like recesses are stoves disguised as pedestals for classical urns.[1] The paintings of ruins are by Gavin Hamilton and the grisaille panels have scenes of British worthies painted by John Biagio Rebecca.[6]
The four sets of double doors giving entry to the room have heavy pediments supported by scagliola columns, and at second-floor height, grisaille panels depict classical themes.
From the saloon, the atmosphere of the 18th-century Grand Tour is continued throughout the remainder of the principal reception rooms of the piano nobile, though on a slightly more modest scale.
State bedroom
The "principal apartment", or State bedroom suite, contains fine furniture and paintings.
The state bed was constructed by James Gravenor of Derby.[7] The state bed posts are carved to represent palm tree trunks which soar up and break into flamboyant foliage at the top, sweeping in palm-fronds behind.[8]
Drawing room
Settee by John Linnell in the Drawing Room dated from around 1765.
The drawing room with huge alabaster Venetian window is 44 feet (13 m) by 28 feet (8.5 m) by 28 feet (8.5 m). The doorcase is also alabaster. The fireplace with a scene of virtue rewarded by honour and riches is flanked by large female figures sculpted by Michael Henry Spang.[6] The gilt sofas by John Linnell date from around 1765.[9] They were commissioned by the 1st Baron Scarsdale and supplied, together with a second pair of sofas to Kedleston in 1765.
Dining room
The dining room
The dining room, with its gigantic apse, has a ceiling that Adam based on the Domus Augustana in the Farnese Gardens. The apse contains curved tables designed by Adam in 1762[6] and a giant wine cooler. The ceiling contains panel paintings of the continents by Antonio Zucchi, the seasons by Gavin Hamilton and the centre is by George Morland. The original wall panels are by Francesco Zuccarelli, Frans Snyders, Claude and Giovanni Francesco Romanelli.
Music Room
The Music Room has Ionic doorcases and delicate plaster ceiling designed by Adam. The marble chimneypiece is inlaid with Blue John. The pipe organ was second hand by John Snetzler with the case designed by Robert Adam and built by Robert Gravenor.[10] A second manual with Hautboy was added in 1824 by Alexander Buckingham.[11] The organ was restored in 1993 by Dominic Gwynn.
Library
The Library
The library contains a Roman doric doorcase leading to the Saloon. The bookcases were designed by Robert Adam[6] and built by James Gravenor of Derby.[12] The plaster ceiling is divided into octagonal patterns. The library desk was built in 1764 by James Gravenor. Wikipedia