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Royal Crescent
The Royal Crescent is a row of 30 terraced houses laid out in a sweeping crescent in the city of Bath, England. Designed by the architect John Wood, the Younger and built between 1767 and 1774, it is among the greatest examples of Georgian architecture to be found in the United Kingdom and is a Grade I listed building. Although some changes have been made to the various interiors over the years, the Georgian stone façade remains much as it was when first built.
The 500-foot-long (150 m) crescent has 114 Ionic columns on the first floor with an entablature in a Palladian style above. It was the first crescent of terraced houses to be built and an example of "rus in urbe" (the country in the city) with its views over the parkland opposite.
Many notable people have either lived or stayed in the Royal Crescent since it was built over 240 years ago, and some are commemorated on special plaques attached to the relevant buildings. Of the crescent's 30 townhouses, 10 are still full-size townhouses; 18 have been split into flats of various sizes; one is the No. 1 Royal Crescent museum and the large central house at number 16 is the Royal Crescent Hotel & Spa.
The street that is known today as "The Royal Crescent" was originally named "The Crescent." It is claimed that the adjective "Royal" was added at the end of the 18th century after Prince Frederick, Duke of York and Albany had stayed there. He initially rented number one and later bought number 16. The Royal Crescent is close to Victoria Park and linked via Brock Street to The Circus which had been designed by John Wood, the Elder.
The land on which the Royal Crescent stands was bought from Sir Benet Garrard of the Garrard baronets, who were the landlords, in December 1766. Between 1767 and 1775 John Wood designed the great curved façade with Ionic columns on a rusticated ground floor. Each original purchaser bought a length of the façade, and then employed their own architect to build a house behind the façade to their own specifications; hence what can appear to be two houses is occasionally just one. This system of town planning is betrayed at the rear and can be seen from the road behind the Crescent: while the front is uniform and symmetrical, the rear is a mixture of differing roof heights, juxtapositions and fenestration. This architecture, described as "Queen Anne fronts and Mary-Anne backs", occurs repeatedly in Bath. It was the first crescent of terraced houses to be built and an example of "rus in urbe" (the country in the city) with its views over the parkland opposite.
In front of the Royal Crescent is a ha-ha, a ditch on which the inner side is vertical and faced with stone, with the outer face sloped and turfed, making an effective but invisible partition between the lower and upper lawns. The ha-ha is designed so as not to interrupt the view from Royal Victoria Park, and to be invisible until seen from close by. It is not known whether it was contemporary with the building of the Royal Crescent, however it is known that when it was first created it was deeper than it is at present. The railings between the crescent and the lawn were included in the Heritage at Risk Register produced by English Heritage but have been restored and removed from the register.
In 2003, the archaeological television programme Time Team dug the Royal Crescent in search of a Roman cemetery and the Fosse Way. The remains of a Roman wall were found behind the crescent and evidence of possible Iron and Bronze Age settlement on the lawn in front.
In the late 19th century five cast iron lamp columns with decorative scrollwork were added. In 1921, architect Robert Tor Russell used the Crescent as a source of inspiration to design the central business district of Connaught Place, New Delhi, India.
During the Bath Blitz of World War II, known as the Baedecker Raids or Baedeker Blitz, some bomb damage occurred, the most serious being the gutting of numbers 2 and 17 by incendiaries. After World War II, during a period of redevelopment which is described as the Sack of Bath, the City Council considered plans that would have seen the Crescent transformed into Council offices. These were unsuccessful.
During the 20th century many of the houses which had formerly been the residences of single families with maids or other staff were divided into flats and offices. However, the tradition of distinguished gentlefolk retiring to the crescent continued. The whole crescent was designated as a Grade I listed building in 1950. Number 16 became a guest house in 1950. In 1971 it was combined with number 15 to become the Royal Crescent Hotel occupying the central properties of the Crescent, which were renovated and additional rooms in pavilions and coach houses within the gardens included in the accommodation. It was sold in 1978 to John Tham, the chairman of the London Sloane Club, and restored. It was later purchased by Von Essen Hotels, which became insolvent in 2011. In September 2011 it was expected that London & Regional Properties would purchase the hotel, but negotiations ended in January 2012 without a deal. On 2 April 2012, investment company the Topland Group announced that it had purchased the Royal Crescent Hotel.
In the 1970s the resident of No 22, Miss Amabel Wellesley-Colley, painted her front door yellow instead of the traditional white. Bath City Council issued a notice insisting it should be repainted. A court case ensued which resulted in the Secretary of State for the Environment declaring that the door could remain yellow. Other proposals for alteration and development including floodlighting and a swimming pool have been defeated.
The crescent is 500 feet (150 m) long and each building is almost 50 feet (15 m) high, including small rooms with dormer windows in the attic. The ground floor is plain emphasising the columns and windows of the first floor. The 114 columns are 30 inches (76 cm) in diameter reaching 47 feet (14.3 m), each with an entablature 5 feet (1.5 m) deep in a Palladian style. The central house (now the Royal Crescent Hotel) boasts two sets of coupled columns with a single window between them which is the middle of the crescent.
They are built of Bath stone. They have slate roofs but were originally stone tiled. The appearance of each house is very similar with only minor variations between them for example some have small balconettes on the first floor. Many of the windows have been restored to their original style with glazing bars rather than the horned plate glass sash windows which had been installed in the 19th or early 20th centuries. Some of the window sills had also been lowered. This has been reversed at Number 1 but policy has since changed with a decision to keep the alterations which were made in the 19th century. In front of the houses are cast iron railings which are mirrored by those on the opposite side of the road at the top of Victoria Park. The road is surfaced with pennant stone laid when the crescent was constructed.
In 1965 the black comedy The Wrong Box (1966) used the Royal Crescent extensively as a location, standing in for London. The 1965 film Catch Us If You Can also had a sequence filmed outside the crescent and in one of its houses.
In 2007, a TV edition of Jane Austen's Persuasion included many scenes shot at the Crescent, where the Elliot family was supposedly living while in Bath. The Crescent featured in the 2008 film The Duchess starring Keira Knightley.
The fictional heroine of 2008 BBC1 archaeology thriller Bonekickers was depicted as living in the Crescent. In 2014, the hotel was a location for BBC1 series Our Girl.
(Wikipedia)
Bis zu Beginn des 18. Jahrhunderts lebten innerhalb der Stadtmauern rund 3.000 Menschen. Innerhalb von nur einem Jahrhundert wuchs die Bevölkerungszahl des bedeutendsten britischen Thermalbades um mehr als das Zehnfache auf 34.000. Der Architekt John Wood der Ältere und sein Sohn John Wood der Jüngere entwarfen ein großzügiges Stadtbild, das die mittelalterlichen Stadtmauern sprengte und keinem starren geometrischen Schema folgte.
Eine Folge von Plätzen und verbindenden Straßen sind in Bath so zueinander geordnet, dass sich immer wieder neue Ausblicke eröffnen. John Wood der Ältere begann 1729 mit dem quadratischen Queen Square, es folgte 1754 die monumentale Anlage des kreisrunden Circus mit drei einmündenden Straßenzügen. Ohne Bruch führte der Sohn John Wood (1728–1781) das Werk des Vaters fort. 1767–1775 entstand der Royal Crescent (dt. königlicher Halbmond), ein halbkreisförmiger Platz, der an der offenen Seite den Blick in einen englischen Garten eröffnet. Im Gegensatz zu den bewegten Grundrissformen der Stadterweiterung steht die architektonische Gestaltung der Hausfassaden. Die Kolossalordnung der 114 ionischen Halbsäulen und Pilaster über einem Sockelgeschoss, hinter der sich 30 Reihenhäuser befinden, wird fast immer ohne Akzentuierung und Rhythmisierung um das Platzrund geführt.
Der Kuraufenthalt in Bath wurde fast ausschließlich durch das gesellschaftliche Leben und weniger durch medizinische Aspekte bestimmt. Entsprechend bescheiden sind die Thermalbäder des 18. Jahrhunderts, die sich zwar, wie das Hot Bath von 1775 durch eine raffinierte Grundrissgestalt, vor allem aber durch bescheidene Dimensionen auszeichnen. Dass der Trinkkur eine größere Bedeutung beigemessen wurde, verdeutlicht der Great Pump Room, 1786 bis 1796 von Thomas Baldwin und John Palmer als repräsentative Trinkhalle errichtet.
Die typischen Einrichtungen von Bath sind zum Teil den Metropolen entlehnt und machten den Kurort auf diese Weise zum Brennpunkt eines neuen Freizeitvergnügens. Die neuen Formen des gesellschaftlichen Lebens verbanden sich mit Promenaden, Ballhäusern, Konzerthallen, Theater und Kaffeehäusern. Viele Besucher kamen nur für ein langes Wochenende, was den Ausbau der Verkehrswege, insbesondere nach London, förderte.
Auffällig sind vor allem die urbanen Strukturen der vom Palladianismus geprägten Architektur in Bath. Typisch ist auch die Übernahme von Symbolen aristokratischer Architektur durch das aufsteigende Bürgertum.
(Wikipedia)
Bath, England. Breathtaking examples of fashion from the eighteenth century. I live and breathe for this style of fashion...I was born in the wrong century...maybe this style of dress will become fashionable again...would anyone else love to wear these glorious gowns besides me?
This was for my little nephew's first birthday. He loves his baths. His favourite bath toys are around the bottom tier, along with the blue ball toy in the water. Bottom tier was chocolate cake (layered with chocolate buttercream and ganache), and top tier lemon (layered with lemon curd and lemon buttercream).
Inspired by some of Andrea Sullivan (of Andrea's Sweetcakes) fantastic bath cakes, and recreated with her very kind permission.
ONF Bath Engine
- 110 Animations
- Solo, MF, FFM, Cleanup
- INM, Physics, V-bento, Lovense, camera enabled
Now available in our Mainstore and Marketplace
MP: marketplace.secondlife.com/p/ONF-Bath-Engine-ADD-Physics-...
Store LM:
Friday, 16 February 2018
43153+43023 approach Bath Spa with 1C08 0930hrs GWR service from London Paddington to Bristol Temple Meads.
Viewed from Alexandra Park.
© Finbarr O'Neill
Le meravigliose acque di Belitung, Indonesia, una delle dieci isole più belle al mondo...
Foto ahimè d'archivio, buona giornata
#belitung #indonesia #green #verde #ricordi #donna #woman #bath #bagno #rocce #rocks #scogli #swim #nuoto #holiday
Bath a city with a population of nearly 100.000, is named after its Roman-built baths. The city became a UNESCO World Heritage Site in 1987.
The city became a spa with the Latin name Aquae Sulis around 60 AD when the Romans built baths and a temple in the valley of the River Avon.
Bath Abbey was founded in the 7th century.
Claims were made for the curative properties of water from the springs, and Bath became popular as a spa town. In the 16th and 17th centuries, aristocrats and even monarchs came here for a cure and made the place famous. The Queen of England was a guest in 1702. The steep rise as a fashionable spa resort of world renown began. By 1800, the population had grown to 34,000 thanks to the spa, making Bath the eighth largest city in England.
The former abbey church of Bath was originally the church of a Benedictine monastery, but has since become the episcopal see of the diocese of Bath and Wells and is now a parish church. In 1088, 22 years after the Norman conquest of England, it was decided to build a representative bishop's church in the Anglo-Norman style. This was badly damaged in the 13th century and rebuilt in the Perpendicular style from 1499. The cathedral of the diocese of Bath and Wells went to the English royal family after the Act of Supremacy and the subsequent separation of the English Church from Rome. In 1574, Queen Elizabeth I of England ordered a restoration, which lasted until 1611. During the 1820s and 1830s buildings, including houses, shops and taverns which were very close to or actually touching the walls of the abbey were demolished and the interior remodelled
66570 passes Bath's Sydney Gardens with 6C68, 1218 Avonmouth to Whatley Quarry empty aggregate boxes on 5 February, 2020. Although vegetation has been cleared from the retaining wall here, stems and roots remain in the stonework and, as yet, nothing has been done about the trees growing from the listed retaining wall just east of the gardens.
The Circus is an example of Georgian architecture in the city of Bath, Somerset, England, begun in 1754 and completed in 1768. The name comes from the Latin 'circus', which means a ring, oval or circle. It has been designated as a Grade I listed building.
Divided into three segments of equal length, the Circus is a circular space surrounded by large townhouses. Each of the curved segments faces one of the three entrances, ensuring that whichever way a visitor enters there is a classical facade straight ahead.
Bath is the largest city in the county of Somerset, England, known for and named after its Roman-built baths. In 2011, the population was 88,859. Bath is in the valley of the River Avon, 97 miles (156 km) west of London and 11 miles (18 km) southeast of Bristol. The city became a World Heritage site in 1987.
The city became a spa with the Latin name Aquae Sulis ("the waters of Sulis") c. 60 AD when the Romans built baths and a temple in the valley of the River Avon, although hot springs were known even before then.
The Abbey Church of Saint Peter and Saint Paul, Bath, commonly known as Bath Abbey, is an Anglican parish church and a former Benedictine monastery in Bath, Somerset, England. Founded in the 7th century, Bath Abbey was reorganised in the 10th century and rebuilt in the 12th and 16th centuries; major restoration work was carried out by Sir George Gilbert Scott in the 1860s. It is one of the largest examples of Perpendicular Gothic architecture in the West Country.
The church is cruciform in plan, and is able to seat 1200. An active place of worship, with hundreds of congregation members and hundreds of thousands of visitors each year, it is used for religious services, secular civic ceremonies, concerts and lectures. The choir performs in the abbey and elsewhere. There is a heritage museum in the vaults.
The abbey is a Grade I listed building, particularly noted for its fan vaulting. It contains war memorials for the local population and monuments to several notable people, in the form of wall and floor plaques and commemorative stained glass. The church has two organs and a peal of ten bells. The west front seen here includes sculptures of angels climbing to heaven on two stone ladders.
The west front, which was originally constructed in 1520, has a large arched window and detailed carvings. Above the window are carvings of angels and to either side long stone ladders with angels climbing up them. Apart from the story mentioned above connecting it with Oliver King, Bishop of Bath and Wells 1495–1503 this is a direct reference to the dream of the prophet Jacob mentioned in the Bible and commonly called Jacobs Ladder.
Jacob's Ladder is the colloquial name for a connection between the earth and heaven that the biblical Patriarch Jacob dreams about during his flight from his brother Esau, as described in the Book of Genesis. The significance of the dream has been somewhat debated, but most interpretations agree that it identified Jacob with the obligations and inheritance of the ethnic people chosen by God, as understood in the Judeo-Christian-Islam panoply. It has since been used as a symbolic reference in various other contexts.
Below the window a battlemented parapet supports a statue and beneath this, on either side of the door, are statues of St Peter and St Paul. Restoration work in the late 20th century involved cleaning with electronically controlled intermittent water sprays and ammonium carbonate poultices. One of the figures which had lost its head and shoulders was replaced. The sculptures on the West front have been interpreted as representing "spiritual ascent through the virtue of humility and descent through the vice of pride" and Christ as the Man of Sorrow and the Antichrist. During the 1990s a major restoration and cleaning work were carried out on the exterior stonework, returning it to the yellow colour hidden under centuries of dirt.