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Mudéjar style ceiling, 16th century (Spain), carved, painted, and gilded pine, 33 x 28 feet constructed of thirty panels (The Metropolitan Museum of Art)
this is another of my ceilings series..this a part of the ceiling of the church called ' Marie Reine Du Monde' situated in Montreal, Quebec
York Minster is the second largest Gothic cathedral of Northern Europe and clearly charts the development of English Gothic architecture from Early English through to the Perpendicular Period. The present building was begun in about 1230 and completed in 1472. It has a cruciform plan with an octagonal chapter house attached to the north transept, a central tower and two towers at the west front. The stone used for the building is magnesian limestone, a creamy-white coloured rock that was quarried in nearby Tadcaster. The Minster is 158 metres (518 ft) long and each of its three towers are 60 metres (200 ft) high. The choir has an interior height of 31 metres (102 ft).
The North and South transepts were the first parts of the new church to be built. They have simple lancet windows, the most famous being the Five Sisters in the north transept. These are five lancets, each 16 metres (52 ft) high and glazed with grey (grisaille) glass, rather than narrative scenes or symbolic motifs that are usually seen in medieval stained glass windows. In the south transept is the famous Rose Window whose glass dates from about 1500 and commemorates the union of the royal houses of York and Lancaster. The roofs of the transepts are of wood, that of the south transept was burnt in the fire of 1984 and was replaced in the restoration work which was completed in 1988. New designs were used for the bosses, five of which were designed by winners of a competition organised by the BBC's Blue Peter television programme.
Work began on the chapter house and its vestibule that links it to the north transept after the transepts were completed. The style of the chapter house is of the early Decorated Period where geometric patterns were used in the tracery of the windows, which were wider than those of early styles. However, the work was completed before the appearance of the ogee curve, an S-shaped double curve which was extensively used at the end of this period. The windows cover almost all of the upper wall space, filling the chapter house with light. The chapter house is octagonal, as is the case in many cathedrals, but is notable in that it has no central column supporting the roof. The wooden roof, which was of an innovative design, is light enough to be able to be supported by the buttressed walls. The chapter house has many sculptured heads above the canopies, representing some of the finest Gothic sculpture in the country. There are human heads, no two alike, and some pulling faces; angels; animals and grotesques. Unique to the transepts and chapter house is the use of Purbeck marble to adorn the piers, adding to the richness of decoration.
The choir screen.
The nave was built between 1291 and c. 1350 and is also in the decorated Gothic style. It is the widest Gothic nave in England and has a wooden roof (painted so as to appear like stone) and the aisles have vaulted stone roofs. At its west end is the Great West Window, known as the 'Heart of Yorkshire' which features flowing tracery of the later decorated gothic period.
The East end of the Minster was built between 1361 and 1405 in the Perpendicular Gothic style. Despite the change in style, noticeable in details such as the tracery and capitals, the eastern arm preserves the pattern of the nave. The east end contains a four bay choir; a second set of transepts, projecting only above half-height; and the Lady Chapel. The transepts are in line with the high altar and serve to through light onto it. Behind the high altar is the Great East Window, the largest expanse of medieval stained glass in the world.
The sparsely decorated Central Tower was built between 1407 and 1472 and is also in the Perpendicular style. Below this, separating the choir from the crossing and nave is the striking fifteenth century choir screen. It contains sculptures of the kings of England from William the Conqueror to Henry VI with stone and gilded canopies set against a red background. Above the screen is the organ, which dates from 1832. The West Towers, in contrast with the central tower, are heavily decorated and are topped with battlements and eight pinnacles each, again in the Perpendicular style.
York as a whole and particularly the Minster have a long tradition of creating beautiful stained glass. Some of the stained glass in York Minster dates back to the twelfth century. The 76-foot (23 m) tall Great East Window, created by John Thornton in the early fifteenth century, is the largest example of medieval stained glass in the world. Other spectacular windows in the Minster include an ornate rose window and the 50-foot (15 m) tall five sisters window. Because of the extended time periods during which the glass was installed, different types of glazing and painting techniques that evolved over hundreds of years are visible in the different windows. Approximately 2 million individual pieces of glass make up the cathedral's 128 stained glass windows. Much of the glass was removed before and pieced back together after the First and Second World Wars, and the windows are constantly being cleaned and restored to keep their beauty intact.
In 2008 a major restoration of the Great East Window commenced, involving the removal, repainting and re-leading of each individual panel. While the window was in storage in the Minster's stonemasons' yard, a fire broke out in some adjoining offices, due to an electrical fault, on 30 December 2009.[10] The window's 311 panes, stored in a neighbouring room, were undamaged and were successfully carried away to safety.
The towers and bells
The two west towers of the minster hold bells clock chimes and a concertcarillon. The north-west tower contains Great Peter (216 cwt or 10.8 tons) and the six clock bells (the largest weighing just over 60 cwt or 3 tons). The south-west tower holds 14 bells (tenor 59 cwt or 3 tons) hung and rung for change ringing and 22 carillon bells (tenor 23 cwt or 1.2 tons) which are played from a batonkeyboard in the ringing chamber. (all together 35 bells.)
The clock bells ring every quarter of an hour during the daytime and Great Peter strikes the hour. The change ringing bells are rung regularly on Sundays before Church Services and at other occasions, the ringers practise on Tuesday evenings. York Minster became the first cathedral in England to have a carillon of bells with the arrival of a further twenty-four small bells on 4 April 2008. These are added to the existing “Nelson Chime” that is chimed to announce Evensong around 5 pm each day, giving a carillon of 35 bells in total (3 chromatic octaves). The new bells were cast at the Loughborough Bell Foundry of Taylors, Eayre & Smith, where all of the existing Minster bells were cast. The new carillon is a gift to the Minster. It will be the first new carillon in the British Isles for forty years and first handplayed carillon in an English cathedral. Before Evensong each evening, hymn tunes are played on a baton keyboard connected with the bells, but occasionally anything from Beethoven to the Beatles may be heard.
The timber barrel-vaulted roof of the nave designed by Ewan Christian in 1879-81 and replicate those destroyed by fire in 1711.- Souhwell Minster Cathedral church of the Blessed Virgin, Nottinghamshire
Mudéjar style ceiling, 16th century (Spain), carved, painted, and gilded pine, 33 x 28 feet constructed of thirty panels (The Metropolitan Museum of Art)
O Palácio Nacional de Sintra é o único sobrevivente íntegro dos paços reais medievais em Portugal. Muito provavelmente, foi construído sobre a residência dos antigos wallis muçulmanos e desde o início da Monarquia os monarcas portugueses aqui tiveram um Paço. As principais campanhas de obras que lhe conferiram o aspecto actual devem-se a D. João I, que o reconstruiu, e a D. Manuel I, que acrescentou a hoje denominada ala manuelina. Durante a Idade Moderna o Palácio não cessou de ser engrandecido, como o provam os elementos renascentistas do tempo de D. João III, a grande Sala dos Cisnes, a mais antiga Sala de aparato dos Palácios portugueses, e onde se encontram os retratos de D. Catarina de Bragança, de Carlos II de Inglaterra e de D. Pedro II, ou a Sala dos Brasões, cuja cúpula ostenta as armas de D. Manuel, de seus filhos, e de setenta e duas das mais importantes famílias da Nobreza, e cujo revestimento integral das paredes data do século XVIII, obra do ciclo dos Grandes Mestres da azulejaria lisboeta dessa altura.
Afectado pelo grande terramoto de 1755, foi logo reconstruído "à maneira antiga", e durante os séculos XIX e XX sofreu ainda outras obras que transformaram irremediavelmente algumas partes, como os edifícios que fechavam o Largo Rainha D. Amélia, que então foram destruídos. Convertido em museu a partir de 1940, na actualidade é objecto de um Programa de restauro e valorização da responsabilidade do IPPAR, que teve como primeira medida a recuperação das coberturas e fachadas, e que prosseguirá com a recuperação e restauro do património móvel e com a criação de uma nova dinâmica na interpretação e animação do monumento e respectiva envolvente.
A capela, reformulada na campanha de D. Manuel I, filia-se no estilo mudéjar, pelo tapete de azulejos hispano-mouriscos das paredes, de que subsistem muito poucos testemunhos em Portugal. Desses dois primeiros períodos, o principal destaque vai para a cozinha, com as suas duas chaminés de 33m de altura, a Sala Árabe, parcialmente revestida com azulejos de matriz geométrica, ou o magnífico pátio central, com os seus arcos geminados cairelados.
PAF www.ippar.pt/pls/dippar/pat_pesq_detalhe?code_pass=69856
Made up of various constructions built over successive eras, it is one of the most important Portuguese examples of royal architecture and has therefore been classified as a National Monument.
This palace is thought to have been originally a palace of the Moorish walis. Its current layout results from two phases of building works: the first one, in the reign of King John I (15th century), and the second in that of D. Manuel I (16th century).
It has the greatest collection of Mudéjar tiles in the country. It is topped by two large twin chimneys built over the kitchen, which have become the symbol of Sintra.
The Palácio Nacional de Sintra, also known as Paço Real or Palácio da Vila, dominates the whole urban centre of Sintra. With its two unusual chimneys that constitute the ex-libris of the region, it is the most important building constructed for the Royal Court, in Portugal. Its origins very likely date back to the palace of the Moorish walis, with the present design based essentially on two stages of first works. The first, in the reign of Dom João I, early 15th century, accounted for the central body of the building; the second in the reign of Dom Manuel I, in the first quarter of the 16th century, added several wings and in particular enriched the interior, which now possesses the most important collection of Mudejar azulejos (coloured glazed tiles) in the world.
Connected as it has been with the most significant periods of Portuguese history, namely the birth and fall of the Empire, it has seen the most outstanding figures of Portuguese Art and Letters pass through its halls - Luís de Camões, Gil Vicente, João de Barros, Luísa Sigea, and others.
Apart from historical significance, nowadays this Palace is the setting for many concerts of classical music, official receptions and historical pageants. www.cm-sintra.pt/Artigo.aspx?ID=3140
Mudéjar style ceiling, 16th century (Spain), carved, painted, and gilded pine, 33 x 28 feet constructed of thirty panels (The Metropolitan Museum of Art)
Ceiling of the St. Nicholas church of Finiki. Finiki is a small fishing-village on Karpathos with offcourse some tavernes with excellent and fresh fish.
Again, hard to get the light right. Love all those tiny moons and stars though - I'm sure those have been fashionable motifs for clothing sometime in the last 10 years or so, but the ceiling obviously predates those by a few centuries!
The ceiling of the Hypostyle Hall at Dendera Temple is enriched with an incredible amount of figurative detail carved in low relief and painted in subtle shades against a blue background. The subjects include numerous deities and hybrid figures (some familiar, others much less so) and even astrological elements, such as recognisable figures from the zodiac.
Over the centuries the ceiling had become so darkened by dirt and soot to become heavily obscured and hard to read, and this is how I saw it for the first time in the 1990s, when many visitors probably missed it altogether. Now it has been fully cleaned and restored it shines again not only as one of the glories of the temple but one of the most remarkable surviving decorative schemes of ancient Egypt. The contrast with its previous blackened, unrestored condition is dramatic, giving an entirely different impression from our previous visit.
The Temple of Hathor at Dendera is one of Egypt's best preserved and most beautiful ancient shrines. This magnificent edifice dates to the Ptolemaic period, late in Egyptian history, though the site long had been the cult centre for the goddess Hathor for centuries before (the earliest extant remains date to c360BC but a temple is recorded here as far back as c2250BC). Most of the main building dates to the reigns of the last Cleopatras and further decoration and building work within the complex continued in the Roman period up to the reign of Trajan.
The dominant structure in the complex is the Temple of Hathor, an enormous structure with a rectangular facade punctuated by the Hathor-headed columns of the hypostyle hall within. This hall is an architectural wonder, a masterpiece of ancient Egyptian design and decoration, which covers every surface and has been recently cleaned, revealing a superb astrological ceiling in all its original vibrant colours.
Sadly there was much iconoclasm here during the early Christian period and most of the reliefs of the walls and pillars have been defaced. Worse still is the damage to the 24 Hathor-head capitals: not one of the nearly a hundred huge faces of the goddess that once smiled down on this hall has been left unblemished, most with their features cruelly chiselled away.
The main temple building is otherwise structurally intact, and extends into further halls and chapels beyond, again with much relief decoration (much of which is again defaced). In one corner is an entrance to a crypt below, an unusual feature in Egyptian temple architecture consisting of several narrow passages adorned with carved relief decoration in good condition.
There are further sanctuaries and chapels above on the roof of the temple, accessed by a decorated staircase and including the room where the famous Dendera Zodiac was formerly located (today its place in the ceiling taken by a cast of the original, now displayed in Paris). The highest part of the roof complex is no longer accessible to tourists, but I can still recall making the ascent there on our first visit in 1992.
Several other buildings surround the main temple, the most impressive of which is the mammisi or 'birth-house'. This consists of a large rectangluar hall surrounded by a colonnade near the entrance to the site and has some well preserved relief decoration on its exterior. Most of this structure dates to the Roman period, but the ruins of its predecessor built under Nectanebo II (Egypt's last native pharoah) stand nearby.
Dendera temple is one of the most rewarding in Egypt and shouldn't be missed. It is one of the most complete and evocative ancient monuments in the country and its recent restoration has revealed a surprisingly extensive amount of colour surviving within (we were amazed by the dramatic contrast with the soot-blackened ceiling we'd beheld on our previous visit in the 1990s). Despite its relative youth (in Egyptian terms at least!) it is easily one of my favourite sites in Egypt.