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One of the main door panels cast in fibreglass with a bronzed finish. The stylized sculpted reliefs are by William Mitchell and represent the symbols of the Evangelists (here the eagle of St John & lion of St Mark).
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The newest addition to Liverpool's Metropolitan Cathedral is the sequence of four pairs of monumental stained glass 'obelisks' that flank the four cardinal points around the building's exterior, flanking the main front and rear entrances. They are the work of German artist Raphael Seitz and were installed in 2009.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
We were star-struck when we drove into Shamrock, Texas and saw this beautiful art-deco building from the 1930s. Apparently it was the inspiration for Ramone's House of Body Art in the Pixar movie "Cars". Sara got some pretty good shots using her fish-eye lens, but I think this shot, unobscured by power lines, turned out pretty well.
Here's what I know about this place.... In the 1930s it became clear that Route 66 would cut through the north end of Shamrock, TX. The owners of the prime corner lot at the new crossroads of the Del Rio Canadian Road (US Route 83) and Route 66 were offered a deal. Sell the land and have a beautiful custom designed building constructed on the site for their own use. The owners jumped at the deal, grabbed a stick and sketched the building they wanted in the dirt for the prospective buyer. The drawing was transferred to paper and the station was born.
The building was constructed as three separate businesses, the Tower Conoco Station, so named for the tall tower gracing its roof, the U-Drop Inn Cafe, named by a local schoolboy in a contest that awarded him $50.00 for his idea, and a retail store, never used as such, but soon taken over by the cafe folks for use as a ballroom and overflow dining room.
The building was beautiful in its day; neon lighting, deco details and glazed ceramic tile walls. It gradually took a beating, the biggest hit coming in the 70s when it was painted red-white-and-blue and turned to a FINA gas station. The building operated successfully for most of its life, closing completely in the mid-90s.
There are plans to restore the building as a stopping place for weary travelers to get a cup of coffee, a soda or just to play some dominos and chat with local old-timers. The station is to be restored to what it looked like as an operating 1940 station, so Route 66 travelers and gas station buffs can stop and walk through. I can't wait.
Hanging over the main entrance to the cathedral, one of a sequence of three embroidered panels.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
This embroidered panel in the Chapel of Remembrance was made in the Cathedral Art Studio and inspired by Cardinal Newman’s Dream of Gerontius. It was designed by Sr Anthony Wilson.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Metropolitan Cathedral of Christ the King (RC), Liverpool, 1962-67.
By Sir Frederick Gibberd RA (1908-1984).
Grade II* listed.
At the top of the steps is the huge 80 foot facade of the bell tower above the main entrance. Hight above, a pattern of crosses and crowns, by William Mitchell, is carved in deep relief in the Portland stone facing. The large central cross of Christ is flanked by the crosses of the two thieves who were crucified with him. The cross of the good thief is embellished, while the other is left plain. They are linked together with crowns, symbols of Christ the King, to whom the Cathedral is dedicated. Above the facade are the four bells dedicated to Matthew, Mark, Luke and John. Electrically operated, they are designed either to ring freely in a harmonious chord, or to be individually tolled.
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Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
en.wikipedia.org/wiki/Liverpool_Metropolitan_Cathedral
www.liverpoolmetrocathedral.org.uk/
William Mitchell (sculptor) (1925–2020), English sculptor and muralist.
William George Mitchell - Biography
(1925-2020.) Born in London, he studied art at the Southern College of Art, Portsmouth and at the Royal College of Art where he won a fourth year scholarship (The Abbey Award) which enabled him to study at the British School in Rome. He established the William Mitchell Design Consultants group and produced sculptures in plastics, concrete, wood, marble and brick. He has been a member of the Design Advisory Board, Hammersmith College of Art, and Trent Polytechnic, and is a member of Formwork Advisory Committee and the Concrete Society. He has many pieces throughout the country, including Liverpool Metropolitan Cathedral entrance; Three Tuns public house, Coventry (1966). Exhibitions include a joint show held at the Engineering and Building Centre, Broad Street, Birmingham (1967), where he showed three over-life-size figures, The Magi, which were made from Thermalite load-bearing aerated concrete building blocks, produced by Thermalite Ltd, Lea Marston. Sources: ‘Painter’s search for peace’, Birmingham Post, 11 May 1967; Pereira, Dawn, William Mitchell, MA thesis, University of East London, 1998. [WCS2003]
www.publicsculpturesofsussex.co.uk/maker?is=maker&id=231
See also:-
en.m.wikipedia.org/wiki/William_Mitchell_(sculptor)
www.the-modernist.org/news/2018/6/2/william-mitchell-arti...
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The Golden-bellied starfrontlet (Coeligena bonapartei). What a magnificent and beautiful hummingbird ...and my goodness, those golden feather. 😍
During our tour (Andean Hummingbirds) We absolutely adored photographing this stunning bird. The unmistakable golden plumage makes such a strong statement against that emerald foliage...
Did you know...
STAR FRONTLET:
STAR Any small, natural and bright dot appearing in the unobscured sky, especially in the night or twilight....and FRONTLET skyFrom Old French frontelet, diminutive of frontel.
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The newest addition to Liverpool's Metropolitan Cathedral is the sequence of four pairs of monumental stained glass 'obelisks' that flank the four cardinal points around the building's exterior, flanking the main front and rear entrances. They are the work of German artist Raphael Seitz and were installed in 2009.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The newest addition to Liverpool's Metropolitan Cathedral is the sequence of four pairs of monumental stained glass 'obelisks' that flank the four cardinal points around the building's exterior, flanking the main front and rear entrances. They are the work of German artist Raphael Seitz and were installed in 2009.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
A hearse is a funeral vehicle, a conveyance for the coffin from e.g. a church to a cemetery. Normally more luxurious brands of car are used as a base; the vast majority of hearses in the United States and Canada are Cadillacs and Lincolns. Since the working life of a hearse is generally one of light duty and short, sedate drives, hearses remain serviceable for a long time; hearses 30 years old or more may still be in service, although some funeral homes replace them at least once a decade. As of 2004, a new hearse in the USA usually costs in the range of $60,000 to $85,000.
Two styles of hearse bodywork are common. The older style is the limousine style; these have narrow pillars and lots of glass. These are more popular in the United Kingdom, among others. More popular in the United States is the landau style, with a heavily-padded leather or (later) vinyl roof, and long blind rear quarters, similarly covered, and decorated with large metal S-shaped bars designed to resemble those used to lower the tops on some horse-drawn coaches. It is common practice in the USA for the windows to be curtained, while in the UK the windows are normally left unobscured.
Due to the costs of owning an expensive custom vehicle that sits idle "80 to 90 percent of the week", individual funeral homes reduce costs by renting or utilizing a shared motor pool.
In recent decades, high capacity funeral homes have implemented designated "first-call" vehicles, used exclusively to transport the deceased to the funeral home. These vehicles are often converted full-size station wagons that may or may not feature a traditional landau roof and bars, although in recent years, following the end of the full-size station wagon era, the preference has shifted towards minivans with slide-over landau bar panels for the 3rd row windows. Many first-call vehicles have the appearance of a hearse, but will not accommodate a full-sized casket in length or height.
www.nationalhearse.net/forums/showthread.php?7387-Auto-Po...
Factors to Consider When Selecting a Funeral Coach
Based on customer feedback and decades of experience in the funeral industry, Eagle Coach focuses its operations on three factors of the greatest importance to funeral directors and the families they serve: quality, safety and design.
Abstract glass in dale de verre by John Piper & Patrick Reyntiens in one of the side chapels of the cathedral.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
This bike was locked and placed so carefully against the post as if it were on show. The wheels unobscured and also matching the size of the circle on the post. I really like how the smooth curvatures of the bike contrast the jagged white wall behind it, casting sharp shadows upon itself. The blue of the bike being the only element of colour in an otherwise black and white surrounding.
The Grand Canyon-Parashant National Monument is located on the edge of one of the most beautiful places on Earth - the Grand Canyon. Situated on the Colorado Plateau in northwestern Arizona, within the drainage of the Colorado River, the monument borders Grand Canyon National Park to the south, and the state of Nevada to the west, and encompasses a portion of Lake Mead National Recreation Area. These 1,014,000 acres of federal land is a scientific treasure holding many of the same values that have long been protected in Grand Canyon National Park. Deep canyons, mountains, and lonely buttes testify to the power of geological forces and provide colorful vistas. Its Paleozoic and Mesozoic sedimentary rock layers are relatively undeformed and unobscured by vegetation, offering a clear view to understanding the process of the geologic history of the Colorado Plateau. The monument encompasses the lower portion of the Shivwits Plateau, an important watershed for the Colorado River and the Grand Canyon. Beyond the phenomenal geological resources, the monument contains countless biological, archeological, and historical resources.
Bring plenty of water, food, extra gasoline and at least two spare tires. High clearance vehicles are recommended.
www.blm.gov/visit/search-details/3108/2
Photo by Bob Wick/Bureau of Land Management
Abstract glass in dale de verre by John Piper & Patrick Reyntiens in one of the side chapels of the cathedral.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The sculpture of Christ & children is by Stephen Foster, whilst the woven hanging is by Jill Hutchinson and depicts the Sea of Galilee.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Abstract glass in dale de verre by John Piper & Patrick Reyntiens in one of the side chapels of the cathedral.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
I traveled to Mexico in 1991 to see this total eclipse- 7 minutes of totality! We were on a mountain top at Xochicalco, about 45 minutes west of Cuernavaca, south of Mexico City. We were very lucky to see the entire eclipse, relatively unobscured. About 20k people showed up, including El Presidente himself. This was taken on Kodak Ektar film, ASA 25.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The newest addition to Liverpool's Metropolitan Cathedral is the sequence of four pairs of monumental stained glass 'obelisks' that flank the four cardinal points around the building's exterior, flanking the main front and rear entrances. They are the work of German artist Raphael Seitz and were installed in 2009.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Metropolitan Cathedral of Christ the King (RC), Liverpool, 1962-67.
By Sir Frederick Gibberd RA (1908-1984).
Grade II* listed.
St Joseph’s Chapel.
St Joseph's chapel is adorned with pine cladding, into which artist Stephen Foster (1952-2019), has carved low relief vignettes of the life of the Holy Family with painted accents.
To the right, Joseph is shown on his death bed supported by Mary and Jesus.
Detail: The death of Joseph.
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Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
en.wikipedia.org/wiki/Liverpool_Metropolitan_Cathedral
Have you gone Utterly Butterly? It said on the side of the Clydeside ECW bodied Olympian coach working the 28 to Linwood. More to the point, had Clydeside’s marketing people gone utterly sadistic!
I dread to think how wearing it was travelling from Glasgow to Linwood in the brown velour of the ECW coach interior with the curtain effect (somewhere between net curtain and blackout curtain) of the Contravision obscuring all but the windscreen and door. One hopes the driver’s window was also unobscured.
Contravision is beloved of advertisers and hated by passengers and was patented in Italy 26 years ago. The first British operator to use it [fairly discreetly and for route branding] was a firm called Jubilee Coaches of Stevenage.
They were taken over by Soveriegn, and then their Stevenage routes were bought over by Luton & District to link their original home patch with the London Country North West acquisition. Luton and District also had an enthusiasm for backing other people’s management and employee buyouts, Clydeside 2000 was one such.
In time, like Luton & District, Clydeside ended up part of British Bus, which then became Arriva.
There were very few occasions when I would have turned down a ride on an ECW coach Olympian in favour of a converted Mercedes-Benz van, but this may have been one...
Ron Doig Image ©Glasgow Vintage Vehicle Trust.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The newest addition to Liverpool's Metropolitan Cathedral is the sequence of four pairs of monumental stained glass 'obelisks' that flank the four cardinal points around the building's exterior, flanking the main front and rear entrances. They are the work of German artist Raphael Seitz and were installed in 2009.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
One of the main door panels cast in fibreglass with a bronzed finish. The stylized sculpted reliefs are by William Mitchell and represent the symbols of the Evangelists (here the bull of St Luke & angel of St Matthew).
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
I love Matt for always wanting to do the Johnny Cash thing, he finally flips to the side of the camera so I get his face unobscured... and I let my flash cast this weird shadow.
I mean, I kinda like the shadow, but having gotten good finger placement (Matt's far from the only one who's flipped straight at the lens and obscured their face) I guess I would have rather gotten a little more conventional lighting.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Abstract glass in dale de verre by John Piper & Patrick Reyntiens in one of the side chapels of the cathedral.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Had I been able to get his tail unobscured by cattails, this would have been the only shot posted of this young Great Blue Heron (Ardea herodias) in The Elbow, SE sector, Thomson Marsh, Kelowna, BC.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The newest addition to Liverpool's Metropolitan Cathedral is the sequence of four pairs of monumental stained glass 'obelisks' that flank the four cardinal points around the building's exterior, flanking the main front and rear entrances. They are the work of German artist Raphael Seitz and were installed in 2009.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
www.brampton.ca/en/City-Hall/Bylaws/2011/126-2011.pdf
The property at 21 Brisdale Drive, formerly 1120 Bovaird Drive West is worthy of designation under Part IV of the Ontario Heritage Act for its cultural heritage value. The property meets the criteria for designation prescribed by the Province of Ontario under the three categories of design or physical value, historical value and contextual value.
The cultural heritage value of the Nathaniel Hunter House is related to its design or physical value as a Georgian, Classic Revival House from the early Victorian period. The Georgian style was popular from 1750 to 1850. Georgian style homes are characterized by simplicity, symmetry, and solidarity. They are typically five bay homes with sash windows, comice embellishments, and dentil molding along the eaves. The main entrance is usually centered, paneled, with a decorative crown and flattened columns on both sides. They reflected the larger, more elaborate houses that were being built in England. The Classic Revival style gained prominence in 1820 to 1860. Like the Georgian style, the Classic Revival style is known for its symmetry and elegant simplicity of form. It embraced classical Greek forms and occasional Roman influences.
Built circa 1850, the Nathaniel Hunter House is located on land that has been used for agricultural purposes since the early 19th century. The house is distinguished by its unobscured gable roofline, all original and existing eave, verge, soffit and frieze board trim work, the original exterior brickwork, and especially the Flemish bond. Brickwork on the front and east facades indicates that these walls were for presentation to impress visitors coming up the lane from the road which is now Bovaird Drive West.
The property also has historical or associative value as it can be associated with Brampton's early settlers, particularly the Hunter family. According to the Perkins Bull Collection, James Hunter was an early Peel County pioneer, who arrived in Upper Canada in 1836 from County Tyrone, Ireland, and settled on the outskirts of Derry West. He purchased land for his sons Nathaniel, Joseph, and William who become well-known farmers in the early history of the community of Mount Pleasant, the Town of Brampton, Chinguacousy Township and Peel County. The structure is the only remaining example of three houses built in the mid-Victorian period by a member of the Hunter family.
The property also holds important contextual value. The property is directly associated with the early settlement of Brampton and its rich agricultural legacy. While the agricultural landscape and farming fields around the Nathaniel Hunter house have vanished, the house still has contextual value as it is being preserved in situ and retains
its physical relationship to the historical Highway 7. The setback of the house alludes to the agricultural functions that once dominated the area.
Good thing they saved it; it's now surrounded by a suburban shopping plaza development, in the middle of the plaza parking lot...
Brampton, Ontario. (Confusingly, the neighbourhood is Mount Pleasant, of which there are several in Ontario...)
The Bara Gumbad, or "big dome," is a large domed structure grouped together with the Friday mosque of Sikander Lodi and a mehman khana (guesthouse), located in New Delhi's Lodi Gardens. The buildings were constructed at different times during the Lodi era and occupy a common raised platform. Formerly an outlying area of Delhi, the Lodi Gardens are a British-planned landscaped garden which includes a number of monuments (primarily tombs) from the Sayyid and the Lodi dynasties. Originally called Willingdon Park, the gardens were located in the former village of Khairpur, now on the edge of Lutyen's Delhi, the colonial capital built by the British in the early 20th century. The gardens, which cover approx. 70 acres, have come to be surrounded by institutional buildings and some of contemporary Delhi's most expensive real estate.
Although they were built under the same dynasty, each of the three structures was undertaken separately. The Bara Gumbad, completed in 1490, is considered to have the first full dome constructed in Delhi. Its original purpose is contested; although it appears to be a freestanding tomb, it contains no tombstone. This causes the speculation that the building might have been intended as a gateway for the Friday mosque; however, their respective placements, stylistic differences, and construction dates do not support this theory. The Friday mosque, completed in 1494, is the first example of the new mosque type that developed during the Lodi era. Characterized by a relatively simple five bay prayer hall building adjacent to a simple open courtyard, this type was an important precedent for mosque architecture in the Lodi and Mughal eras.
The complex can be accessed from various points along the roads bordering the Lodi Gardens, with the access from the Lodi road towards the south most prominent. The buildings are situated at a distance of about 300 meters from Muhammad Shah's tomb towards the south and about 380 meters from Sikander Lodi's tomb towards the north. Another prominent structure, the Shish Gumbad, is located facing the Bara Gumbad at a distance of about seventy-five meters towards the north. The area surrounding the buildings is landscaped with manicured grass lawns. Few trees are planted in the immediate vicinity, leaving the view of the structures unobscured. The path winding through the Lodi Gardens approaches the buildings axially from the north, although the building plinth is accessible all from all sides.
The buildings are sited on a three-meter-high platform, measuring approximately 30 meters (east-west) by 25 meters (north-south). The Friday mosque is located along the western edge of the platform; the guesthouse is sited opposite it, occupying the eastern edge, while the Bara Gumbad is located along the southern edge. Stone masonry walls, about six meters high, connect the three structures along the southern edge. The northern edge is provided with staircases for accessing the platform. A centrally located straight flight comprising of eight steps, about ten meters wide, connects the ground to a generous mid landing. Another 'C' shaped flight of eight steps wraps around the landing, creating an amphitheatre-like space and reaching the top of the platform. The current arrangement of steps appears to be more recent, and the remains of walls adjoining the southern face of the guesthouse and the mosque indicate that the northern edge might have originally been walled. In the center of the raised court, with its southern edge along the staircase, are the remains of a square shaped platform, 8 meters wide, which appears to be a grave.
Friday mosque:
The Friday mosque is a single aisled, rectangular building, approx. 30 meters (north-south) by 8 meters (east-west). The mosque is organized in five unequal bays, which correspond to the five arched doorways on the eastern (entry) elevation. The width of the arched doorways decreases from the center towards the sides. The arches span across grey granite piers. The central arch is framed within a projecting rectangular portal, measuring about 8 meters in height by 6 meters wide. The piers of the rectangular frame are cased in dressed granite and have three shallow arched niches in red sandstone, occurring vertically above the springing point of the arch, on either side. The doorway itself is described by four receding planes of ogee arches, the outermost one being in line with the external face of the rectangular portal. The doorways immediately to the side of the central portal are about 5 meters wide, while those at the two ends are approx. 1.5 meters wide with two receding planes of ogee arches, adding to the prominence of the central doorway. The apex of each innermost arch is constant, measuring approx. 5 meters from the top of the platform. Each arch is finished in plaster and embellished with intricate carved Arabic inscriptions. The spandrels are also heavily carved with geometric motifs, and their the corners are adorned with round inscribed plaster medallions. Red sandstone eaves (chajjas) on stone brackets top the arches, interrupted only by the central projecting portal that extends above them. There is a blank plastered frieze above the eaves, followed by the projecting horizontal bands of the cornice that is topped by a blind masonry parapet adorned with petal shaped crenellations with inscribed plaster medallions.
The interior of the prayer hall reflects the five bay division of the eastern elevation. It is a rectangular space, measuring about 27 meters (north-south) by about 7 meters (east-west). Additional arches spanning between the piers on the eastern elevation and the engaged piers of the western wall emphasize the demarcation of the interior space into bays. These internal ogee arches reach a height of about five meters. They are finished in plaster and profusely decorated with carvings of Arabic inscriptions. The piers are unornamented, dressed gray granite.
The qibla (western) wall of the prayer hall is a blind wall divided into five unequal bays expressed as recessed ogee arched niches, reflecting the arched openings on the eastern wall. The two bays adjacent to the central bay have three equal niches carved out from the portion below the springing line of the main arch. These niches are separated by granite piers, which have smaller arched niches in the top third of their elevation. The three niches are made of two layers of ogee arches framed by the piers. The external layer is in gray-yellow granite, while the interior arch is made of red sandstone. The central niche is mildly distinguishable from the others because its arched portion is curved and the imposts are engraved, while those of the adjacent arches are plain. The innermost rectangular portion of the central niche is blank, while that of the adjoining niches has the carving of a vase and flora inscribed in it. The tympanum of the main outer arch is finished in plaster and has an additional niche directly above the central niche which is embellished heavily with plaster carvings of Arabic inscriptions. A band of similar inscriptions runs along the interior perimeter of the arch and around the upper niche in a closed loop. The voussoirs of the outer arch are plastered and embellished with another layer of carvings. The central bay of the western wall also has three niches, each made of four recessed planes of alternating rectangular and arched profiles. The central mihrab niche is taller and wider. It is also shallower and the innermost plane is blank, while the other two niches are deeper set with relief work. A stone minbar with three steps has been provided abutting the northern pier of the central niche.
Hemispherical domes cover the three central bays, while the terminal bays are covered by low flat vaulted ceilings. The square plan of the three central bays transitions into an octagonal drum through the application of corbelled pendentives at the corners. The corbelling occurs in four layers, which increases in width from the bottom up. The layers are further embellished with curved niches set into rectangular frames, which also increase in number, the lowest corbel having one and the last corbel having five such niches. The last layers of the pendentives form alternate edges of the octagonal drum; the remaining edges being formed by the extension of the walls and are also provided with similar curved niches. The octagonal drum transitions into a hexadecagon, followed by a thirty-two-sided polygon by the provisions of small struts. Each face of the hexadecagon is provided with shallow niches, while the thirty-two-sided polygon is described by a projecting band of red sandstone, followed by a band of inscriptions finally topped by the hemispherical dome. The dome is finished in plain plaster. The voussoirs of the arches, the pendentives and the tympanum are all covered by intricate stucco Arabic inscriptions. The central dome is relatively higher that the other two domes.
The northern and southern walls of the mosque are punctured by ogee arch doorways below the springline of the main arch. Each opening leads to a projecting balcony, comprising of red sandstone posts supporting a tiered roof. The balconies protrude out from the faade and are supported on red sandstone brackets, whose profiles and carvings are characteristic of Hindu architecture. An elaborately carved arched niche is provided above each opening on the interior wall. It is set into a rectangular frame embossed with Arabic text.
The plasterwork on the external northern and southern walls of the mosque has fallen off, exposing the stone masonry, while that on the western wall has survived. The central bay of the western wall projects out and is marked by two solid towers at the corners. These towers are divided vertically into four layers; the first two layers from the bottom are orthogonal, while the third layer has alternating curved and angular fluting; the top layer, extending over the parapet of the mosque, has a circular section. The corners of the mosque are marked by similar tapering towers, which are divided into four layers. Each layer is circular in plan except the third layer, which is described by alternating curved and angular fluting. All the towers have the remains of finials at their apex. The central projecting wall has four red sandstone brackets in its upper third portion, which may have supported a projecting balcony similar to those on the north and south elevations.
The plasterwork on the walls of the plinth is now gone, exposing the rubble masonry construction below. The western face of the plinth is punctured by five ogee arch openings set into rectangular frames, one in the center and two each on the sides. These openings provide access to the basement within the plinth.
The roof has three domes corresponding to the three central bays of the prayer hall and the three central arches on the eastern elevation. The extrados of the domes are finished in plaster. The octagonal drums supporting the domes protrude out over the roof level, above which the circular bases of the domes are decorated with blind crestings having floral motifs. The central dome is marginally larger than the adjacent domes and all three have the remains of lotus finials at their apex.
Bara Gumbad:
Square in plan, the Bara Gumbad measures approx. 20 meters per side. Set on a plinth 3 meters high, it joins the common plinth on the north and projects beyond it to the south. Its plinth is decorated on the east, south, and west with ogee arch openings set into rectangular frames. These provide access to a basement.The walls of the Bara Gumbad are approx. 12 meters tall, above which a hemispherical dome on a hexadecagonal drum extends another 14 meters from the roof level, for a total building height of 29 meters above ground level.
Each of its elevations is nearly identical and divided into 2 horizontal sections. A projecting portal composed of an ogee arch set in a rectangular frame (approx. 8 meters wide), is centered in each elevation and rises approximately 75 cm above the parapet line of the building. The 1.5 meter wide frame is made of dressed gray granite. Each vertical pier of the frame has six shallow red sandstone niches arranged atop one another at varying heights; nine niches continue in a line along the horizontal portion of the frame. The portal is described by two receding planes of grey granite ogee arches; the spandrels are cased with black granite with a thin projecting edge of red sandstone. Two round plaster medallions adorn the spandrels. The lower layer of the portal has a central doorway, spanned by two red sandstone brackets that form a trabeated arch supporting a black granite lintel. These brackets are supported on grey granite posts. An intricately carved red sandstone frame adorns the brackets and the lintel; it starts at the springing point of the arch and frames the lintel of the doorway. The entire composition is set in a rectangular yellow sandstone frame. An ogee arch window has been provided above the trabeated entrance. The portal is crowned by the arched crenellations of the blind parapet. Solid turrets mark the projecting corners of the portal.
The remainder of the elevation, that flanking the central portal on either side and recessed behind it, is divided vertically into two equivalent parts by projecting horizontal bands of stone. Each part is described by two equal arched panels set into rectangular frames. Both the panels of the upper part on either side of the portal are blind and filled with granite masonry. The lower panels located adjacent to the portal are windows, while the lower panels at the edges are filled in. The parapet, like the portal, is decorated with arched crenellations, and the roof has solid turrets at each corner.
A single hemispherical dome surmounted on a sixteen-sided drum crowns the building. Each face of the drum is described by an ogee arched niche set in a rectangular frame. The voussoirs of the arches are gray granite, while the spandrels are clad with red sandstone. The top edge of the drum is decorated with a band of arched crenellations, similar to those on the roof parapets, running above a projecting band of stone that surrounds the drum. Below this projection is band of leaves carved in relief. The extrados of the dome are finished in smooth plaster. The lotus base, possibly for a vanished calyx finial, is still extant.
The structure can be entered either from the raised courtyard via the north elevation or from a double flight of steps located on the western elevation. Inside, the square building measures about seven meters per side. An 80 cm high, 45 cm wide solid seat runs continuously along the interior perimeter of the building. Light streams in from all four walls, which are punctured by the openings of the doorway at the ground level and the ogee arch window above. The interior surfaces of the Gumbad are unornamented and finished in dressed granite. The square plan of the room transitions into an octagon via squinches, which then support the thirty-two-sided drum and the dome. The apex of the dome has two bands of floral inscriptions; otherwise, the dome is finished in plaster. The absence of historical inscriptions has contributed to the confusion over the original purpose of the Bara Gumbad.
Mehman Khana:
The third structure in the group is rectangular in plan, measuring about 27 meters (north-south) by 7 seven meters (east-west). Located along the eastern edge of the common plinth, it faces the mosque and is connected to the Bara Gumbad by a masonry wall along its northern face. The structure is believed to have either been a mehman khana, (guesthouse) or a majlis khana (assembly hall).
The building is accessed from the common plinth through its western wall, which is divided into five bays, mirroring the eastern elevation of the mosque opposite it. The three central bays are considerably larger and have ogee arch doorways, giving access to the interior, while windows puncture the smaller end bays. The arches are set in rectangular frames, which are recessed from the face of the elevation. Each opening is composed of two recessed planes of arches. The spandrels are clad in red sandstone, contrasting with the gray granite of the elevation, and are decorated with round plaster medallions with lotus motifs. The window openings have an additional tie beam or lintel at the springline. The tympanum of the window towards the south has been filled with stone, while that of the window towards the north has been left open. A continuous chajja, supported on equidistant stone brackets, projects from the western wall above the rectangular frame. The cornice is unornamented and is topped by the projecting horizontal band of the parapet, which reaches a height of approximately five meters from the top of the raised plinth. The roof of the structure is flat. The exterior of the building lacks decoration and is finished in dressed granite.
The interior is divided into seven chambers occurring from north to south; the central chamber is the largest, measuring about 5 meters (north-south) long. It is abutted by relatively narrow chambers (approx. 2.5 meters long). The outside chambers which flank the 2.5 meter wide chambers on either side are approximately the size of the central chamber, and correspond to the arched openings in the western wall. The chambers are separated from each other by gray granite walls, punctured by simple ogee arched doorways set in rectangular frames. Square in plan, the outer rooms are separated from the adjacent chambers by stone walls with rectangular door openings with blind ogee arches and rectangular frames. Each doorway has shallow rectangular recesses on either side, as well as a small arched window set into a rectangular recess and a stone jali screen set above the doorway within the tympanum of the main arch. The eastern wall of the building has blind ogee arches, occurring as two successive planes, reflecting the arched openings of the western elevation.
The roof of the central chamber is flat and supported on arches located on four sides; flat stone brackets appear at the corners. The two adjacent rooms are covered by shallow domes supported on squinches. The interior domes are finished in plaster with carved concave fluting. The exterior of the domes has been filled to blend with the flat roof of the central room.
Certain stylistic continuities are recognizable in the three buildings; each was constructed with (local) gray granite and lime mortar. However, the degree and type of embellishment, both interior and exterior, on the mosque differs substantially from that found on the other two, relatively unadorned, buildings.
Apart from the grouping of the three structures and their stylistic similarities, the buildings do not appear to have been planned as a complex. The Friday mosque is the first example of the panchmukhi building type, where "panch" (five) and "mukhi " (facade) characterize a five-bay prayer hall. This approach was influential in both the Lodi and the Mughal periods. The Bara Gumbad is significant for having the first complete hemispherical dome in Delhi.
The differences in the surface ornament of the buildings suggest that the buildings were constructed at different times, with the Bara Gumbad and the guesthouse being similar in style and decoration, without the multilayered arches of the Friday mosque. The function of the Bara Gumbad is still unknown; its geometry and form aligns with the predominant tomb architecture of the period (like the neighboring Shish Gumbad). However, there is no grave or cenotaph in the building, and rather than being blank, its qibla wall (like its other walls) is punctured by an entrance. While the continuous stone bench in the interior is also found in gateway architecture, (as in the Alai Darwaza at the Quwat-ul-Islam Mosque in Mehrauli), the size of the Bara Gumbad vis-a-vis the Friday mosque does not support this conjecture. Some scholars surmise that the structure might have been a gateway to the larger complex of tombs within the Lodi Gardens.
Lodi Dynasty
-----------------
The Lodi dynasty in India arose around 1451 after the Sayyid dynasty. The Lodhi Empire was established by the Ghizlai tribe of the Afghans. They formed the last phase of the Delhi Sultanate. There were three main rulers in the history of Lodi dynasty. All three of them have been discussed in detail in the following lines. So read on about the Lodi dynasty history.
Buhlul Khan Lodi
Buhlul Khan Lodi (1451-1489) was the founder of the Lodi dynasty in India and the first Afghan ruler of Delhi. He was an Afghan noble who was a very brave soldier. Buhlul Khan seized the throne without much resistance from the then ruler, Alam Shah. His territory was spread across Jaunpur, Gwalior and northern Uttar Pradesh. During his reign in 1486, he appointed his eldest son Barbak Shah as the Viceroy of Jaunpur. Though he was an able ruler, he really couldn't decide as to which son of his should succeed him as the heir to the throne.
Sikandar Lodi
After the death of Buhlul Khan, his second son succeeded him as the king. He was given the title of Sultan Sikander Shah. He was a dedicated ruler and made all efforts to expand his territories and strengthen his empire. His empire extended from Punjab to Bihar and he also signed a treaty with the ruler of Bengal, Alauddin Hussain Shah. He was the one who founded a new town where the modern day Agra stands. He was known to be a kind and generous ruler who cared for his subjects.
Ibrahim Lodhi
Ibrahim Lodhi was the son of Sikander who succeeded him after his death. Due to the demands of the nobles, his younger brother Jalal Khan was given a small share of the kingdom and was crowned the ruler of Jaunpur. However, Ibrahim's men assassinated him soon and the kingdom came back to Ibrahim Lodhi. Ibrahim was known to be a very stern ruler and was not liked much by his subjects. In order to take revenge of the insults done by Ibrahim, the governor of Lahore Daulat Khan Lodhi asked the ruler of Kabul, Babur to invade his kingdom. Ibrahim Lodhi was thus killed in a battle with Babur who was the founder of the Mughal dynasty in India. With the death of Ibrahim Lodhi, the Lodhi dynasty also came to an end.
Reasonable record shots were certainly not what I had in mind when I made the long drive up to Mildenhall, Suffolk to see this first year female Waxwing. In the 6 Hours I was there it became possibly one of the most frustrating birds I've ever tried to photograph. It was on show almost constantly and very close at times (down to 8 meters) but it would not sit low down and in the open. In fact it chose perches that almost looked uncomfortable for it over nice unobscured ones. Oh well....
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Evangelist symbol, detail of the sculpted reliefs by William Mitchell in bronze-finished fibreglass that adorns the main doors of the cathedral.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
en.wikipedia.org/wiki/Liverpool_Metropolitan_Cathedral
www.liverpoolmetrocathedral.org.uk/
Uploaded originally for the 'Guess Where UK?' Group.
The Beisa Oryx were inhabitants of scrub at Awash National Park so it was quite difficult photographing them unobscured by twigs.
The newest addition to Liverpool's Metropolitan Cathedral is the sequence of four pairs of monumental stained glass 'obelisks' that flank the four cardinal points around the building's exterior, flanking the main front and rear entrances. They are the work of German artist Raphael Seitz and were installed in 2009.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
The Naval Memorial is located to the north of the town alongside the A47 (previously A12) Yarmouth Road, approximately one mile north of the harbour. The War Memorial is in a prominent position within the local authority gardens, known as Bellevue Park. The park is on the top of the cliffs and the War Memorial itself is on the edge of the cliff so providing an unobscured view of the foreshore and sea. Commemorating almost 2,400 men of the Royal Naval Patrol Service who have no grave but the sea, the War Memorial consists of a fluted column rising from a circular base almost 40ft in diameter surmounted by a bronze ship device (Lymphad) the uppermost point of which is over 49ft from ground level. Around the circular base are arranged bronze panels that bear the names. The panels are set in recesses and protected from the weather by a cornice. A Portland stone panel at the front of the War Memorial, flanked on either side by the Naval Crown with wreath and Fouled Anchor, faces towards the sea.
The War Memorial was designed by Mr. F. Hamer Crossley (FRIBA) who won a competition to provide the design, the winning design was chosen by Sir Edward Maufe. The Royal Naval Patrol Service War Memorial was unveiled by the First Sea Lord (Admiral of the Fleet) Sir Rhoderick McGrigor on the 7th of October in 1952.
Inscription on the base reads :-
THESE OFFICERS AND MEN
OF THE ROYAL NAVAL PATROL
SERVICE DIED IN THE DEFENCE
OF THEIR COUNTRY AND HAVE
NO GRAVE BUT THE SEA
1939 - 1945
THESE RANKS AND RATINGS DIED ON SHORE
BUT HAVE NO KNOWN GRAVE.
(There are 2,400 names on the Memorial, far too many to name here, please follow link :-
www.iwm.org.uk/memorials/names/search?filters%5BmemorialS... )
Lowestoft was chosen as the site for the War Memorial to those men of the Royal Naval Patrol Service who have no other grave than the sea. This was because it was the Depot for the Royal Naval Patrol Service during World War Two, developed from the pre-war Royal Naval Reserve Trawler Section Depot. At the outset of World War Two the Men of this Service were mainly the fishermen of the requisitioned trawlers and drifters used on Patrol Work, but later it included men from all walks of life and various types of small craft. In the spring of 1944 the Royal Naval Patrol Service reached its maximum strength of some 57,000.
Between 1942 and 1946 new construction ships and craft manned by the Service totalled 1,637, among them Minesweepers of various kinds, Corvettes, Fuel Carriers, Motor Launches and Naval Seaplane Tenders, their objective was to maintain Wartime Patrols and safeguard the coasts of Britain.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.
Terracotta Madonna & Child figure by Robert Brumby in the Lady Chapel.
Liverpool's Catholic Cathedral of Christ the King is one of the most iconic church buildings of the 20th century, a daring architectural statement of the Church's embrace of post Vatican II reform and a unique structure with it's tent-like form and cylindrical lantern tower filled with glowing colour.
The present cathedral was begun in 1962 and opened five years later; it was designed by Sir Frederick Gibberd, winning designer of an architectural competition to build the new cathedral. This had followed years of hiatus and the abandonment of the previous insanely ambitious plans for the cathedral, building of which had begun in 1933 to the designs of Sir Edwin Lutyens but stopped soon after World War II with only the crypt completed. Lutyens's huge domed building verged on megalomania, designed to exceed the size of the enormous Anglican cathedral rising at the other end of Hope Street, and if finished would have been the World's second largest church, dominating the city. The need to revise such plans in the face of postwar austerity was hardly surprising.
Instead Liverpool was bequeathed a dramatic and instantly recognisable modernist landmark, which despite a few irreverent nicknames is generally admired for its innovation and contemporary artwork, foremost among which is the richly coloured dalle de verre glazing of the suspended lantern tower by John Piper and Patrick Reyntiens, who were also responsible for most of the glazing below which bathes the interior of the building in a subtle blue light.
The circular interior has the central altar as it's focus, below the lantern tower and a spiky suspended canopy, and is ringed by a sequence of individually designed chapels and annexes, most of which feature altars, minimalist coloured glazing and further contemporary artworks. It is a vast, auditorium-like space which ensures every member of the congregation has an unobscured view of the altar.