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15, Fournier Street, London, was built by William Tayler, carpenter, in 1726. The area around Christ Church, Spitalfields, previously a tenter ground and market garden, was bought by two lawyers, Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple, and developed between 1718 and 1728 as what has become known as the Wood-Mitchell estate. No. 15 was built under a lease granted by Wood and Michell on 30 March 1725 to Tayler, witnessed by Marmaduke Smith of Princes (Princelet) Street, a carpenter. No. 15 is of yellow brick with red brick dressings. However, this house was much altered internally in the nineteenth century, and the chanelled stucco at ground-floor level is of that date. In 1879 this house and its neighbour, no. 17, were combined as a mission for converting Jews ('Christ's Mission to the Jews'), at which time the staircase was removed from No. 15 and internal walls were taken out to create a Gospel Hall linking the two houses. No. 15 has only recently been reconstructed by Spitalfields Historic Buildings Trust in a programme of work that has returned the house to its original footprint.
Great Ormond Street was developed by Nicholas Barbon from 1686 onwards, and continued after his death by Sir William Millman. The houses at the east end of the street date from 1710-15. No. 3 was built by John Cooper and Edward Chapman. It is of brown brick with red brick dressings, and has four storeys with a basement. The windows have gauged brick flat arches and later sash windows in flush frames with exposed boxing. There are brick bands at first- and second-floor levels, and a stone cornice at third-floor level. The wooden Doric doorcase has fluted pilasters and an entablature. The door is panelled and has a rectangular overlight.
Valletta Harbour. Beautiful place and a huge very deep water harbour. You can see why us British used is as a base for the HQ for the Royal Navy's Mediterranean Fleet back in the day
Entrance door to the Board Room for Officers of the Ordnance Board at the Royal Arsenal, Woolwich. The building is attributed to Sir John Vanbrugh and Nicholas Hawksmoor. It is datable to 1718-20 and was extended around 1741. Constructed in red brick with stone windowsills and a slate hipped roof. The plan is one room deep. The front is symmetrical with a frontispiece that has heavy rusticated piers, or banded jambs, with narrow, deeply set windows, as seen here, supporting a lintel with statues of a lion and a unicorn on pedestals. The interior is a large hall with a stone and slate floor leading to rooms at either end. The one to the left became the Royal Military Academy in 1741 and later the Model Room. The one to the right became a chapel and more recently an officer's mess.
The small church of Our Lady of Victory was the first building to be erected in Valletta by the Order of St. John. It is dedicated to the Nativity of the Blessed Virgin, which is celebrated on the 8th of September. The church was built in thanksgiving for the victory of the Order of St. John and the Maltese over the invading Turkish fleet of Suleiman the Magnificent. The Great Siege of Malta lasted five long months, inflicting heavy losses on both sides, and ended on the eve of September 8th, 1565.
Construction of the church began in 1566 on a site close to where the foundation stone of the city is traditionally believed to have been ceremoniously laid on March 28, 1566. The building was financed personally by Grand Master Jean Parisot de Valette. Valletta, Malta
Valletta Harbour. Beautiful place and a huge very deep water harbour. You can see why us British used is as a base for the HQ for the Royal Navy's Mediterranean Fleet back in the day
Elder Street in Spitalfields was leased for building in 1722. Nos 9-13 were built as two houses of five and four bays respectively but were later sub-divided into three and have an extra door inserted as a result. No. 13 is built of dark-red brick with rubbed brick dressings. It is of three storeys with basement and attic. The windows are segment-headed with double-hung sashes, and have flush frames. The wooden doorcase has rusticated Doric pilasters, triglyphs and a dentilled cornice.
Click here for a faux tilt-shifted version of this photo.
"...the austere simplicity of [Bernini's] designs of 1656, carried out over many years, for the enclosure of the whole piazza in front of Saint Peter's by means of two facing exedrae of Tuscan columns, each four columns in depth, supporting an unbroken entabulature, surmounted by a statue above each column on the inner row...The dynamism of the design lies in the power of its movement; it suggests two gigantic arms outstretched to embrace the approaching pilgrim. The intended climactic effect of this experience of space and light, intense when one emerged into the piazza from the narrow dark adjacent streets, was unfortunately lost when the area between the piazza and the Tiber was modernized in the 1930s."
-- Frederick Hartt, ART: a History of Painting, Sculpture, Architecture
for more information on Bernini's brilliant work here, read this.
September 13, 2016 - Baroque-style Roman Catholic church, monastery & underground catacombs. The current church dates from 1672 and was designed by Portuguese architect Constantino de Vasconcellos. Its facade is one of the best examples of 17th century Baroque architecture in Peru. No photography was allowed inside.
Looking down the Grand Canal towards Il Salute from the waterfront close to the Accademia Bridge.
The Grand Canal (Il Canal Grande or the Canalazzo) is the main waterway in Venice, dividing the city in two and crossed by only four bridges in its entire near-four kilometre length.
It is much wider than any of the other canals in Venice – between 30m and 70m across – but less than 5m deep and is lined with a number of palaces and churches.
The number one and number two vaporetto services take both locals and (mainly) tourists along its length, allowing them the chance to admire the sights from the water.
The white stone edifice of Santa Maria della Salute – the Salute – was built in the 17th century by a Venetian government who prayed for an end to plague and had their prayers answered.
The Senate had decreed a church to honour the Virgin Mary would be built and they honoured their promise, commissioning Baldassare Longhena to construct the present building.
It took 50 years to erect and is a masterpiece of baroque architecture, owing much to Andrea Palladio. The octagonal structure, with a great dome rising from the base, contains several altars and works of art by painters such as Titian.
Every year on November 21 – the feast of the Presentation of the Virgin – the church is the home of great celebrations and prayers for health and wellness.
Wrought iron rail from the stairs leading to the gallery in the porch of the Cathedral Church of St Philip, Birmingham, built by Thomas Archer. The church was designed in 1709 and consecrated in 1715.
No. 15 Wilkes Street (known as Wood Street up to the late nineteenth century) was part of the Wood-Michell Estate, developed by Charles Wood of Lincoln's Inn and Simon Michell of the Middle Temple between 1718 and 1728. No 15 (then 22 Wood Street) was built by William Tayler, citizen and joiner, under a ninety-nine year lease from Wood and Michell of March 1723-24. It is of yellow and pink brick and was rebuilt around 1790. It has three storeys, with basement. and two windows wide. The windows have flat brick arches with stone sills. The sashes are recessed. The arched doorway has a stucco architrave which dates from the nineteenth century. The 1969 listing records a 'small shop front', subsequently removed.
Modern carved bracket at 25, Albury Street, Deptford, a house built by Thomas Lucas between 1705 and 1717. Doorcase with panelled pilasters and flat hood on carved brackets with cherubs. These are replacements by Charles Oldham and Zeb Foley, who, in 1988, carved a number in Albury Streeet for Martin Gloyne and Chris Fernside of Greenwich University. This followed the loss of some brackets and the reinstallation of others. The door has ten fielded panels (two now glazed). The similar brackets at No. 27 Albury Street were part of a programme of conservation work undertaken by the firm of Mackenzie Wheeler in 1997 when the entire doorcase was reinstated.