Family Virtues and Family Values Group
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As I mentioned a few days ago, I am currently looking into the production of ferric oxalate, not because I am dissatisfied with Bostick&Sullivan's product, but merely out of a thirst for knowledge.
I do not know the recipe of B&S, presumably it is iron(III)-nitrate and oxalic acid.
In my first attempt I followed the recipe of Pizzighelli and Hübl (ferric hydrate and oxalic acid). An interesting alternative, but time-consuming.
In the second attempt, it was iron(III)-nitrate and oxalic acid. The time required is similar, but with fewer steps.
The substance is not clearly defined, which makes it difficult to determine the exact content of oxalate solutions. The prevailing opinion is that the solution for the platinum process should contain 27% iron(III)-oxalate, for the Kallitypy 20%.
For practical purposes, the determination method using the specific gravity is sufficiently accurate, although any free oxalic acid present cannot be determined.
For the Kallitype, a specific gravity of 1.13 results in a solution of about 20%; for the comparison of the mode of action, the three oxalate solutions were brought to exactly this value. The measurement of the pH value showed clear deviations between the (acidic) solutions, which indicates different contents of free oxalic acid.
Paper: Hahnemühle Platinum Rag
Developer: Sodium Acetate
To obtain comparable densities, different exposure times were necessary.
From left to right:
B&S 3 minutes, P&H 2:30 minutes, Ox (iron nitrate) 2:15 minutes.
Wie schon vor einigen Tagen erwähnt, beschäftige ich mich momentan mit der Herstellung von Eisen(III)-Oxalat, nicht weil ich mit dem Produkt von Bostick&Sullivan unzufrieden wäre, sondern lediglich aus Wissensdrang.
Die Rezeptur von B&S ist mir nicht bekannt, vermutlich handelt es sich um Eisen(III)-Nitrat und Oxalsäure.
Bei meinem ersten Versuch bin ich nach der Rezeptur von Pizzighelli und Hübl (Eisen(III)-Hydrat und Oxalsäure) vorgegangen. Eine interessante Alternative, doch der Zeitaufwand ist hoch.
Beim zweiten Versuch waren es Eisen(III)-Nitrat und Oxalsäure. Der zeitliche Aufwand ist ähnlich hoch, allerdings bei weniger Arbeitsschritten.
Die Substanz ist nicht klar definiert, was es schwierig macht, den exakten Gehalt von Oxalat-Lösungen zu bestimmen. Nach vorherrschender Auffassung sollte die Lösung für den Platinprozeß 27% Eisen(III)-Oxalat enthalten, für die Kallitypie 20%.
Für die Praxis ist die Bestimmungsmethode über das spezifische Gewicht hinreichend genau, wobei allerdings ein eventuell vorhandener Anteil an freier Oxalsäure nicht festgestellt werden kann.
Für die Kallitype ergibt sich bei einem spezifischen Gewicht von 1.13 eine etwa 20% Lösung, für den Vergleich der Wirkungsweise wurden die drei Oxalatlösungen auf exakt diesen Wert gebracht. Die Messung des pH-Wertes zeigte deutliche Abweichungen zwischen den (sauren) Lösungen, was auf unterschiedlichen Gehalt an freier Oxalsäure hindeutet.
Papier: Hahnemühle Platinum Rag
Entwickler: Natriumacetat
Um vergleichbare Dichten zu erhalten, waren unterschiedliche Belichtungszeiten erforderlich.
Von links nach rechts:
B&S 3 Minuten, P&H 2:30 Minuten, Ox (iron nitrate) 2:15 Minuten
"I always thought that there is little merit in virtue and very little fault in error." "Also because I still have not understood what exactly the virtue and what exactly is the error. "
"Why just move the latitude and see how the values become disvalues and vice versa"
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Images and textures are mine
All rights reserved. Image can not be inserted in blogs, websites or any other form, without my written permission.
They're creepy and they're spooky, they're mysterious and cooky, they're Day Twenty Nine...
Thank you to Parker Droverson for being part of this collaboration - check the tags to see his incredibly stunning feed!
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Find credits for the entire look here!
No, I just refuse to believe my eyes
In front of me something I can't recognize
You stood beside me all my life
The heart machines are ticking
I can hear the life support pumping
The line between life and death doesn't become any clearer than this
Covered with an oxygen mask
These words will be his last
With the energy he has got left
He turns to me and say
I can not stand by you
Till the end of the world like I said I would do
No, I won't be able to
Help you carry the weight of the world
My time has come
Silent as a butterfly
I'll be flying beside you
Watching above you
Silent as a butterfly
All of a sudden I've lost my strength
Isn't it scary how things can change
Mm, in an instant just like that
Whenever I had questions
You always had the answers
You taught me about life
And the importance of being yourself
And to highly value honesty
How not to lose grip of reality
With both your feet on the ground
I can not stand by you
Till the end of the world like I said I would do
No, I won't be able to
Help you carry the weight of the world
My time has come
Silent as a butterfly
I'll be flying beside you
Watching above you
Silent as a butterfly
You weren't suppose to see me like this
And I'm sorry, sorry
I must leave, it's my turn
But I will see you soon (soon)
I cannot stand by you
Till the end of the world like I said I would do
No, I won't be able to
Help you carry the weight of the world
My time has come
Silent as a butterfly
I'll be flying beside you
Watching above you
Silent as a butterfly
As A Butterfly - Dead By April
A huge thank you to Abigail Brewer for posing for me in this shot. It wouldn't have felt right to me if I did it without you. ♥♥
Photo taken at Lux Aeterna. Please go check out the beautiful SIM.
ISO 500
26 mm
S10 - full auto mode
low light scenery
-
Brightness Value - 1.15
Exposure Bias - 0 EV
Max Aperture Value - 2.4
Metering Mode - Center-weighted average
vom Muttertags Strauß für Karin
HUES is a 6 week color series focused on creating a primary color value based on a singular color for each week, starting with red and ending with violet.
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3. Last light on Monte Rosa
November 2022
90 × 60 cm, Alu-Dibond
Italiano
Mentre la valle è già avvolta nell’ombra, le cime più alte del Monte Rosa vengono illuminate un’ultima volta dalla luce del tramonto. Un momento di quiete sopra un paesaggio in costante trasformazione.
Il ghiacciaio del Grenz scende dal massiccio del Monte Rosa e si unisce al ghiacciaio del Gorner, che all’altezza del Gornersee (a sinistra nell’immagine) è ormai quasi scomparso. Questo lago temporaneo d’acqua di fusione appare in estate al confine tra i due ghiacciai, quando l’acqua si accumula in una depressione naturale sul ghiaccio. Non appena le temperature scendono, il lago scompare.
Ciò che rende il Gornersee così particolare è il suo svuotamento naturale, a volte improvviso. Quando il livello dell’acqua raggiunge un punto critico, essa scorre attraverso canali subglaciali verso valle, in direzione del fiume Vispa. Un evento simile è noto come GLOF (Glacial Lake Outburst Flood), in cui enormi quantità d’acqua possono essere rilasciate in brevissimo tempo.
Per i glaciologi, il Gornersee è di grande interesse. Il lago offre preziose informazioni sul mondo nascosto sotto il ghiaccio: come si muove l’acqua di fusione, come si formano i canali di drenaggio sotterranei e quale ruolo gioca il cambiamento climatico in questi processi.
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Deutsch
Während das Tal bereits im Schatten liegt, werden die höchsten Gipfel des Monte Rosa ein letztes Mal vom Sonnenlicht erfasst. Ein stiller Moment über einer Landschaft, die sich ständig verändert.
Der Grenzgletscher fliesst vom Monte Rosa Massiv hinab und trifft auf den Gornergletscher, der auf Höhe des Gornersees (links im Bild) bereits fast verschwunden ist. Dieser temporäre Schmelzwassersee entsteht im Sommer an der Grenze der beiden Gletscher, wenn sich Schmelzwasser in einer natürlichen Senke auf dem Eis sammelt. Sobald die Temperaturen sinken, verschwindet der See wieder.
Besonders am Gornersee ist sein gelegentlich plötzliches natürliches Ablassen. Wenn der Wasserstand eine kritische Höhe erreicht, bahnt sich das Wasser über subglaziale Kanäle den Weg hinab in Richtung Fluss Vispa. Ein solches Ereignis wird als GLOF (Glacial Lake Outburst Flood) bezeichnet, dabei können in kurzer Zeit enorme Wassermengen abfliessen.
Für Glaziologen ist der Gornersee von grossem Interesse. Der See liefert Einblicke in die verborgene Welt unter dem Eis: Wie sich Schmelzwasser bewegt, wie unterirdische Abflusskanäle entstehen und welche Rolle der Klimawandel dabei spielt.
________________________________________
English
While the valley is already in shadow, the highest peaks of Monte Rosa are lit one last time by the setting sun. A moment of stillness above a landscape in constant motion.
The Grenzgletscher flows down from the Monte Rosa massif and connects with the Gorner Glacier, which has already almost vanished near the Gornersee (left in the image). This temporary meltwater lake appears in summer on the boundary between the two glaciers, as meltwater accumulates in a natural depression on the ice. When temperatures drop, the lake disappears again.
What makes the Gornersee remarkable is its sometimes sudden natural drainage. When the water level reaches a critical height, it carves its way through subglacial channels downhill toward the Vispa River. Such an event is known as a GLOF (Glacial Lake Outburst Flood), during which immense volumes of water can be released in a short time.
For glaciologists, the Gornersee is of great value. It provides insights into the hidden world beneath the ice: how meltwater moves, how subsurface drainage channels form, and what role climate change plays in these processes.
A person, who values the beauty of nature and ambient in the world, for richer and happier than those, who did not notices this.
Another sad entry from my late aunt Edie's autograph book. The poppy would suggest that he didn't come back.
A treasure with great sentimental value, especially so, as we approach armistice day once again.
Carmen Fantasy – Gil Shaham – Claudio Abbado, Berliner Philarmonic Orchestra
Have a nice evening, you all :-)
Bujaruelo, Sobrarbe, Aragón, España.
El valle de Bujaruelo es un valle del Pirineo aragonés, en la provincia de Huesca (España) lindante con el Parque Nacional de Ordesa y Monte Perdido, justo al noroeste del valle de Ordesa, y donde nace el río Ara, del que forma parte como zona periférica de protección. A pesar de su extraordinario valor natural y de los varios intentos llevados a cabo, intereses urbanísticos, turísticos y ganaderos han evitado su incorporación al mencionado Parque aún a pesar de ser limítrofe con él. Sin embargo sí que forma parte del lugar de importancia comunitaria Bujaruelo - Garganta de Los Navarros.
The Bujaruelo Valley is a valley in the Aragonese Pyrenees, in the province of Huesca (Spain) bordering the Ordesa and Monte Perdido National Park, just to the northwest of the Ordesa Valley, and where the Ara river is born, of which it forms part as peripheral protection zone. Despite its extraordinary natural value and the various attempts carried out, urban, tourist and livestock interests have avoided its incorporation into the aforementioned Park even despite being bordering it. However, it is part of the place of community importance Bujaruelo - Garganta de Los Navarros.
The purpose of Arches National Park is to protect extraordinary examples of geologic features including arches, natural bridges, windows, spires, and balanced rocks, as well as other features of geologic, historic, and scientific interest, and to provide opportunities to experience these resources and their associated values in their majestic natural settings.
Jvari Monastery is one of the most iconic in Georgia. This ancient temple dates back to the 6th century AD. It was built at the dawn of the adoption and spread of Christianity in Georgia. The name of the church is translated from Georgian as “the cross” and has its own history. According to the legend, the cross of St. Nino, one of the most revered saints who converted Georgia to Christianity, is kept here. After some time, a temple was built on the site of the holy cross, which later became the basis of the present Jvari.
The Jvari temple is located nearby the ancient capital of Georgia, Mtskheta, on the top of a high mountain, from where picturesque views of the neighborhood open, at the intersection of stormy waters of the Aragvi and Kura rivers. The temple attracts thousands of tourists because of its architecture, location and historical value. Exterior and interior decorations of the temple are made in simple, and we can say quite austere forms. Unlike most Orthodox churches, Jvari is beautiful with its simplicity, rigor and clarity of lines. According to the structure, the temple is classified as serial, or tetraconch. Inside the temple right in the center under the dome on a stone pedestal, stands the impressive wooden cross, decorated with inscriptions and carvings. The exterior facades of the temple are decorated with simple, and at the same time expressive bas-reliefs.
To the top of the mountain where the temple stands, lead two ways: a new asphalt road for cars, and a path through which people used to climb up to the sanctuary from time immemorial. The trail begins at the highway. Climbing up along it until about the middle, you can come across a spring with holy water which is believed to appear thanks to the prayers of St. Nino. This water is considered to be curative and miraculous. The temple of Jvari went through a long and difficult journey of one and a half thousand year’s length along with the Georgian people, experienced hardships and difficulties, becoming a symbol of faith for Georgia.
Dandelion (Taraxacum officinale) has been valued since ancient times for its great healing properties. It is a symbol of the true perseverance of nature. Dandelions are full of antioxidants and boosts immune system. Other benefits include weight loos, kills cancer cells, supports bile secretion, healthy digestion and fights constipation.
Thank you everyone so much for sharing your quality photos which is a great way to see and keep in touch with the world from home. Also for your kind comments and favours which are much valued.I am not able to take on any more members to follow or to post to groups. I prefer not to receive invites to groups
November 8, 2025 - #15
Not too long ago, I rode along the intimate road of West Lake on Thursday and observed many changes in this place. I heard that the local government has approved the construction of an opera house project near the lake. In this image, which my friend captured and of us standing here, you can see the area where the opera house will be built. I’m unsure about what will happen or how this will affect the area in the future once in the opera house has been completed?
I truly love this place and feel a deep emotional affection to it. West Lake belongs to everyone - to me, to the local people living around it and to many couples. I’m posting this content I like and with no offense intended. I will cherish the soul, beauty and traditional culture that this place represents. 😔
Certainly, cultural values often face challenges over time. I hope that West Lake will develop while preserving its tradition, culture and environment. Because this place is a part of me, cheers!! 😄
Source image: Lê Công Hùng
Edit and upload from Adobe Lightroom: Đỗ Đức Tiến (me)
Have a nice weekend, everyone!
Originally built as a private residence in 1917, Filoli was opened to the public in 1975 as a 501(c)(3) nonprofit organization and site of the National Trust for Historic Preservation. The property is considered one of the finest remaining country estates of the 20th century, featuring a 54,000+ square-foot Georgian revival-style mansion, 16 acres of exquisite English Renaissance gardens, a 6.8-acre Gentleman’s Orchard, and a nature preserve with eight miles of hiking trails.
Filoli is dedicated to connecting our rich history with a vibrant future through beauty, nature and shared stories, so that one day all people will honor nature, value unique experiences, and appreciate beauty in everyday life. Filoli's mission and vision strive to live Mr. Bourn's original credo authentically: to fight for a just cause, love your fellow man, and live a good life.
Filoli is owned by the National Trust for Historic Preservation and operated by the Filoli Center.
“Remain true to your values. If you don’t stand for something, you’ll fall for anything.”
― Frank Sonnenberg
Location: Green story
"The value of a life does not depend on the place we occupy;
it depends on the way we occupy that place." ~ Therese of Lisieux
This is Lost Lake (yes, I found it) up atop Kebler Pass.
Thank you for viewing,
Bev
Kebler Pass
Colorado
USA
© All Rights Reserved
Processed in C1
28 mm equiv. (wide)
Exp. Corr. Value: +0.0 EV
Exp. Program: Normal
Metering mode: Centre Weighted Average
WB Settings: Auto
THANK YOU ALL! We value you SO MUCH.
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Holding value in my work and the journey of growing as an artist is something I am trying to improve. This was brought on by someone else not valuing my work. At first I was taken back by their words. But interestingly enough this brought me to the realization that the value I place on my work should not reflect what other people think. Has anyone else had experiences of realizations like this?
Creative live is broadcasting this free class right now if you happen to catch it.
www.creativelive.com/courses/make-more-money-discover-you...
OOC Jpeg
24mm equiv. (wide)
Exp. Program: –
Metering mode: Pattern
Exp. Corr. Value: +0.0 EV
WB Settings: Auto
There's something inherently sad about household objects left out for the trash man. They are like castoffs; broken or no longer cherished, and left ignominiously out on the curb. This easy chair caught my eye the other day. Part of the forlorn quality of scenes like this is the object being ripped from its normal context. I wouldn't give the chair a second look in someone's living room. But it seemed horribly out of place on the edge of the state highway that bisects the village. That, and the sedentary nature of a recliner juxtaposed against passing traffic. Wonderful visual metaphors for the life cycle of things we purchase and the passage of time (and with it life). In the eerie stillness after the truck passed I contemplated the chair and the many other personal objects scattered about the lawn behind me. There's a village-wide trash haul this weekend, and little collections such as this are springing up all around. I have to admit a weird impulse to inspect them, and yearn to pull over when driving by. I can't help but think I will find something of value (I almost never do) but also that idle curiosity about seeing the remnants of someone else's life (remember I did preface this as weird). I'll be placing some of my own items out on the curb soon. I tend to wait until the night before, perhaps to avoid having others inspect them as I did this chair. Even when it's sheer junk, I feel an odd sentimental tug about letting go of things. And that spell lasts as long as the objects remain on my tree lawn before the pickup. Much like this chair, they are in the condemned phase, but still retrievable. I can simply go back out and reclaim them. That sentiment vanishes the moment the objects are tossed onto the truck. Maybe that's why I wait until the last minute to put them out. I just can't stand that in between time.
Thank you everyone so much for sharing your quality photos which is a great way to see and keep in touch with the world from home. Also for your kind comments and favours which are much valued.I am not able to take on any more members to follow or to post to groups. I prefer not to receive invites to groups
The Merganser tried unsuccessfully for over 20 minutes to try to swallow its catch but eventually had to give up..... a little too big
Excerpt from uwaterloo.ca:
Description of the District
The MacNab-Charles Heritage Conservation District is a one
block area bounded by MacNab Street South, Hurst Place,
Charles Street and Bold Street in the City of Hamilton. The
district consists of seven properties. These properties include
two multi-unit residences, a church and manse, two residential
properties and offices.
Cultural Heritage Value of the District
According to a plaque, the cultural heritage value of the district lies in the fact that:
The downtown block of MacNab Street South, Hurst Place, Charles Street and Bold Street contains a unique collection of stone buildings primarily dating from the 1850s.
While stone architecture was relatively rare in Ontario, Hamilton’s Mountain offered a ready supply of limestone. The local resource was used to great advantage in the hands of the newly-arrived Scottish stonemasons, establishing pre-Confederation Hamilton as a city renowned for its wealth of handsome stone
architecture.
With the MacNab Street Presbyterian Church as the focal point, the Victorian stone and brick streetscape of MacNab-Charles evoke a genuine sense of history in the heart of this city.
Designation of the District
The designation of the MacNab Charles Heritage Conservation District was initiated by the City Hamilton.
The Study and Plan were conducted and written between 1986 and 1988 by the Local Planning Branch, Planning and Development Department and the Hamilton-Wentworth Region. It was carried out in consultation with a local District Steering Committee made up of owners from the area.
The MacNab-Charles Heritage Conservation District is protected by By-law 90-144 which was passed on May 9, 1990 by the City of Hamilton.
Take a moment from time to time to remember that you are alive.
I know this sounds a trifle obvious, but it is amazing how little time
we take to remark upon this singular and gratifying fact.
By the most astounding stroke of luck an infinitesimal portion
of all the matter in the universe came together to create you
and for the tiniest moment in the great span of eternity
you have the incomparable privilege to exist ...
Bill Bryson
English ten pound note.
If you are familiar with this banknote then this image may strike you as being a little odd. You’ll know the iridescent holograms on the left, but you may not have seen the large yellow figures ‘10’ formed in the pattern at the top.
That’s because this image was taken in UV light. There are patches of fluorescent ink printed on the note that just look like white paper in ordinary light. The five-pound note has a 5 in the same place. I couldn’t afford a £20 note to check it out for consistency (or should that be cheque?) ;)
The British pound sterling is the oldest currency in the world that has been in constant circulation. It was adopted around 800AD being modelled on the currency of the French kingdom of Charles the Great (Charlemagne) which was established a few years before. Italian, Spanish and Portuguese currency had the same roots.
The French livre (pound) had 20 sous each of 12 deniers, like the 20 shillings and 12 pennies of sterling. Interestingly although the small denomination was called a penny its symbol was the ‘d’, just like the French denier, the Spanish Dinero and the Portuguese Dinheiro. All the names derive from the Roman denarius coin.
Sterling was decimalised in 1971 which caused all the prices to go up and the parking meters to stop working :) The pound now has 100 new pennies (p or pence).
Originally one French livre was worth a pound weight of silver (equivalent to 14.6 Troy ounces), but by 850 the pound sterling was only worth eleven and a quarter Troy ounces of silver. Looking at tonight’s spot price for silver my note should be redeemable for £1868.62 of the shiny metal… times change.
This image measures under 3 inches across as per the rules.
One thing that photographers should be aware of is that it is illegal to reproduce a digital picture of more than 50% of one side of the note without an overstamp, and the Queen’s head must not be distorted. There are the normal copyright issues as well and these can be rigorously prosecuted. See the Bank of England website for more details.
Thank you for taking the time to look. I hope you enjoy the image. Happy Macro Mondays :)
1-Oñati-City Hall-Guipuzkoa-Basque Country
Pls.Zoom
Arquitecto :Martin de Carrera
Architect: Martin de Carrera
El ayuntamiento de Oñati es Monumento Histórico Artístico de la Provincia de Gipuzkoa desde 1964, y su obra es considerada como una de las más importantes del Barroco Civil en todo el País Vasco. Si la Universidad de Oñati realizada bajo el mecenazgo de Mercado de Zuazola se puede comparar con las más importantes universidades renacentistas del momento, el Ayuntamiento aunque cronológicamente no es el primero de estas características, es motivo de referencia constante, por su factura, ubicación y belleza.
El edificio municipal construído entre los años de 1764-1783 fue diseñado por Martín de Carrera, colaborando con el proceso constructivo Francisco de Echánove quien se encargó de la cantería y Francisco de Cortaberría y Miguel de Sarazíbar de la carpinteria. La más que notable labor de herrería la llevaron a cabo José de Labroche, Joaquín de Arbe y Ventura Jubiondo, correspondiento el diseño de la sillería de la sala principal Manuel Martín de Carrera . A pesar del fallecimiento del arquitecto Martín de Carrera el 31 de agosto de 1768, la obra se desarrolla con normalidad, entregándose en los plazos establecidos.
La Casa Consistorial de Oñati es una construcción exenta de finales del Barroco que está ubicada en uno de los extremos de la plaza, entre las calles Zumalacárregui y Barria, poseyendo un fuerte sentido urbano. Edificio de piedra sillar, tiene planta rectangular, acceso por soportales más dos alturas y cubierta a cuatro aguas. Su fachada principal tiene una composición simple y una primorosa decoración con destacada obra de cantería y talla que da al edificio un valor añadido. Cuatro pilastras gigantes elevadas sobre unas pequeñas basas, van desde el suelo hasta prácticamente la cornisa y recorren verticalmente dicha fachada ordenando simetricamente la composición en tres alturas. Al nivel del suelo se abren los soportales que dan acceso al pórtico por medio tres arcos carpaneles, algo retranquedados con respento a las pilastras, lo que aumenta el movimiento en fachada. Los pisos superiores poseen seis vanos moldurados, tres por cada altura que corresponden con los balcones, en torno a los cuales se concentra la riquísima decoración: rocallas, orejeras, frontones curvos partidos, florones, cartelas, molduras, hojarasca, elementos vegetales, veneras, ménsulas, guirnaldas caídas, decoración menuda…. Por otra parte la labor de forja de los balcones y la escalinata son de magnífica factura, a base de de rocallas, flores de chapa recortada, formas geométicas con juegos ondulados y líneas redondeadas en movimiento. La abundancia decorativa continúa en el tramo central con el escudo, que rompe el alero dejándolo a modo de frontón. Finalmente cinco pináculos sobre el tejado coincidiendo con las bandas de fachada, aumenta todavía más la faceta decorativa. Eli nterior es conglomerado y se accede mediante los arcos cubiertos de bóveda de arista enyesados. Bajo ellos se encuentra la puerta principal que conduce a una gran escalera de un tramo, que tras el descansillo se convierte en escalera doble. La caja de esta escalera está cubierta con un pequeño tambor ciego y un cupulín con gajos. El gran salón de sesiones tiene tres puertas de entrada, coincidentes con los balcones de fachada. Las fachadas laterales son de piedra sillar en la primera planta y el resto de mampostería revocada. La variedad de usos; juzgado, vivienda, archivo, alhóndiga, cárcel… parece que caracterizó los primeros años de actividad de este singular edificio, cuya popularidad hace olvidar otros ayuntamientos de similar composición que carecen de su elegancia
The town hall of Oñati has been a Historic Artistic Monument of the Province of Gipuzkoa since 1964, and its work is considered one of the most important of the Civil Baroque in the whole of the Basque Country. If the University of Oñati, built under the patronage of Mercado de Zuazola, can be compared with the most important Renaissance universities of the time, the Town Hall, although chronologically not the first of these characteristics, is a constant reference point for its workmanship, location and beauty.
The municipal building, built between 1764 and 1783, was designed by Martín de Carrera, with Francisco de Echánove collaborating in the construction process, who was in charge of the stonework, and Francisco de Cortaberría and Miguel de Sarazíbar in charge of the carpentry. The more than notable ironwork was carried out by José de Labroche, Joaquín de Arbe and Ventura Jubiondo, with the design of the seating in the main hall corresponding to Manuel Martín de Carrera. Despite the death of the architect Martín de Carrera on 31 August 1768, the work was carried out normally and was delivered within the established time frame.
The Town Hall of Oñati is a free-standing building from the late Baroque period, located at one end of the square, between Zumalacárregui and Barria streets, with a strong urban feel. The ashlar stone building has a rectangular floor plan, access through arcades and two floors and a hipped roof. Its main façade has a simple composition and exquisite decoration with outstanding stonework and carving that gives the building added value. Four giant pillars raised on small bases, go from the ground to practically the cornice and run vertically along the façade, symmetrically arranging the composition in three floors. At ground level, the arcades open out and give access to the portico through three basket-shaped arches, slightly set back from the pillars, which increases the movement of the façade. The upper floors have six moulded openings, three for each height, corresponding to the balconies, around which the rich decoration is concentrated: rocailles, lancets, split curved pediments, rosettes, cartouches, mouldings, foliage, plant elements, scallops, corbels, hanging garlands, small decoration... On the other hand, the wrought iron work on the balconies and the staircase is of magnificent workmanship, based on rocailles, cut metal flowers, geometric shapes with wavy interplays and rounded lines in movement. The decorative abundance continues in the central section with the coat of arms, which breaks the eaves leaving it as a pediment. Finally, five pinnacles on the roof coinciding with the façade bands, further increase the decorative aspect. The interior is made of conglomerate and is accessed through the arches covered with plastered groin vaults. Below them is the main door leading to a large one-flight staircase, which after the landing becomes a double staircase. The stairwell is covered with a small blind drum and a small dome with segments. The large assembly hall has three entrance doors, coinciding with the balconies on the façade. The side façades are made of ashlar stone on the first floor and the rest of plastered masonry. The variety of uses; court, residence, archive, market, prison… seems to have characterised the first years of activity of this unique building, whose popularity makes us forget other town halls of a similar composition that lack its elegance.
Ref:Edit Eusko Ikaskuntza .Bilbao 2014