chamfering photos on Flickr

View allAll Photos Tagged chamfering

CHATHAM TOWN HALL. (BROOK THEATRE) by John K Thorne

69 1

Town hall, now arts centre. 1899, by GE Bond, converted 1988. Bath limestone ashlar with ragstone rock-faced plinth and slate roof with copper cupola. STYLE: Free Renaissance. PLAN: irregular quadrangular plan with central well. EXTERIOR: 3 storeys and basement; SW front is 3:5 bays. Symmetrical 5-bay section has projecting 3-window centre, rusticated ground-floor and cornices between floors, with a raised, pedimented centre dated 1899; 4 round-arched ground-floor windows, tripartite first-floor windows with the Chatham City arms, and round-arched second-floor windows with foliate aprons. 3-bay left-hand section divided by giant attached columns to upper floors with figures on top and blocked pilasters beneath, blocked round arches to ground floor are entrances and to first floor open with balustrades. To the left, a 3-stage square tower with a curved balcony and clock to each side, with an open bell turret with projecting corners with paired columns, and an octagonal, domed cupola. NW elevation is 4 bays with a central first- and second-storey canted bay, and round-arched ground-floor windows. SE elevation to former Council chamber has 8 bays divided by pilasters, paired round-arched ground-floor windows and large depressed 3-centre arched upper windows with mullions and transoms and carved aprons, the right-hand gable return in 3 sections with a large 3-centre arched upper window in a raised central section, with pedimented parapet. N corner a 2-storey range including a chamfered corner with a large 5-light oriel on a moulded corbelled base. Balustrade extends all round. INTERIOR: richly detailed, includes a large entrance hall with curved stair with decorative rail and newel, first-floor enriched former Council Chamber to rear has a cast-iron balcony, wainscotting and panelling, large former meeting hall with proscenium arch and 6 roof trusses, Mayor's Parlour with original sanitary fittings and ceramic tiles, and half-glazed doors with enriched surrounds.

"I Adore" front {EXPLORED} by Eirik0304

94 34

I started out building my previous DIY camera www.flickr.com/photos/ezzie0304/4676126084/in/set-7215762... with the intent of ending up with a 6x17, but got side tracked. I´ve now made good on my original promise and here it is: The main body is built out of a case for a bottle of A.E.Dor Cognac. That of course ment I had to do what the British are best at, work around the inherent design faults, rather than fix the design.

I had to chop the case down lengthwise as there was a divider 2/3 of the way up. This meant there would be so little room to load and unload the film I had to have a removable chambre noir with film gate and rollers all in one. Getting the rear light tight would be difficult since I have a sliding rear door. The pressure plate has to be removable too, for the same reason the chambre noir is. I chamfered the corners of the face of the camera for cosmetic reasons. The case top, bottom and front are clad in oak. The sides, doubling up as handles, in another hardwood. The lens is the same as for the 4x5/6x12 project, and Fujinon SW 90 f8 on a Chinese helicoid mounted on a Linhof lensboard. Finder also from the 4x5/6x12, with a new mask.

The camera front (notice the sliding rear door protruding from the side):

D300, Tamron 17-50mm f2.8

My blog on this and other projects: on-your-kitchen-worktop.blogspot.com/

And finally a proper picture of the camera: www.flickr.com/photos/ezzie0304/8155320651/in/set-7215762...

silhouette by Nature Lover Nitya

16 3

Inside Humayun's Tomb

This tomb, built in 1570, is of particular cultural significance as it was the first garden-tomb in the Indian subcontinent. It inspired several major architectural innovations, culminating in the construction of the Taj Mahal.

Taken on March 13, 2019

EXIF

Nikon D850

24.0-120.0 mm f/4.0

ƒ/4.0

24.0 mm

1/15

450

Check the Heritage Album

| Instagram | Natgeo | gettyimages | EyeEm I

Unesco Site

Outstanding Universal Value

Brief Synthesis

Humayun’s Tomb, Delhi is the first of the grand dynastic mausoleums that were to become synonyms of Mughal architecture with the architectural style reaching its zenith 80 years later at the later Taj Mahal. Humayun’s Tomb stands within a complex of 27.04 ha. that includes other contemporary, 16th century Mughal garden-tombs such as Nila Gumbad, Isa Khan, Bu Halima, Afsarwala, Barber’s Tomb and the complex where the craftsmen employed for the Building of Humayun’s Tomb stayed, the Arab Serai.

Humayun’s Tomb was built in the 1560’s, with the patronage of Humayun’s son, the great Emperor Akbar. Persian and Indian craftsmen worked together to build the garden-tomb, far grander than any tomb built before in the Islamic world. Humayun’s garden-tomb is an example of the charbagh (a four quadrant garden with the four rivers of Quranic paradise represented), with pools joined by channels. The garden is entered from lofty gateways on the south and from the west with pavilions located in the centre of the eastern and northern walls.

The mausoleum itself stands on a high, wide terraced platform with two bay deep vaulted cells on all four sides. It has an irregular octagon plan with four long sides and chamfered edges. It is surmounted by a 42.5 m high double dome clad with marble flanked by pillared kiosks (chhatris) and the domes of the central chhatris are adorned with glazed ceramic tiles. The middle of each side is deeply recessed by large arched vaults with a series of smaller ones set into the facade.

The interior is a large octagonal chamber with vaulted roof compartments interconnected by galleries or corridors. This octagonal plan is repeated on the second storey. The structure is of dressed stone clad in red sandstone with white and black inlaid marble borders.

Humayun’s garden-tomb is also called the ‘dormitory of the Mughals’ as in the cells are buried over 150 Mughal family members.

The tomb stands in an extremely significant archaeological setting, centred at the Shrine of the 14th century Sufi Saint, Hazrat Nizamuddin Auliya. Since it is considered auspicious to be buried near a saint’s grave, seven centuries of tomb building has led to the area becoming the densest ensemble of medieval Islamic buildings in India.

#travel

#Travelblog

#Travelblogger

#Travelphotography

#traveltheworld #traveling #travelholic #traveltheglobe #travelwithme

#nature

#naturephotography #naturelovers

#incredibleindia @incredibleindia

#indiapictures #discoverindiamagazine

#Humayuntomb

#Architecture

#Heritage

#Delhigram

#Delhi

28580 by Ben Abel

23 2

The Grade I Listed Church of St John the Baptist located in the grounds of Stokesay Castle a fortified manor house in Stokesay, near Craven Arms in Shropshire

Although originally built in the 12th Century the Church is a rare example of the Commonwealth style having been rebuilt in 1654 during the Commonwealth of England under Oliver Cromwell's rule. John Derby Allcroft became Lord of the Manor and Patron of Saint John the Baptist church.

Nave, chancel and west tower. Sandstone rubble; 20th Century corrugated tile roof (nave); plain tile roof (chancel). Nave (south front): Two chamfered elliptical-headed two-light mullion windows; Transitional south doorway with chamfered semi-circular arch on attached columns to scalloped impost blocks; 19th Century rubble porch with stone tile roof.

North Porch, St Mary Redcliffe, Bristol by Nigel Turner

29 8

The Church of St Mary the Virgin, widely known as St Mary Redcliffe, is one of the country's largest parish churches, and widely considered to be one of its finest. It is an outstanding example of English Gothic architecture. With a height of 274 feet to the top of the weathervane, St Mary Redcliffe is the second-tallest structure in Bristol and the sixth-tallest parish church in the country.

The church has received widespread critical acclaim from various architects, historians, poets, writers and monarchs. Queen Elizabeth I, on a visit to the church in 1574, described it as "The fairest, goodliest and most famous parish church in England"; Simon Jenkins gives St Mary Redcliffe the maximum five-star rating in his book 'England's Thousand Best Churches', one of only eighteen to receive such a rating, describing it as a "masterpiece of English Gothic"; and Nikolaus Pevsner says that "St Mary Redcliffe need not fear comparison with any other English parish church".

The church has a traditional cruciform plan, with northwest tower, nave, transepts and chancel, as is common with many parish churches in England. However, more unusually, the form it takes is more akin to that of a cathedral than a parish church, with aisles on all four arms of the church, as well as a lady chapel to the east and two porches. The north porch is formed of two parts; an earlier 12th century inner porch and a much more elaborate 14th century outer porch. The outer porch, dating from circa 1325, is the most celebrated part of the building, and one of its greatest treasures. The lowest stage contains the main doorway, which has a seven-pointed double-chamfered entrance arch, described by Simon Jenkins calls "astonishing". The arch is inspired by Oriental architecture and features exceptionally intricate decoration of seaweed foliage.

Neidpath Viaduct by Neil Williamson

44 5

The A lIsted Neidpath Viaduct which crossed the River Tweed near Peebels.

Here is the description of it from Historic Scotland:

Opened 1864 for the Caledonian Railway. Skewed 8-span former railway viaduct crossing the River Tweed. Rock-faced ashlar spandrels and voussoirs. Low stone parapets with cast-iron intermediate parapets.

N ELEVATION: rock-faced spandrels and voussoirs leading to skewed intrados; rusticated buttress pilasters decorated with cruciform arrow slits and smooth angle margins extending from rounded cutwaters. Semicircular course leading to stone and painted cast-iron parapet; squared piers formed from buttresses linking cast-iron parapet. 8th arch meeting embankment with later steps leading to track bed (now footpath).

S ELEVATION: rock-faced spandrels and voussoirs leading to skewed intrados; rusticated buttress pilasters decorated with cruciform arrow slits and smooth angle margins extending from rounded cutwaters. Semicircular course leading to ashlar and painted cast-iron parapet; squared piers formed from buttresses linking cast-iron parapet. 1st and 8th arches meeting embankments to either side of the River Tweed.

E TO W ELEVATION: sections of droved ashlar parapet wall at both ends, flat copes and slightly projecting bases with chamfered angles; rusticated end returns with polished angle margins. Sections of geometrically patterned, painted cast-iron parapet joined by squared stone piers (rising at regular intervals from buttresses) flanking full length of former track bed, now footpath.

Statement of Special Interest

Part of a B-Group with South Park Wood Railway Tunnel (listed separately). Originally this viaduct carried the railway line to Symington, Biggar & Broughton. As this viaduct was sited to the west of Peebles, it was built and owned by the Caledonian Railway. The Bridge was known as the "Queen's Bridge". Originally, a cross-Borders line between Glasgow and Berwick had been proposed by the Caledonian Railway in 1846 but had met with fierce opposition in Parliament by the North British Railway (who ran the line to the East of Peebles). Subsequently the line was delayed until permission was granted to the Syminton Biggar and Broughton Railway (who had been funded by the Caledonian Company) to construct it. By the time the line was opened, the SB & B Railway had been absorbed into the larger Caledonian Railway. The architect of the bridge is said to have carved a rough builder's model from a turnip. The viaduct remained in use until the early 1960s although the passenger service ended in June 1950. The viaduct now forms part of a Peebles town walk. Listed due to its fine masonry, ironwork and its unusual skew plan.

portal.historicenvironment.scot/

Southern Avenue, Latonia, Covington, KY by Warren LeMay

Built in 1909, this Queen Anne-style cottage has a near-twin on East 18th Street in the Austinburg neighborhood, which only differs in the type of porch columns, cladding materials, side elevation window placement, rear alterations, and the substitution of the weather vane for a finial. The house features a wooden clapboard and shingle-clad exterior, front dormer with a hipped roof and chamfered corners, featuring three decorative leaded glass windows, a front porch with doric columns, wooden railings, and an open pier foundation, central front door with decorative glass sidelights and transoms, one-over-one double-hung windows with decorative wooden trim, a weather vane atop the front dormer roof, and several dormers and additions on the rear facade. The house is a contributing structure in the Ritte’s East Historic District, listed on the National Register of Historic Places in 2014.

Van Norman-Guiler House, 2318 Front Road, Vittoria, Normandale, Norfolk County, ON by Snuffy

16 14

Excerpt from www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=15347:

Van Norman-Guiler House

Description of Historic Place

The building at 2318 Front Road, known as Van Norman-Guiler House, is situated in the County of Norfolk. The one-and-a-half storey brick building was designed in the Regency architectural style and was constructed in ca. 1842.

The exterior, selected elements of the interior and the scenic character of the property are protected by an Ontario Heritage Trust conservation easement. The property is also designated by the Regional Municipality of Haldimand-Norfolk (separated into Haldimand County and Norfolk County) under Part IV of the Ontario Heritage Act (By-Law 3-85 amended as By-Law 19-86). The site of the foundry has been recognized with a plaque by the National Historic Sites and Monuments Board as a nationally important historic site.

Heritage Value

Located in the village of Normandale, Van Norman-Guiler House is set back from the road and neighbouring houses in a semi-rural environment. Numerous mature trees provide privacy at the front of the house, while the sloping terrain of the 3.72 acre property reaches into a wooded area, at the rear, which extends to the shore of Lake Erie. Potter's Creek runs through the west and south (rear) end of the property visually separating the house from its neighbours. In keeping with the Regency style, the house was designed to make the most of the surrounding natural beauty. The house retains views of the neighbouring woods and creek. It is also in close proximity to the general store, restored post office, union hotel and Wesleyan Methodist Church reflecting the size and prosperity of Normandale in the 1840s.

Van Norman-Guiler House is significant for its association with Joseph and Romaine Van Norman and the early development of Normandale. Joseph Van Norman came to the Normandale area in 1821 and took over the Long Point Furnace foundry, established by John Mason, in 1816. He established his firm, the Van Norman Company, in 1822, and named the community Normandale. The foundry flourished, supplying iron goods to communities all over Upper Canada (later called Canada West, then Ontario) as well as the United States.

The Van Norman-Guiler house was built for Joseph's son Romaine (1819-1903) in ca. 1842 to the designs of an unknown architect. Romaine managed the foundry established by his father from 1840 until the iron ore supply was depleted in the 1850s. He left the area in 1859. The house was later occupied by the Guiler family for many years.

Van Norman-Guiler House is an example of a Regency style cottage. Though Regency cottages were common in many parts of the province, they were rare in Normandale. One-and-a-half storeys high, three bays wide by three bays deep, the Van Norman-Guiler House has a square footprint. Constructed of pale red brick, the front façade is clad in stretcher bond, the sides using Flemish bond and the rear using common bond. The upper floor is lit by a clapboard belvedere with two four over four windows on each of the four sides and capped with a hip roof set into the main floor's hip roof. East of the belvedere, a single chimney extends from the hip roof. The foundation is of rubble stone and due to the slope to the rear of the land, has a ground level basement entry, at the rear. The front entrance is marked with Greek Revival style detailing with two Doric pilasters that frame the six-paneled door and support an entablature. Below is a transom surrounded by sidelights flanked by engaged columns. A veranda with a shed roof, at the front of the house, is a later addition, replacing an earlier veranda with a bell-cast roof and chamfered posts. All windows are large pairs of French doors. There is no evidence to suggest that the veranda originally extended to all three sides, which would have allowed these doors to function as entrances or exits. The use of French doors as windows is distinctly a feature of the Regency style which was meant to provide access to the exterior and integrate the interior and scenic views and grounds. The centre-hall plan revolves around a single-run staircase with 19 risers leading to the three roomed belvedere. The ground floor parlour features Greek Revival moulded pilasters, flanking the doors and windows and supporting heavy entablatures with dentil details. The rest of the house has Regency style woodwork with two-paneled doors, and mouldings varying from room to room. The kitchen also contains a pressed tin ceiling. Wide pine floors are used throughout the house. In the early 1990s a large board and batten-clad addition was made to the rear of the house.

Character-Defining Elements

Character defining elements that contribute to the heritage value of the Van Norman-Guiler House include its:

- Regency architectural style

- square footprint with three bays deep and three bays wide

- three different brick bonds, stretcher on the façade, Flemish bond on the sides and common bond on the rear

- fifteen sets of French doors (used instead of windows)

- clapboard belvedere with two four over four windows on each of the four façades

- hip roof of the belvedere set into the hip roof of the main floor

- rubble stone foundation

- front entrance marked with Greek Revival detailing with two Doric pilasters framing the six-paneled door supporting an entablature below a transom and surrounded by sidelights flanked by engaged columns

- early 20th century veranda with a shed roof at the front of the house

- centre hall plan revolving around a single-run staircase with 19 risers leading to the three roomed belvedere

- ground floor parlour featuring Greek Revival moulded pilasters flanking the doors and windows supporting heavy entablatures with dentil details

- Regency style woodwork with two-paneled doors, and mouldings varying from room to room

- floor boards of an early fireplace in the parlour

- pressed tin ceiling in the kitchen

- wide pine plank floors used throughout the house

- location set back from the road in a semi-rural location within the community of Normandale

- numerous mature deciduous trees providing privacy at the front of the house

- sloping terrain of the property extending into a wooded area at the rear of the house and all the way to the shore of Lake Erie

- portion of Potter's Creek running through the west and south end of the property visually separating the house from its neighbours

- retention of the Regency style principle of extensive views focusing on the site's natural beauty

- proximity to the general store, restored post office, union hotel and Wesleyan Methodist Church reflecting the size and prosperity of Normandale in the 1840s

Circa late 19th century - The Coach House at Rufford Abbey 04May21 grade II listed by Kerry Taylor

23 4

Circa late 19th century - The Coach House at Rufford Abbey in Rufford Park Nottinghamshire 04May21 grade II listed.

The following info is from the English heritage website.

Name: COACH HOUSE AT RUFFORD ABBEY AND ADJOINING BOUNDARY WALL

Designation Type: Listing

Grade: II

List UID: 1045604

Coach house, now a cafe and residence. Late C19 and C20. Probably by John Birch. Irregularly coursed ashlar and brick. Hipped and gabled plain tile roof, c.1971. Deep eaves with concrete brackets. Single and 2 storeys, 6 bays wide, square plan. Windows are stone mullioned and cross casements. North front has 6 chamfered carriage openings with glazed doors, 1971. South front has 2 gabled rear wings with 2 casements and above, 2 mullioned casements and rainwater head, 1971. West front has off-centre square tower, 2 stages, with concave hipped roof, first floor band and bracketed eaves. Chamfered doorway and above, single cross casement. Adjoining boundary wall to north has shaped ashlar coping and central elliptical archway with chamfered ashlar surround. Stepped coped gable with ramped brackets. Above, on each side, chamfered panel with blank shield. To north, chamfered ashlar doorway.

Circa 11th century - Church of St Peter & St Paul in West Mersea, Essex 04 July 2021 - grade I listed by Kerry Taylor

Circa 11th century - Church of St Peter & St Paul in West Mersea, Essex 04 July 2021 - grade I listed.

More information on this link

www.explorechurches.org/church/st-peter-st-paul-mersea-is...

Info from the historic England website.

Name: CHURCH OF ST PETER AND ST PAUL

Designation Type: Listing

Grade: I

List UID: 1225167

Church of St Peter and St Paul TM 01 SW 23/23 11.10.49 I 2. Parish Church, comprising: west tower, nave and lower chancel south aisle and north porch. Tower of the Saxo/Norman overlap (C11) of 3 stages, C17 embattled parapet built of septaria, laid diagonally, in alternating directions. Red brick quoins, some bricks Roman. C11 windows in north and south walls of ground storey, western arch plain, 3 corbelled stones at each impost. West window C16, with 2 round headed lights beneath 4 which formerly cinquefoiled, but cut back to round heads. Second storey has a circular opening in west wall, bell-stage has in each wall a C14 window of 2 cinquefoiled lights, one transom, 2 centred head. Nave rendered, with 2, C19 gothic windows set in blocked larger openings. Roof ridged, gabled and pegtiled with C19 parapet. South aisle with C16 window in east wall, and arcade of 4 bays with 2 centred arches of 3 chamfered orders, piers heavily plastered. Chancel with roof in 7 cants, open timber, obtuse pitch, later Tudorised by addition of wall-pieces and arches. C14 walls of squared ragstone, 2 C16 windows in north wall with hoodmoulds, of 4 centres, in red brick. Four centred arch to an empty tomb recess in north wall. Sanctuary rail from Semer Workhouse, with good turned balusters. North porch angle buttressed, hip-roofed, C15 with 4 centred north door into nave 2 centred windows in east and west walls. Two stone corbels from a former roof-truss, carved demi-angles. Fittings: Font of C13, with octagonal bowl of Purbeck marble-later stem. Coffin lid, with cross-bottonee in relief circa 1300. Chests one of late date, C16 iron bound with lock-plates and staples. Another leather covered with 3 locks having pierced hasp-plates C17

Boxley Church by John K Thorne

36 1

Parish church. C13, C14 and C15, restored by Christian 1875-6.

Random ragstone and flint. South aisle random ragstone, galletted

ragstone to tower. Remains of earlier church forming narthex

to west tower. West tower, nave, gabled north and south

aisles, south porch to south aisle, chancel, south vestry to

chancel. Narthex: has half-hipped roof at west end. Renewed

Perpendicular window to left of centre, obscuring an earlier

blocked window. Chamfered 2-centred arched door with hood-mould

under window, with stoup to right. Blocked window with fragments

of tracery in west end of south wall. C19 window in older jamb

in east end of south wall. Tower: Perpendicular. 3 stages

on plinth with buttresses, crenellated parapet and north-east

stair turret. Crenellations and narrow edge of buttresses have

flint panels. Perpendicular bell-chamber windows. South aisle:

on lower plinth with buttresses to ends of south side. 4 different

Decorated windows, one in each gable end and one either side of

Porch. Gargoyle over east window. South Porch:on plinth. Door-

way with moulded architrave and broach stops. Roof with ashlar

pieces, curved collars and moulded cornice. Chancel: on plinth,

with buttresses. C19 windows. Vestry: C19. North Aisle:

on plinth. Largely C19 Decorated east window with worn gargoyle

over. North wall has projecting rood loft stairs Decorated

or early Perpendicular window towards east end, and decorated

window towards west end. Decorated west window. Central north

door, head of which springs from pilasters with moulded capitals

and bases. Small Perpendicular window over door. Interior:

Narthex has traces of Norman arcading in north wall; part of

a scallop capital visible. Later arched opening at east end

of wall. Common rafter roof with collars, sous-laces, ashlar

pieces and embattled moulded wood cornice. Tower: finely carved

early Perpendicular east and west doorways. West doorway has

hoodmould with carved heads for label stops, one a bishop, one

a king. Door to tower stairs with 2-centred arched head, hollow

chamfered, with broach stops. Nave: early C13 3-bay north and

south arcades with 2 small chamfers round arches and short thick

circular piers. Early Perpendicular moulded chancel arch

springing from pillars with moulded capitals and bases. Roof:

north and south aisles have steeply pitched C13 scissor-braced

roofs with moulded embattled, wood cornices and ashlar pieces.

Early C15 moulded crown-posts to nave roof. Chancel probably C19.

Fittings: piscina with cusped head and hood mould at east end of

south wall of south aisle and another with cusped ogee head at

east end of north aisle. Stoup by south door. Font with C19 bowl

on early C15 base. Monuments: Brass in east end of chancel to

Richard Tomynn, died 1576. Memorial tablet on south wall of south

aisle to George Charlton, Gent., died 1707, with an addition

to Elizabeth Charlton his second wife, died 1750. Large architect-

ural memorial tablet on north wall errected by Edwin Wiat in 1702

to memory of Sr. Henry Wiat of Alington Castle Knight Banneret who

was imprisoned and tortured in the tower in reign of King Richard III.

Memorial on north wall of north aisle to Hannah, wife of William

Champneys of Vinters, died 1748. Memorial by Joseph Kendrick

also on north wall of north aisle, to Frances, eldest daughter

of William Champneys late of Vinters Esquire, died 1800. Memorial

to William Champneys Esq., died 1760.

Eyam - Church of St Lawrence by Glass Angel

13 5

Church of St Lawrence, Church Street, Eyam, Derbyshire

St Lawrence, Eyam, Derbyshire, C13-C15, partly rebuilt 1619.

North aisle & chancel restored by George Edmund Street, 1868-69.

South aisle & porch rebuilt by John Dodsley Webster, 1882-83.

Grade ll* listed.

——————————————————————————————

Church of St Lawrence, Church Street, Eyam, Derbyshire

Heritage Category: Listed Building

Grade: II*

List Entry Number: 1110019

National Park: PEAK DISTRICT

National Grid Reference: SK 21774 76417

Details

SK 21 76 6/30

PARISH OF EYAM CHURCH STREET (north side) Church of St Lawrence

12-7-67 GV II* Parish Church. C13, C15, partly rebuilt 1619. North aisle and chancel restored by Street 1868-69. South aisle and porch rebuilt by J.D Webster, 1882-83. Coursed squared and coursed rubble gritstone.

Limestone rubble to chancel. Gritstone dressings. Plinth. C20 concrete tile roof to chancel, others leaded. Stone coped gables. Ridge crosses to east of chancel and nave. Plain parapets with moulded copings to nave aisle, embattled C15 parapets to clerestory. West tower,clerestoried nave, nave aisles, chancel, north vestry and south porch.

Two stage western tower with stepped diagonal buttresses to western corners. C19, two-light cusped, pointed west window with scotia moulding, copy of bell openings above. Over, datestone inscribed 'CW TB WC TC PT7CH 1619 15 MAR'. Attached to south side of tower two stone plaques, one of 1741 erected by Thomas Sheldon. Clock face over. Louvred, cusped two-light pointed bell openings with scotia moulded aedicules to all sides above. Moulded stringcourse over with central and corner gargoyles. Embattled parapets with crocketed corner pinnacles, mostly C19. C19 north nave aisle has two single lancets to west wall and five pointed three-light windows with various designs of reticulated tracery to north wall. Continuous cill band below. To east, pointed north vestry door. Above, in clerestory, three C15 two-light, flat headed windows with cusped ogee headed lights and pierced spandrels. C19 triple cusped lancets with transom to east of north vestry. East window; three stepped lancets. Three lancets to south chancel wall joined by cill band. Two lancets to west, larger. Between eastern two, a pointed chamfered doorcase with moulded hood and imposts. Above, fine square stone sundial of 1775, inscribed to top 'INDUCE ANIMUM SAPIENTEM'. Also inscribed in semi-circle round base of gnomon, 'Willi Lee and Thomas Froggatt. Churchwardens. Anno X 1775'.

Attached to side of door near ground, a pair of C13 gravestones incised with crosses. Nave aisle has three-light reticulated 1880s window, with hood to east wall. Two similar windows to south wall. Beyond, to west, south porch with pointed doorcase, inner order supported by hook shafts. Diagonal buttresses either side. Cusped lancet to nave aisle beyond, to west. Above, in clerestory, three C19 imitations of north clerestory windows.

Interior: three bay arcades to north and south with moulded capitals and double chamfered arches, southern piers octagonal, one column and one quatrefoil pier to north. Tower arch, triple chamfered with inner moulding supported by half column pilasters. Double chamfered pointed chancel arch with soffit on corbels. Nave roof C15, restored in C20. Other roofs C19. Chancel has barrel vault and two bay northern arcade with central quatrefoil pier, moulded capital and double chamfered-arches, C19 trefoil headed painted wooden arcade behind altar.

Various C19 stained glass windows, also one of 1911 by Geoffrey Webb. C18 pulpit with C19 ironwork railing to side, probably by Street. C16 murals to clerestory walls. Stone font, probably C12 with semi-circular arcading in low relief. Charity plaque of 1760. Various C18 stone wall memorials. Re-used C17 panelled screen, with balustraded top, in tower arch.

Listing NGR: SK2177476417

historicengland.org.uk/listing/the-list/list-entry/111001...

Circa 12th century - Church of All Saints in Lathbury 13Apr21 grade I listed. by Kerry Taylor

22 2

Circa 12th century - Church of All Saints in Lathbury, Buckinghamshire 13Apr21 grade I listed.

The following is from Historic England.

Name: CHURCH OF ALL SAINTS

Designation Type: Listing

Grade: I

List UID: 1115931

Parish church. C12 nave and south aisle, west tower c1220, chancel rebuilt c1330 north aisle c1340. Clerestory and parapets to aisles and tower C15. Limestone rubble with dressings, ironstone to parapets. Lead roofs. Decorated chancel windows, east end of 4 trefoiled lights and tracery. 2 side windows of 2 trefoiled ogee lights each. Nave has 3 clerestory windows of 2 trefoiled lights under a square head. South aisle east window 2-light fieometric Decorated windows. C1300 south windows of 2 and 3 lights, gabled south porch, probably entirely C19 rebuild. North aisle C14 3-light east window with intersecting tracery, north wall has 2 Y-tracery windows. 3 stage west tower, lancets to ground stage, lancet to west wall of second stage, belfry with 2 lancets enclosed by semi-circular outer order, octagonal central shaft with square capitals. East window 2-light C15. Interior: Chancel has sedilia with trefoiled ogee heads and spandrels with shallow tracery 3 seats, piscina by sedilia double with trefoiled ogee recesses and chamfered mullions, quatrefoil basins. Chancel pavement of black and white marble, C17, with inscription to Andrewes family of Lathbury Park. Chancel arch c1330 of 2 chamfered orders, moulded capitals and semi- octagonal shafts to inner order. Nave south arcade c1190, 2 bays. One chamfered order, circular pier has square capital carved with dragons, moulded abacus, square responds with leaf ornament capitals. In south east corner rood loft stair opening. Nave north arcade c1340 of two bays, 2 chamfered orders octagonal pier, semi-octagonal responds, all with moulded bell capitals. Semi-circular tower arch. Modern nave roof has 8 stone angel corbels, C15. C14 north aisle roof. Wall paintings: C15 nave, east wall: Room, nave north wall: the Virgin weighing souls, nave south wall: 7 sacraments other fragments, including C17 texts. 2 C17 brasses. Fragments of medieval stained glass. Monuments: chancel north wall to Alice Pigott 1604, marble incised figures of woman and child. C13 coffin lid with incised cross. North aisle wall monument to Henry Uthwatt of Great Linford, 1757 and wife. Flanking Doric pilasters, entablature has triglyph frieze and large urn in centre. Base has carved brackets and apron has central cartouche of arms, surrounded by palms. Inscribed 'Palmer fecit'.

Barn at Boxley Abbey. Hospitium to Boxley Abbey. by John K Thorne

Hospitium to Boxley Abbey (Cistercian). Late C13 or early C14. Ragstone with plain tile roof, 186 feet long. Gable end walls recessed above tie-beam. Each wall has very small irregularly placed rectangular ventilation holes. All original windows are morticed in sides and tops for rectangular bars and have chamfered reveals. Some of the windows and doors are now blocked. West gable has 3 lancet-type pointed windows above, and 3 below the tie- beam, the central one in each case stepped above the lower 2. Small later window punched through coping at left end. South side:fenestration changes towards centre of building. Left section has 5 regularly-spaced oblong windows under the eaves. On the ground floor, below the middle 3 and stepped slightly to the left are 3 taller, narrower oblong windows. At the left end, immediately below the cill level of the upper windows is a small inserted window with a wooden frame and below the left original first-floor window are 2 superimposed inserted windows, also in wood frames. One pointed window on ground floor to right of last first-floor window. Central quarter of wall blank save for one pointed window will cill immediately above level of tops of ground floor windows. Right section has 4 regularly spaced narrow oblong windows well below the eaves with similar windows on the ground floor below. Inserted barn doors with wooden archi- traves below 2 central first-floor windows. East gable: has one pointed window in the centre above the tie-beam and 2 oblong windows, much larger than any others in the building, under the tie-beam towards the centre of the wall, with 2 immediately beneath on the ground floor. North side: fenestration highly irregular. Left section has tall narrow oblong first floor windows well below the eaves, similar to those on the south side; one at the left end opposite the end window in the south wall and 2 much further towards the centre of the building, aligned to the right of the 2 counterparts in the south wall. One similar window on the ground floor below the second first-floor window from the left. On the ground floor, 2 arched doorheads, one to left of the left first-floor window and one beneath the first- floor window at the right end; that to left has stone voussoirs and chamfered stone jambs with broach stops. Slightly projecting rectangular stone stack on first floor, on brick relieving arch between the left first-floor window and the full-height barn doors. Full-height inserted barn doors opposite the doors on the south side. Central quarter blank save for inserted wooden doors on each floor. Right section:inserted wooden doors on each floor to right of those in central quarter, the top door obscuring an original oblong window. Then 2 smaller oblong windows immediately below eaves, opposite those on south side, with a pointed window on the ground floor below that to left and a blocked oblong window below that to right. Large long oblong opening under eaves to right of these with wall-plate as head and with broach stops to chamfered stone jambs and a plain cill; not morticed for iron bars, and possibly a first-floor door.

Brendon Devon by jmc4 - Church Explorer

7 1

Church of St Brendan, Brendon Devon

Curiously the spelling of the village and 6c saint differs.

The church stands on a sloping hillside well away from the village it serves. It replaced a church of 12c foundation dedicated possibly to St Brendan or to the Virgin Mary at Cheriton two miles away, which was abandoned in the early 18c and of which little now remains.

The present building consists of a 4-bay nave with lean-to north aisle and south porch, 2-bay chancel with north transept / organ chamber. lean-to north-east vestry, and west tower in Gothic style.

The nave, chancel and gabled south porch date to 1738 and are thought to have been built with reused material from Cheriton

The 4 stage tower was rebuilt in 1828;

All restored & refurbished in 1873 with pine pews and new stone pulpit , with north aisle, north transept and vestry added

Inside the walls have been stripped of plaster. The barrel vaulted roof is probably 18c www.flickr.com/gp/52219527@N00/qG5NE4W474

The early 20c elaborately carved wooden reredos, altar rails and choir stalls, are by local carpenter, John Floyd.

The mid to late 12c stone font on octagonal step, with chamfered square base, circular stem and scalloped square bowl still survives and probably came from Cheriton www.flickr.com/gp/52219527@N00/V31zjop16F

Another early Norman font / pillar piscina (probably assembled from separate parts) has a carved circular bowl , stem and base, is strapped for safety to a nearby pillar www.flickr.com/gp/52219527@N00/f127ytS4AC

Over the porch is a sundial made of slate, dated 1707 which predates the church and was probably relocated from another site. www.flickr.com/gp/52219527@N00/N8q71i7roe

Carlisle [Listed Building Grade I] - Keep, Carlisle Castle 240307 by maljoe

25 9

Listed Building Grade I

List Entry Number : 1208315

Date First Listed : 31 May 1949

This 12th century keep was altered in the mid 16th century and again in the 19th century. It is built in sandstone with thick walls on a stepped chamfered plinth, with broad pilasters and a battlemented parapet with splayed embrasures. The keep has an almost square plan, measuring 60 feet (18 m) by 67 feet (20 m). In the east face is a recessed doorway. Some arrow slits remain and others have been widened into sash or casement windows. On the north side is a stepped gun ramp. Included in the listing are the quartermaster's store dating from 1827, and the remaining rear wall of the governor's house dating from 1577.

historicengland.org.uk/listing/the-list/list-entry/1208315

en.wikipedia.org/wiki/Listed_buildings_in_Carlisle

St Michael and All Angels, Hartlip, Kent by Jelltex

75 2

Hartlip is another one of the many parishes that lay either side of the old A2 high road, and is somehow another one of the ones I missed during the last Heritage Weekend.

I discovered this in making a list of the churches I have yet to visit in Kent.

On a day when I visited and saw inside 5 churches. Hartlip was the first, and the sat nav took me through Stockbury, over the downs, then into a valley, back under the motorway until I came to the village, with the church set on the main street of the village.

It looked nice enough, and I hoped it would be open.

-------------------------------------------

Q 86 SW HARTLIP THE STREET

(west side)

4/9 Church of St. Michael

24.1.67

GV I

Parish church. C13 to C15, tower repaired 1855, restored 1864-5

by R.C. Hussey. Flint, with rubble, and plain tiled roofs. Nave

with aisles, chancel with north and south chapels, south porch, west

tower with priests room. Three-stage west tower with string course

to parapet and 3 stage octagonal stair turret. C19 west doorway,

simple Perpendicular windows and belfry openings. Nave and aisles

under 1 roof, south aisle with 3 offset buttresses and C19

Perpendicular style windows. C14 doorway in south porch with

hollow chamfered, roll moulded arch and hood mould with carved head

stops. South chapel with two C19 lancets and double lancet east

window; north chapel identical. East window C19 3 light curvilinear,

the 3 east chancels separately roofed. North aisle with 3 three-

light Perpendicular windows and hollow-chamfered doorway. North

west lean-to priest's or anchorite's room with steps down to basement

doorway, and restored chimney. Interior: nave with hollow chamfered

tower arch, and 3 bay arcade to aisles with octagonal piers, double

hollow chamfered arches and panelled canted ceiling, the aisles with

lean-to roofs. C19 arches from aisles to chapels and chancel arch,

the north and south chapels largely rebuilt by Hussey, but with C13

plain chamfered arches on imposts into chancel. Late C12 wall arcad-

ing in the chancel, 2 full bays in north and south walls, and 1 bay

interrupted by the arches to chapels, attached shafts rising

from plinth, with stiff leaf and palmette carved capitals.

Reveals of lancet east window and north and south lancet windows

survive. Fittings: angle piscina in chancel, heavily restored,

but with late C12 shaft, square abacus and leaf-carved capital.

Reredos of 1908, the Last Supper carved in relief. Monument: in north

chapel, wall tablet,Mary Coppin, d. 1636. Black and white marble,

the plaque carried on an urn and angelic head, with corinthian columns

supporting a frieze and broken segmental pediment with achievement,

and 2 putti descending to the inscription. (See B.0.E. Kent II,

1983, 343-42).

Listing NGR: TQ8396564247

britishlistedbuildings.co.uk/101320011-church-of-st-micha...

-------------------------------------------

HARTLIP

¶IS the next parish south-eastward from Rainham. It is not so unhealthy a situation as Rainham, lying further from the marshes, the noxious vapours of which are intercepted, in some measure, by the intervening hills, it contains about one thousand and forty acres of land, besides one hundred and sixteen acres of wood. The London road runs along the northern side of it, where the soil is very gravelly, whence the ground rises up to the village, which is situated, as well as the church, on the west side of it, on high ground, surrounded by frequent orchards of apple and cherry trees, which renders the view of it from the London road very pleasing, though several of these plantations being worn out and decayed, have been grubbed up. Notwithstanding the gravelly soil still continues, there is some fertile land, the hedge-rows of which, and throughout this and the other parts of the parish before-mentioned, being filled with rows of tall spiring elms; above the village the soil becomes chalky, extending over a poor and barren country, very hilly and much covered with flints, having a great quantity of coppice woods, interspersed over it. In this part of the parish is a long tract of waste ground, called Queen-down, which was for many years a noted warren for rabbits, but it has been disused for some time past. In the north-east part of the parish, about half a mile from the London road, there is a good old mansion, situated in the midst of fruit grounds, called Paradise, having a large farm belonging to it. In queen Elizabeth's time it was the property of Rowland Searle, gent afterwards it came into the name of Pitt; the widow of admiral Temple West was lately possessed of it.

William Brooke, escheator of this county in the reign of James I. resided at Hartlip. He was the eldest son of Cranmer Brooke, esq. of Ashford, the grandson of Thomas, the second surviving son of John, lord Cobham.

In and about this and the adjoining parishes, many lands are called by the name of Dane, as Dane-field, Dane-crost, Danoway, and the like, which shews that nation to have formerly had much intercourse hereabout. In one of these, called Lower Dane-field, belonging to Maresbarrow-farm, at the south-west corner of it, and about a mile's distance south westward from the church of Hartlip, there were discovered about fifty years ago the ruins of a building, the top of which reached but even with the surface of the ground; a quantity of the earth within it was cleared away, in hopes, as usual, of finding hidden treasure. As it appears at present, the east end of it has been cleared of the earth, which filled it, about three feet deep, and thence gradually deeper, in length sixty feet, to the west end of it, where it is about ten feet deep. At each end of it, where the walls return as part of a square, they are plaistered over; in the narrow part, between these extremes, they are bare, and appear to be composed of large flint stones, laid regularly in rows; on the upper part, even with the surface of the ground, there are two rows of large Roman tiles, laid close together. They are of a very large size, and some of them are made with a rim at the end, to lap over the others. Great quantities of these tiles are scattered round about the place, and many foundations of buildings have been from time to time discovered in different parts of the adjoining grounds.

Charities.

MRS. MARY GIBBON, by her will in 1678, gave a house and six acres of land in Hartlip, of the value of about 12l. per annum, for the purpose of putting to school poor children inhabiting this parish, to be instructed in reading English; and, in case the estate should be more than sufficient for that purpose, then to put to school those inhabiting one of the adjoining parishes; and when such children should be able to read English so well as to read any chapter in the bible, then for them to have a bible bought and given to such child who should thereupon be taken from school. And she likewise charged it with the payment of 20s. yearly to the vicar of Hartlip. The land is now vested in Mr. William Danne, and the produce of it in trust, to be applied by the minister and churchwardens for the above purpose.

TWELVE BUSHELS of barley, one and a half of wheat, and 6s. 8d. in money, are yearly payable out of the parsonage of Hartlip to the poor of this parish, given by a person unknown.

The sum of 20s. is yearly payable out of a farm in this parish belonging to Richard Tylden, of Milsted, given likewise by a person unknown, and now vested in the churchwardens and overseers.

The number of poor constantly relieved are about seventeen; casually four.

HARTLIP is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

The church is dedicated to St. Michael, and consists of three isles and three chancels, with a square tower at the west end of it, in which hang five bells.

King Henry III. in his 9th year, gave the church of Hertlepe, with its appurtenances, to the prior of St. Andrew's, in Rochester.

Stephen, archbishop of Canterbury, in 1225, admitted the monks into the possession of this church, to be possessed by them to their own proper uses for ever: saving, nevertheles, a vicarage to be conferred on a proper person at their presentation, who should sustain the burthens of this church, reserving to him, the archbishop, the taxation of the vicarage. Which instrument was confirmed by John, prior, and the convent of the church of Canterbury. (fn. 3)

The church of Hartlip, together with the advowson of the vicarage, remained part of the possessions of the priory of Rochester till the dissolution of it in the 32d year of king Henry VIII. when it was, together with the rest of the possessions of it, surrendered up into the king's hands, who the next year settled it by his dotation-charter on his new-erected dean and chapter of Rochester, where the parsonage and advowson of the vicarage remain at this time.

In the 8th year of Richard II. the church of Hartlip was valued at 13l. 6s. 8d.

The vicarage is valued in the king's books at 9l. 10s. 10d. and the yearly tenths at 19s. 1d. and is of the yearly certified value of 62l. 18s. 8d.

¶In the survey of ecclesiastical benesices within the diocese of Rochester, taken by order of the state in 1649, it was returned, that the parsonage of Hartlip, late belonging to the late dean and chapter of Rochester, consisted of a parsonage-house, barn, yard, &c. and the tithe within the said parish, at the improved rent of sixty-seven pounds per annum, and sundry pieces of land, containing together twelve acres and one rood, of the yearly value, with the above, of 69l. 19s. 7d. which premises were let by the late dean and chapter, anno 15 Charles I. to Henry Barrow, at the yearly rent of nineteen pounds, and three couple of good capons, so there remained the clear rent of 50l. 7s. 7d. per annum, out of which lease the vicarage of Hartlip was excepted, worth forty-five pounds per annum. (fn. 4)

The parsonage is now seased out by the dean and chapter, but the advowson of the vicarage is reserved in their own hands.

www.british-history.ac.uk/survey-kent/vol6/pp15-24

Westwood Branch Library, Epworth Avenue, Westwood, Cincinnati, OH by Warren LeMay

16 1

Built in 1930-1931, this Spanish Mission Revival and Art Deco-style library was designed by Stanley Matthews and constructed to house a branch of the Cincinnati Public Library in the then-rapidly growing Westwood neighborhood. Replacing a small library substation within the Westwood School, located across the street, this building further expanded library services to the area, which had begun in 1899 with a small deposit station in the neighborhood. The white stucco-clad building features recessed window openings with diamond pane and mullioned casement windows, two pyramidal copper roofs with finials, a brick entry surround with the building’s function and year of construction prominently displayed, geometric Art Deco-style sconces at the entrance, multiple low-slope roofs with parapets, chamfered corners at the ends of the building, a side oriel window, and pilasters at the window openings on the south wing of the building. The interior features ample natural light, tall ceilings, a stone fireplace, a decorative balcony over the main circulation desk, and oak trim and shelving. Originally an irregular T-shape, the building has been expanded with an additions in the southwest corner to increase the interior floor space, and a new accessible entrance and lobby at the northwest corner, featuring square windows of varying sizes, with this expansion and renovation project completed in 2002. The building is a contributing structure in the Westwood Town Center Historic District, listed on the National Register of Historic Places in 1974, and remains a community anchor for the neighborhood.

Old Hall Farmhouse, Braithwell, Doncaster by I Itsmee (Dave)

8 9

The older part is Hall Farmhouse, now forming a rear wing to Old Hall Farmhouse, which was added in 1771. The building is in magnesian limestone, both parts have quoins, and the roofs are in Welsh slate. Hall Farmhouse has two storeys and two bays, a chamfered plinth, and a doorway with a quoined surround, a lintel with a keystone, and a hood mould. Above the doorway is a dated and initialled plaque, and most of the windows are mullioned, with hood moulds. Old Hall Farmhouse has three storeys and three bays, and a hipped roof. Its doorway also has a quoined surround and a keystone, and above it is a dated and initialled plaque. The windows are casements.

The gate piers are in magnesian limestone. They are square in section, and each pier is surmounted by a concave plinth and a ball finial. Listed building Grade II

Carlisle [Listed Building Grade II] - 8 Lowther Street 240307 by maljoe

14 4

Listed Building Grade II

List Entry Number : 1218057

Date First Listed : 22 March 1974

Built as a post office in 1863, an additional storey was added in 1899, and it was converted into a public house in 1916. The building is in calciferous sandstone on a chamfered plinth, and has quoins, pilasters, a string course, a cornice, and a parapet. There are three storeys and three bays. In the ground floor is a doorway with a fanlight and, to the right, three casement windows with panelled aprons, divided by pilasters. In the upper floors the windows are sashes. In the middle floor they are round-headed in architraves with panelled aprons, and in the top floor they have flat heads and aprons containing roundels.

historicengland.org.uk/listing/the-list/list-entry/1218057

en.wikipedia.org/wiki/Listed_buildings_in_Carlisle

ST JAMES CHURCH POOLE by John K Thorne

27 2

Church. Rebuilt 1819-21. By John Kent of Southampton and Joseph Hannaford of Christchurch, in simplified Gothic style, broadly Perpendicular. Renovated 1893, when re-seated. Purbeck ashlar with slate roofs. PLAN: sanctuary with vestibule either side housing staircases to gallery, aisled nave and west tower flanked by vestry wings. Single bay projection to east end housing sanctuary and flanking vestibules, all under one roof. EXTERIOR: sanctuary has 5-light E window with chamfered surround extending well below bottom of present window, 4-centred head with hoodmould and Perpendicular-style tracery probably of 1897. Doorways N and S to vestibules which have 4-panel doors with pointed heads to main panels, overlights with timber Y-tracery, 4-centred heads and hoodmoulds. Above each door a 2-light window with timber and tracery, 4-centred head and hoodmould. Nave has 5-bay aisles under one roof with 2 tiers of 3-light windows N and S, all with chamfered surrounds, 4-centred heads and hoodmoulds; hollow-chamfered wood tracery to windows with quatrefoils to spandrels. 2 tiers of 2-light windows to W end of aisles with similar surrounds, Y-tracery with quatrefoils to heads and hoodmoulds. Offset buttresses between bays and diagonal offset buttresses to angles. 3-stage tower is built clear of body of church with short link to nave incorporating a newel stair either side, that to S leading down to heating chamber, that to S serving tower. Tower has large W doorway approached by 2 stone steps with chamfered surround, 2-centred head and hoodmould; Gothic panelled double-leaf doors and leaded overlight. Original iron lamp in bracket above. Middle stage has tall 2-light windows with Y-tracery, end hoodmoulds. Clock faces above windows with moulded stone surrounds and convex painted iron faces. Bell-chamber openings to top stage with similar tracery and hoodmoulds. Diagonal offset buttresses, 2 string courses and battlemented parapet. Flagstaff on roof with gilded dolphin weathervane. Single-storey vestries either side have a 2-light window to N, S & W sides with hoodmoulds and doorway to E side within short screen walls to gap between vestries and aisles, which have chamfered Tudor-arched doorways and coped parapets. Vestries have flat roofs and battlemented parapets. Chamfered plinths and battlemented parapets to body of church and eastern projection. INTERIOR: sanctuary has offset to side walls about half way up with ornamented cresting. Reredos removed from predecessor's church to which it was given in 1736 by Richard Pennel: it is of mahogany and has tripartite composition with Corinthian pilasters and open pediment; it displays the Lord's Prayer to the left, the Creed to the right and the Commandments in 2 panels to the centre; above outer panels at capital level winged cherubs' heads with flower swags and a dove or eagle in glory emerging from clouds above central panels and projecting into pediment, all carved in relief and gilded. C19 altar rail of mahogany on wrought-iron balustrade, the rails terminating in winged angels' heads either side of entry to Sanctuary. The nave arcades support galleries round 3 sides of nave at mid-height and a plaster rib vault. The columns are of pine from Trinity Newfoundland and are composed of 4 circular shafts bolted together to give piers of quatrefoil sections rising to plain capitals with circular top moulding. Galleries have panelled fronts. Royal Arms of George IV of carved and painted wood to centre to W gallery front presented by the Mayor of Poole George Welch Ledgard in 1821. Gallery clock of same date signed WATTS POOLE. Screen at W end of nave, inscribed on vestibule side with benefactors from 1612 to present day. Early C19 font of mahogany with tripod base on castors, stem of 3 clustered shafts with bell-shaped capital and circular bowl with quatrefoil ornament in lozenges which project below with pendant finials; reeded cover rising to urn finial. St Paul's chapel at E end of S aisle: C18 communion table of mahogany and reredos of C18 panelling with fluted pilasters and incorporating 5 Renaissance panels with grotesque ornament. Organ at E end of N aisle removed from W gallery presented to church in 1799 by Benjamin Lester with pipework from organ of St John at Hackney by Sneteler. Brass lectern of 1887 and oak pulpit of 1894. E window, called the Mariners Window of 1897. MEMORIALS: extensive series of wall monuments, many removed from old church, including brass inscription plaque to Edward Man d.1608, another to Edward Man, 1622; white marble wall monument to George Lewen d.1718, a cartouche on a draped background with cherubs' heads and scull above acanthus bracket; another to Sir William Phippard MP, d.1724, of veined white marble with cherubs' head and urn finial erected 1774 and signed M Meatyard. Other leading citizens commemorated include Peter Jolliff, d.1730, on white marble drapery tablet surmounted by cartouche of arms, erected 1737; Sir Peter Thompson FSA, MP for St Albans d.1770 on white marble tablet surmounted by flat obelisk with coat of arms; William Spurrier d.1809 on a white marble tablet surmounted by draped female mourner clasping funerary urn, signed I Hiscock, and Thomas Parr, deputy provincial Grand Master, d.1824, on tall white marble wall monument in S gallery, carved in relief with cherubs and masonic symbols to head, erected by his brethren. HISTORICAL NOTE: the first mention of a church at Poole is in 1142, when the chapel of St James was given to endow the new Priory of Bradenstoke, Wilts together with the church of Canford (qv). The decision to rebuild the medieval parish church was taken in February 1819 but the rebuilding of the tower was not agreed upon until January 1820, which probably explains why it is a semi-independent structure. The original architects' model survives showing some features which were not finally executed: the tower was to have a spire with a ball finial and the eastern projection was to be divided into 2 floors with a vestry on the ground floor, and a Sunday school on the first floor, and to have 2 tiers of windows with a quatrefoil window to the gable. The foundation stone was laid 31 May 1819. The total cost of rebuilding was »11,740 to which the parish contributed »6,000, the Corporation »1,000 and subscribers »2,010. The tower cost »2,730. A stone tablet in the tower on E wall of first floor is inscribed 'This church was erected AD 1820 Revd Pet' Wm Joliffe Minister, JB Bloomfield Rob' Slade Jun' Churchwards Thos Benham, Builder'. The new church was opened on Easter Monday 23 April 1821, St Georges' Day. The rebuilding of St James's was the culmination of the almost complete rebuilding of the town which took place between 1700 and the early C19, the period of Poole's greatest prosperity. St James's is an exceptionally complete and virtually unaltered late Georgian church of high architectural quality.

Broadclyst Devon by jmc4 - Church Explorer

5 5

Now & then - 15c Granite preaching cross moved to the churchyard is raised on 4 steps of unknown date - the octagonal shouldered base supports a slender shaft, square at the foot, chamfered above, with rounded stops, and arms intact.

- Church of St John the Baptist, Broadclyst Devon

Humayuns Tomb - Delhi by FabIndia

12 88

Boxley Abbey Barn Grade 1 Listed Building. by John K Thorne

Engineering Building, University of Leicester by Nigel Turner

24 5

The Engineering Building (1959–1963) was the first major building by British architects James Stirling and James Gowan. This Grade II* listed building comprises workshops and laboratories at ground level, and a tower containing offices and lecture theatres.

The building is part of the Red Trilogy by James Stirling. Beginning in the late 1950s, the architect designed three university buildings featuring distinctly red materials: red bricks and red tiles. The Red Trilogy includes the Engineering Building, University of Leicester (1959–1963), the Faculty of History, University of Cambridge (1964–1967), and the Florey Building, The Queen's College, Oxford (1966–1971). James Stirling and James Gowan worked together on the design for the Engineering Building. The Trilogy's two later buildings were designed by Stirling, without Gowan.

The Engineering Building is a large and complex structure. Stirling and Gowan were tasked to design spaces for offices, laboratories, auditorium, and workshops with heavy machinery. The design also includes a water tank on top. The workshops are located in the low-rise section of the building, in a hall with a rectangular floor plan. Connected to the workshop hall is the tower, which houses auditorium, offices, and laboratories. The water tank sits on top of the tower. The tower section is notable for its chamfered edges and its prismatic geometry. The auditorium is located at the base of the tower. The auditoriums seating arrangement is designed typically stadium-like with staggered rows of seats. The angled auditorium floor results in a pronounced wedge-shape on the building's exterior. The tower's facades are clad in glass and red tiles, the workshop hall's facade is entirely made of frosted glass.

A unique feature of the workshop hall is its roof construction. The roof's geometry is rotated by 45 degrees in respect to the floor plan's orientation. This results in a unique jagged roof line and a diamond-pattern-like perimeter. The roof appears as a series of multiple translucent prisms. The translucent effect was achieved by lining the glass panes with fibre-glass. Other parts of the glass shell are completely opaque, in contrast. Here, the glass panes were coated with a thin layer of aluminium.

Stirling and Gowan were commissioned in 1957. The design is dated to 1959. Construction lasted from 1960 to 1963. The consulting structural engineer was Frank Newby.

ST ANDREW'S CHAPEL, BOARLEY LANE. by John K Thorne

TQ 75 NE BOXLEY BOARLEY LANE (east side) Sandling

5/57 St. Andrew's Chapel 20.10.52

G.V. II*

Chapel, with priests "lodging", attached to Boxley Abbey converted to dwelling late C16 or early C17, now house. Probably late C15, with late C16 or early C17 wing. Ragstone with plain tile roof. Wing timber framed with rendered and bricked walls. Chapel, with south aisle running from west end to adjoin a 2-storey "lodging" approx. twice the width of the aisle, joined and running parallel to the east end of the chapel on the south side. Single timber- framed bay same width as "lodging" added to east of it, beyond east end of chapel. Chapel: on moulded stone plinth which descends vertically to ground with broach stops on either side of doors. Aisle roofed as lean-to, with C19 studded half gable at east end, abutting "lodgings". Central brick stack with corniced top. West elevation has large rectangular window with plain chamfered surround containing C19 4-light ovolo-moulded wood mullion window. Below, one small square window either side of door. South elevation has rectangular window with hollow-chamfered stone jambs and cill and head formed from wall-plate of half-gable, contining 2-light ovolo moulded wood mullion window. East window blocked with C19 red bricks, with C19 3-light ovolo-moulded wood mullion window in chamfered brick architrave in upper section and 2-light wood casement with segmental brick head below. North elevation has very small rectangular single light towards east end with plain chamfered stone surround morticed for iron bars. 3 large putlock holes in line at first floor level. 3 external doors; one to east of centre in north and south elevations with 2-centred arched heads and hollow chamfered stone jambs on moulded bases, and one in centre of west elevation, wider with plain chamfered stone jambs and head. "Lodgings": integral with chapel, plinth of which continues round it. First floor on south elevation jettied out a few inches on concave stone lintel. Roofed parallel to chapel, with bridging ridge at right-angles between them. 3 small rectangular stone windows with chamfered surrounds, one towards apex of west gable, one with iron bars towards south end of west gable on first floor and one in the centre of the first floor to the south elevation. No external door. Wing: 2 storeys on plinth, roof hipped to north and south. Projecting red brick stack on east elevation. South elevation underbuilt in stone with 3-light square- headed Perpendicular stone window with hollow chamfers, hollow spandrels and plain hood mould, said to have come from west end of chapel. No external door. Interior: Door between chapel and "lodging" at east end of south wall of chapel, narrow, with arched stone architrave with hollow chamfer and broach stops. Hagioscope in wall to west of it. Chapel roof ceiled at collar level; rafters of uniform scantling with collars, sous-laces, ashlar pieces andmoulded cornice: Moulded tie-beam to east of centre.

No chamfered corner by Mario Donati

15 9

Brendon Devon by jmc4 - Church Explorer

Church of St Brendan, Brendon Devon

Curiously the spelling of the village and 6c saint differs.

The present building consists of a 4-bay nave with lean-to north aisle and south porch, 2-bay chancel with north transept / organ chamber. lean-to north-east vestry, and west tower in Gothic style.

The nave, chancel and gabled south porch date to 1738 and are thought to have been built with reused material from Cheriton

The 4 stage tower was rebuilt in 1828;

All restored & refurbished in 1873 with pine pews and new stone pulpit , with north aisle, north transept and vestry added

Inside the walls have been stripped of plaster. The barrel vaulted roof is probably 18c www.flickr.com/gp/52219527@N00/qG5NE4W474

The early 20c elaborately carved wooden reredos, altar rails and choir stalls, are by local carpenter, John Floyd.

Over the porch is a sundial made of slate, dated 1707 which predates the church and was probably relocated from another site. www.flickr.com/gp/52219527@N00/N8q71i7roe

Picture with thanks - copyright Roger Cornfoot CCL www.geograph.org.uk/photo/3533156

Church of Saint John The Baptist Harrietsham National Grid Reference: TQ 87485 53006 by John K Thorne

HARRIETSAM TQ 85 SE 4/8 Church of St. John 26.4.68. The Baptist GV I Parish church. Late C11 or C12, C13, C14 and C15. Ragstone, with plain tile roof. West tower, nave, south aisle, south porch, south chapel, chancel, 2 stages of a north tower (converted, probably in C14 to chapel with parvis above), north aisle. West tower: C15 (after 1479: J. Newman, North East and East Kent, 1969). Ashlared ragstone base with roughly coursed galletted stone above. 3 stages on plinth with diagonal buttresses and south-east stair turret, both with battlemented parapets. 2-light uncusped belfry windows. Perpendicular west window in coved architrave with hood- mould. West door with moulded 4-centred arched head with carved spandrel either side, each springing from a slender attached column with moulded capital and base. Architrave coved either side of arch, outer architrave square-topped with further moulding and hood-mould with angles as label-stops. South aisle: walls C15, of mixed flint and stone, with fragments of re-used tufa. On moulded plinth, with moulded string and corner gargoyles below battlements. 3 stone buttresses on moulded plinths. Polygonal battlemented south-east rood stair turret. C15 west window and two C15 south windows, all with hood-moulds. South porch: in same materials, with continuation of moulded plinth. C19 sundial. Moulded 3-centred arched doorway with decorative cast iron gates. Moulded crown-posts, other members chamfered. 3-centred arched moulded inner doorway. South chapel: C14 on C13 site. Roughly knapped coursed flint interspersed with stone and incorporating small pieces of tufa. Separately gabled. Plinthless, with two C15 buttresses. C15 south window with hood-mould and blocked recticulated windows, one south and one east. Chancel: walls C13 or earlier. Mixed uncut flint and stone rubble on coursed stone base. Stonework broadens at base. Diagonal east buttresses, possibly added. Restored C15 south window with hood-mould. 3 tall stepped east lancets. Single north lancet and Cl5 north window with hood-mould, both restored 1952. North tower: Late Cll or C12. Roughly coursed uncut flint and stone rubble, interspersed with tufa. Tufa quoins to north-east, north-west and south-east. Stonework broadens at base. North west diagonal buttress. Reticulated east window to ground floor. Single cusped first floor north light with ogee head. C15 style ground floor north window with hood-mould probably C19. C19 2-centred arched east door. North west stair turret to north tower: C15, but possibly with C14 origins, on moulded plinth, reaching to top of first stage of tower. North aisle: C15 walls of roughly coursed ragstone interspersed with flint. Possibly earlier base with pieces of tufa. Plinthless. Moulded string beneath battlements, with corner gargoyle. Two C15 north, and one west, windows with hood-moulds. Interior: Structure: North tower has C13 quadripartite vault to ground floor with thick chamfered ribs springing from slender shafts set in corners, with wall ribs forming pointed arches between. 2 east shafts missing. South doorway with pointed arch springing from rectangular east pier with plain abacus. West side of doorway blocked in connection with C14 chancel arch. 2-bay arcade between chancel and south chapel; pointed arches, chamfer-stopped rectangular piers on square stepped bases with undercut capitals surmounted by roll and hollow string. 3-bay nave; south arcade early C14 with octagonal piers with moulded capitals and bases and double-chamfered arches; north arcade shorter, abutting north tower, raised, similar, but probably late C14. Plain-chamfered 3-centred west arch to south chapel, C14 double- chamfered chancel arch, C14 chamfered west arch to north chapel, and C15 tower arch with attached columns. Small C15 doorways with hollow chamfer, pointed arch and broach stops containing C15 ribbed and traceried doors, to north and south rood-loft (and parvis) stairs and west tower stair turret. Upper rood- loft door to south; and another very high up in south wall of north tower. C19 roofs to chancel and south chapel. C15 crown- post roof to nave, restored. Moulded side-purlin lean-to roofs to aisles. Fittings and decoration: Finely-carved and possibly restored late C12 font of Bethersden marble and chevroned stem and large rope motif to bowl; "one of the finest Norman fonts in the country". (J. Newman: Buildings of England, North-East and East Kent, 1969). Piscina in south wall of chancel and east wall of ground floor of north tower. Aumbries in east wall of chancel. C13 moulded string-course to chancel. Patterned medieval encaustic floor tiles to chancel. C15 traceried screen between nave and chancel, with further fragments in south chapel, restored and added to in 1885. C17 communion rail with moulded rail and turned balusters, possibly restored. Royal Coat of Arms dated 1795 over south door. Large Benefactors Board 1805 on south wall.Monuments: Matrix of brass in floor of east end of chancel. In south chapel: C14 ogee-headed tomb recess with crocketted pinacles, in south wall. Wall monument above it to Sr. Edwyn Stede Knt. (Lieutenant Governor of Barbados), d. 1695. Erected 1715. By James Hardy. Tablet surmounted by skulls and cherub's head. Base carved with flowers and cherubs head. Side panels have elongated scrolls to base with foliage springing from them up sides towards Composite capitals. Slightly projecting twisted columns between side panels and tablet, also with Composite capitals. Moulded frieze, projecting over the columns, surmounted by open pedi- ment containing excutcheon. Table tomb partly let into recess in south wall, to William Stede, d. 1574; moulded plinth, plain cornice to lid, inscription in recess. 2 wall monuments above this; tablet to Constance Stede, d. 1714, also by Hardy, but plainer than that to Sr. Edwyn Stede; brass set in moulded stone, to Susanna Partieriche, d. 1603, woman and children kneeling on paved floor shown in perspective, with 3 shields above. On east wall, large mem- orial to Charlotte Baldwin, d. 1788. Rectangular tablet with fluted boarder and striated side panels, moulded cornice with 2 vases and very tall grey obelisk above. Below this, tablet to William Baldwin, d.1839; white marble sarcophagus in low relief on larger black marble panel. (J. Newman, Buildings on England, North-East and East Kent, 1969).

Church of All Saints Eastchurch Kent by John K Thorne

41 2

GV I Church. Rebuilt 1431-32 after the previous church fell into ruin. Pevsner suggests that the two-light Decorated windows at the west end are reused. Chancel roof repaired after fire damage of 1922. Said to have been designed by William Nudds, a Cistercian monk of Boxley and built by lay brothers from Boxley Abbey. One major Perpendicular building campaign.

MATERIALS: Kent ragstone rubble with knapped flint merlons to the embattled parapets and chequered flint and stone parapet to the tower; buttresses with knapped flint panels; lead roof.

PLAN: west tower with west porch, nave, chancel, north and south aisles; north porch; north east organ chamber; south east chapel; north vestry.

EXTERIOR: grand externally with deep battlemented parapets throughout above a moulded stringcourse. Diagonal buttresses to aisles, chancel and tower. Aisle windows mostly two-light with shallow segmental heads and cusped lights, stonework much renewed; similar five-light east window. Decorated style two-light windows at west end of north aisle with quatrefoils in the heads. The porch is similar to the medieval north vestry. Shallow embattled west porch with a medieval west doorway. Three-stage west tower with two-light medieval windows matching those of the aisles. North east porch with renewed Clipsham stone outer doorway. INTERIOR: porch has late medieval roof. Arcades with octagonal piers with concave sides, moulded capitals and arches. Wide chancel arch to match. Handsome shallow pitched C15 nave roof, an unusual design for Kent, with moulded tie beams with short curved braces springing from carved timber angel corbels holding shields. The roof is divided into large panels by moulded ribs with carved bosses and half bosses at the intersections and central bosses of very large winged angels holding shields.

The chancel roof is similar, with three bays: the post 1922 repair is difficult to identify from the ground. Aisle roofs are similar but plainer, the braces on plain stone corbels. Double-chamfered tower arch on moulded corbels. Tower was intended to be stone vaulted and preserves the corbels and first courses of vaults in the corners. Eleven-bay chancel screen, the full width of nave and aisles with wide bays flanking the central entrance. The screen has lost its rood loft and has been extensively repaired. No reredos. North and south hagioscopes (squints) to chancel. South east chapel lined with unusually lavish Jacobean two-tier panelling: similar panelling in the tower. The panelling originated from the former Cathedral of St Martin at Ypres.

SUBSIDIARY FEATURES: choir stalls with elaborately-shaped ends and poppyhead finials. Square-headed bench ends with recessed panels to nave benches. Plain octagonal stone font on moulded stem and base. Early C17 timber drum pulpit on a probably later bracketed stem, the sides of the drum decorated with strapwork and field panels. Two George II brass candelabra.

Monuments include, on the south side of the chancel a fine alabaster chest tomb with effigies commemorating Sir Gabriel Livesay, d.1622 and his second wife, Anne. An African's head is incorporated into the design. Marble monument on the north wall of the chancel to Vice Admiral Sir Richard King who captained HMS Achilles at the Battle of Trafalgar.

Several late C19 stained glass windows. 1912 window by Karl Parsons Charles Stewart Rolls (of Rolls-Royce) and Cecil Stanley Grace who died in a flying accident in 1910.

SUMMARY OF IMPORTANCE: the church is an outstanding example of a Perpendicular church, built largely in one phase in 1431-32. It has six medieval roofs, the nave and chancel of unusual design for Kent. Fittings of interest include a rood screen and monuments.

Gothic Door, Barcelona Spain by Harold Litwiler

111 16

Pointed arches were an important characteristic of Gothic architecture that could give the impression of soaring height and more practically they could support heavier loads than the earlier round arches. Wikipedia, Barcelona (/ˌbɑːrsəˈloʊnə/ ⓘ BAR-sə-LOH-nə; Catalan: [bəɾsəˈlonə] ⓘ; Spanish: [baɾθeˈlona] ⓘ) is a city on the northeastern coast of Spain. It is the capital and largest city of the autonomous community of Catalonia, as well as the second-most populous municipality of Spain. With a population of 1.6 million within city limits,[8] its urban area extends to numerous neighbouring municipalities within the province of Barcelona and is home to around 5.3 million people,[3] making it the fifth most populous urban area of the European Union after Paris, the Ruhr area, Madrid and Milan.[3] It is one of the largest metropolises on the Mediterranean Sea, located on the coast between the mouths of the rivers Llobregat and Besòs, bounded to the west by the Serra de Collserola mountain range.

Barcelona

City and municipality

Skyline of Barcelona

Sagrada Família

Torre Glòries

Arc de Triomf

Edificio Colón and La Rambla

Venetian Towers and Palau Nacional

La Barceloneta

Casa Milà

Flag of Barcelona

Flag

Coat of arms of Barcelona

Coat of arms

Nicknames: Ciutat Comtal (Catalan)

Ciudad Condal (Spanish)

"Comital City" or "City of Counts"

Cap i Casal de Catalunya (Catalan)

'Head and Hearth of Catalonia'

Abbreviation(s):

Barna, BCN

Map

Wikimedia | © OpenStreetMap

Location of Barcelona

Barcelona is located in CataloniaBarcelonaBarcelona

Show map of Catalonia

Show map of Spain

Show map of Europe

Show all

Coordinates: 41°23′N 2°11′E

Country

Spain

Autonomous community

Catalonia

Province

Barcelona

Comarca

Barcelonès

Districts

10 districts

Government

• Type

Ajuntament

• Body

City Council of Barcelona

• Mayor

Jaume Collboni[1] (PSC–PSOE)

Area[2]

• City

101.4 km2 (39.2 sq mi)

Elevation (AMSL)

12 m (39 ft)

Population (2018)[5]

• City

1,620,343

• Rank

2nd

• Density

16,000/km2 (41,000/sq mi)

• Urban

4,840,000[3]

• Metro

5,474,482[4]

Demonyms

Barcelonan, Barcelonian

barceloní, -ina (Catalan)

barcelonés, -esa (Spanish)

GDP[6]

• Metro

€159.8 billion (2020)

Postal code

080xx

Area code

+34 (E) 93 (B)

INE code

08 0193

City budget (2023)

€3.6 billion[7]

Official language

Catalan and Spanish

Main festivity

La Mercè

Patron saint

Eulalia of Barcelona

Website

www.barcelona.cat Edit this at Wikidata

According to tradition, Barcelona was founded by either the Phoenicians or the Carthaginians, who had trading posts along the Catalonian coast.[9] In the Middle Ages, Barcelona became the capital of the County of Barcelona. After joining with the Kingdom of Aragon to form the confederation of the Crown of Aragon, Barcelona, which continued to be the capital of the Principality of Catalonia, became the most important city in the Crown of Aragon and the main economic and administrative centre of the Crown, only to be overtaken by Valencia, wrested from Moorish control by the Catalans, shortly before the dynastic union between the Crown of Castile and the Crown of Aragon in 1492. Barcelona became the centre of Catalan separatism, briefly becoming part of France during the 17th century Reapers' War and again in 1812 until 1814 under Napoleon. It was the capital of Revolutionary Catalonia during the Spanish Revolution of 1936, and the seat of government of the Second Spanish Republic later in the Spanish Civil War, until its capture by the fascists in 1939. After the Spanish transition to democracy in the 1970s, Barcelona once again became the capital of an autonomous Catalonia.

Barcelona has a rich cultural heritage and is today an important cultural centre and a major tourist destination. Particularly renowned are the architectural works of Antoni Gaudí and Lluís Domènech i Montaner, which have been designated UNESCO World Heritage Sites. The city is home to two of the most prestigious universities in Spain: the University of Barcelona and Pompeu Fabra University. The headquarters of the Union for the Mediterranean are located in Barcelona. The city is known for hosting the 1992 Summer Olympics as well as world-class conferences and expositions. In addition, many international sport tournaments have been played here.

Barcelona is a major cultural, economic, and financial centre in southwestern Europe,[10] as well as the main biotech hub in Spain.[11] As a leading world city, Barcelona's influence in global socio-economic affairs qualifies it for global city status (Beta +).[12]

Barcelona is a transport hub, with the Port of Barcelona being one of Europe's principal seaports and busiest European passenger port,[13] an international airport, Barcelona–El Prat Airport, which handles over 50-million passengers per year,[14] an extensive motorway network, and a high-speed rail line with a link to France and the rest of Europe.[15] The name Barcelona comes from the ancient Iberian Baŕkeno, attested in an ancient coin inscription found on the right side of the coin in Iberian script as Barkeno in Levantine Iberian script,[16] in Ancient Greek sources as Βαρκινών, Barkinṓn;[17][18] and in Latin as Barcino,[19] Barcilonum[20] and Barcenona.[21][22][23]

Other sources suggest that the city may have been named after the Carthaginian general Hamilcar Barca, who was supposed to have founded the city in the 3rd century BC,[9][24] but there is no evidence its name in antiquity, Barcino, was connected with the Barcid family of Hamilcar.[25] During the Middle Ages, the city was variously known as Barchinona, Barçalona, Barchelonaa, and Barchenona.

An abbreviated form sometimes used by locals for the city is Barna. Barça is only applied to the local football club FC Barcelona, not to the city. Another common abbreviation is 'BCN', which is also the IATA airport code of the Barcelona-El Prat Airport.

The city is referred to as the Ciutat Comtal in Catalan and Ciudad Condal in Spanish (i.e., "Comital City" or "City of Counts"), owing to its past as the seat of the Count of Barcelona.[26]

History

Main article: History of Barcelona

For a chronological guide, see Timeline of Barcelona.

See also: Jews of Catalonia

Legendary founding

The origin of the earliest settlement at the site of present-day Barcelona is unclear. The ruins of an early settlement have been found, including different tombs and dwellings dating to earlier than 5000 BC.[27][28] In Greek mythology, the founding of Barcelona had been attributed to the mythological Hercules.

Punic Barcelona

According to tradition, Barcelona was founded by Punic (Phoenician) settlers, who had trading posts along the Catalonian coast.[9][29][30] In particular, some historians attribute the foundation of the city directly to the historical Carthaginian general, Hamilcar Barca, father of Hannibal, who supposedly named the city Barcino after his family in the 3rd century BC,[9][31] but this theory has been questioned.[25] Archeological evidence in the form of coins from the 3rd century BC have been found on the hills at the foot of Montjuïc with the name Bárkeno written in an ancient script in the Iberian language[citation needed]. Thus, we can conclude[clarification needed] that the Laietani[citation needed], an ancient Iberian (pre-Roman) people of the Iberian peninsula, who inhabited the area occupied by the city of Barcelona around 3–2 BC[clarification needed], called the area Bàrkeno, which means "The Place of the Plains" (Barrke = plains/terrace).[32][better source needed]

Roman Barcelona

See also: Roman Sepulchral way and Roman walls of Barcelona

A marble plaque in the Museu d'Història de la Ciutat de Barcelona, dated from around 110–130 AD and dedicated to the Roman colony of Barcino

In about 15 BC, the Romans redrew the town as a castrum (Roman military camp) centred on the "Mons Taber", a little hill near the Generalitat (Catalan Government) and city hall buildings. The Roman Forum, at the crossing of the Cardo Maximus and Decumanus Maximus, was approximately placed where current Plaça de Sant Jaume is. Thus, the political centre of the city, Catalonia, and its domains has remained in the same place for over 2,000 years.

Under the Romans, it was a colony with the surname of Faventia,[33] or, in full, Colonia Faventia Julia Augusta Pia Barcino[34] or Colonia Julia Augusta Faventia Paterna Barcino. Pomponius Mela[35] mentions it among the small towns of the district, probably as it was eclipsed by its neighbour Tarraco (modern Tarragona), but it may be gathered from later writers that it gradually grew in wealth and consequence, favoured as it was with a beautiful situation and an excellent harbour.[36] It enjoyed immunity from imperial burdens.[37] The city minted its own coins; some from the era of Galba survive.

Important Roman vestiges are displayed in Plaça del Rei underground, as a part of the Barcelona City History Museum (MUHBA); the typically Roman grid plan is still visible today in the layout of the historical centre, the Barri Gòtic (Gothic Quarter). Some remaining fragments of the Roman walls have been incorporated into the cathedral.[38] The cathedral, Catedral Basílica Metropolitana de Barcelona, is also sometimes called La Seu, which simply means cathedral (and see, among other things) in Catalan.[39][40] It is said to have been founded in 343.

Medieval Barcelona

The city was conquered by the Visigoths in the early 5th century, becoming for a few years the capital of all Hispania. After being conquered by the Umayyads in the early 8th century, it was conquered after a siege in 801 by Charlemagne's son Louis, who made Barcelona the seat of the Carolingian "Hispanic March" (Marca Hispanica), a buffer zone ruled by the Count of Barcelona.[41]

The remaining section of the medieval walls

The Counts of Barcelona became increasingly independent and expanded their territory to include much of modern Catalonia, although in 985, Barcelona was sacked by the army of Almanzor.[42] The sack was so traumatic that most of Barcelona's population was either killed or enslaved.[43] In 1137, Aragon and the County of Barcelona merged in dynastic union[44][45] by the marriage of Ramon Berenguer IV and Petronilla of Aragon, their titles finally borne by only one person when their son Alfonso II of Aragon ascended to the throne in 1162. His territories were later to be known as the Crown of Aragon, which conquered many overseas possessions and ruled the western Mediterranean Sea with outlying territories in Naples and Sicily and as far as Athens in the 13th century.

Barcelona also had a substantial Jewish community at the time, then the largest Jewish community in the Crown of Aragon. Called "the Call," for the many small streets that defined the area, it later became enclosed. Montjuïc or Montjuich, in medieval Latin and Catalan, meaning "Jewish Mountain" and the birthplace of the city, is the site of a medieval Jewish cemetery, Jews continued to live in Barcelona until the Massacre of 1391 diminished their numbers. The Spanish Inquisition forced the remaining Jews who refused to convert to Christianity to be burned at the stake, or sell their property and leave.

Barcelona was the leading slave trade centre of the Crown of Aragon up until the 15th century, when it was eclipsed by Valencia.[46] It initially fed from eastern and Balkan slave stock later drawing from a Maghribian and, ultimately, Subsaharan pool of slaves.[47]

The Bank or Taula de canvi de Barcelona, often viewed as the oldest public bank in Europe, was established by the city magistrates in 1401. It originated from necessities of the state, as did the Bank of Venice (1402) and the Bank of Genoa (1407).[48]

Barcelona under the Spanish monarchy

Barcelona in 1563 by Anton van den Wyngaerde

In the beginning of the Early Modern period, Barcelona lost political primacy, but the economy managed to achieve a balance between production capacity and imports.[49]

In the context of the wider early recovery of Catalonia from the 17th-century crisis in the second half of the century, increasing maritime activity since 1675 doubled traffic in the port of Barcelona compared to figures from the beginning of the 17th century.[50]

In the late 17th and early 18th century, Barcelona repeatedly endured the effects of war, including the 1691 bombing, the sieges of 1697, 1704, 1705, 1706, and the 1713 blockade and ensuing 1714 siege and assault.[51]

In the 18th century, the population grew from 30,000 to about 100,000 inhabitants, as the city became one of the key mercantile centres in the Western Mediterranean, with inland influence up to Zaragoza, and to the south up to Alicante.[52] A fortress was built at Montjuïc that overlooked the harbour.

Much of Barcelona was negatively affected by the Napoleonic wars, but the start of industrialization saw the fortunes of the province improve.

Transforming the city

In the mid-1850s, Barcelona was struggling with population density as it became an industrial, port city and European capital. The city's density was at 856 people per hectare, more than double that of Paris. Mortality rates were on the rise and any outbreaks of disease would devastate the population. To solve the issue, a civil engineer named Ildefons Cerdà proposed a plan for a new district known as the Eixample. The citizens of Barcelona had begun to demolish the medieval wall surrounding and constricting the city. Cerdà thought it best to transform the land outside the walls into an area characterized by a scientific approach to urbanization. His proposal consisted of a grid of streets to unite the old city and surrounding villages. There would also be wide streets to allow people to breathe clean air, gardens in the centre of each street block, integration of rich and poor giving both groups access to the same services, and smooth-flowing traffic. Urban quality, egalitarianism, hygiene, sunlight, and efficiency were all major keys for Cerdà's vision. Not everything he imagined would be realized within the Eixample district, but the iconic octagonal superblocks with chamfered corners for better visibility are his direct brainchild and remain immensely helpful even 170 years later. The district and its ideals were not appreciated at the time. The city council awarded the design of the extension plan to another architect. The Spanish government was the one to step in and impose Cerdà's plan, laying the groundwork for many more tensions between the Spanish and Catalan administrations. Regardless, some of the upper class citizens of Barcelona were excited by the new plan and began a race to build "the biggest, tallest, most attractive house" in the district. Their interest and money fueled the rich diversity that we now see in the district's architecture. In the end, Cerdà's ideas would have a lasting impact on Barcelona's development, earning it international recognition for its highly efficient approach to urban planning and design.[53][54]

The Spanish Civil War and the Franco period

Woman training for a Republican militia by Gerda Taro, Somorrostro beach (1936)

Barcelona was the capital of the Republic of Spain from November 1937 until January 1939.[55][56] During that Spanish Civil War period, both Barcelona and Madrid were still under the rule of the republic. In the image Azaña and Negrín on the city outskirts.

During the Spanish Civil War, the city, and Catalonia in general, were resolutely Republican. Many enterprises and public services were collectivized by the CNT and UGT unions. As the power of the Republican government and the Generalitat diminished, much of the city was under the effective control of anarchist groups. The anarchists lost control of the city to their own allies, the Communists and official government troops, after the street fighting of the Barcelona May Days. The fall of the city on 26 January 1939, caused a mass exodus of civilians who fled to the French border. The resistance of Barcelona to Franco's coup d'état was to have lasting effects after the defeat of the Republican government. The autonomous institutions of Catalonia were abolished,[57] and the use of the Catalan language in public life was suppressed. Barcelona remained the second largest city in Spain, at the heart of a region which was relatively industrialized and prosperous, despite the devastation of the civil war. The result was a large-scale immigration from poorer regions of Spain (particularly Andalusia, Murcia and Galicia), which in turn led to rapid urbanization.

Late twentieth century

In 1992, Barcelona hosted the Summer Olympics. The after-effects of this are credited with driving major changes in what had, up until then, been a largely industrial city. As part of the preparation for the games, industrial buildings along the sea-front were demolished and 3 km (2 mi) of beach were created. New construction increased the road capacity of the city by 17%, the sewage handling capacity by 27% and the amount of new green areas and beaches by 78%. Between 1990 and 2004, the number of hotel rooms in the city doubled. Perhaps more importantly, the outside perception of the city was changed making, by 2012, Barcelona the 12th most popular city destination in the world and the 5th amongst European cities.[58][59][60][61][62]

Recent history

Main articles: History of Barcelona and Timeline of Barcelona

Supporters of Catalan independence in October 2019

Protest against independence in October 2017

The death of Franco in 1975 brought on a period of democratization throughout Spain. Pressure for change was particularly strong in Barcelona, which considered that it had been punished during nearly forty years of Francoism for its support of the Republican government.[63] Massive, but peaceful, demonstrations on 11 September 1977 assembled over a million people in the streets of Barcelona to call for the restoration of Catalan autonomy. It was granted less than a month later.[64]

The development of Barcelona was promoted by two events in 1986: Spanish accession to the European Community, and particularly Barcelona's designation as host city of the 1992 Summer Olympics.[65][66] The process of urban regeneration has been rapid, and accompanied by a greatly increased international reputation of the city as a tourist destination. The increased cost of housing has led to a slight decline (−16.6%) in the population over the last two decades of the 20th century as many families move out into the suburbs. This decline has been reversed since 2001, as a new wave of immigration (particularly from Latin America and from Morocco) has gathered pace.[67]

In 1987, an ETA car bombing at Hipercor killed 21 people. On 17 August 2017, a van was driven into pedestrians on La Rambla, killing 14 and injuring at least 100, one of whom later died. Other attacks took place elsewhere in Catalonia. The Prime Minister of Spain, Mariano Rajoy, called the attack in Barcelona a jihadist attack. Amaq News Agency attributed indirect responsibility for the attack to the Islamic State of Iraq and the Levant (ISIL).[68][69][70] During the 2010s, Barcelona became the focus city[citation needed] for the ongoing Catalan independence movement, its consequent standoff between the regional and national government and later protests.[71]

In July 2023, Barcelona was announced as the UNESCO-UIA World Capital of Architecture for the 2024–2026 term. This means it will be the hub for discussion around global challenges including culture, heritage, urban planning and architecture. In addition to being the capital through 2026, it will also host the UIA World Congress of Architects for that year. The honour is befitting of Barcelona, as its history is peppered with architectural achievement and various iconic styles and influences. From its ancient Roman roots, to the Gothic and Modernisme movements, Barcelona has thrived through the way it ties together architecture and culture.[72]

Geography

A panoramic view of Barcelona

Location

Barcelona as seen by the European Space Agency's Copernicus Sentinel-2 mission

Map of Barcelona metropolitan area

Barcelona is located on the northeast coast of the Iberian Peninsula, facing the Mediterranean Sea, on a plain approximately 5 km (3 mi) wide limited by the mountain range of Collserola, the Llobregat river to the southwest and the Besòs river to the north.[73] This plain covers an area of 170 km2 (66 sq mi),[73] of which 101 km2 (39.0 sq mi)[74] are occupied by the city itself. It is 120 km (75 mi) south of the Pyrenees and the Catalan border with France.

Tibidabo, 512 m (1,680 ft) high, offers striking views over the city[75] and is topped by the 288.4 m (946.2 ft) Torre de Collserola, a telecommunications tower that is visible from most of the city. Barcelona is peppered with small hills, most of them urbanized, that gave their name to the neighbourhoods built upon them, such as Carmel (267 m or 876 ft), Putxet (es) (181 m or 594 ft) and Rovira (261 m or 856 ft). The escarpment of Montjuïc (173 m or 568 ft), situated to the southeast, overlooks the harbour and is topped by Montjuïc Castle, a fortress built in the 17–18th centuries to control the city as a replacement for the Ciutadella. Today, the fortress is a museum and Montjuïc is home to several sporting and cultural venues, as well as Barcelona's biggest park and gardens.

The city borders on the municipalities of Santa Coloma de Gramenet and Sant Adrià de Besòs to the north; the Mediterranean Sea to the east; El Prat de Llobregat and L'Hospitalet de Llobregat to the south; and Sant Feliu de Llobregat, Sant Just Desvern, Esplugues de Llobregat, Sant Cugat del Vallès, and Montcada i Reixac to the west. The municipality includes two small sparsely-inhabited exclaves to the north-west.

Climate

Main article: Climate of Barcelona

According to the Köppen climate classification, Barcelona has a hot summer Mediterranean climate (Csa), with mild winters and warm to hot summers,[76] while the rainiest seasons are autumn and spring. The rainfall pattern is characterized by a short (3 months) dry season in summer, as well as less winter rainfall than in a typical Mediterranean climate. However, both June and August are wetter than February, which is unusual for the Mediterranean climate. This subtype, labelled as "Portuguese" by the French geographer George Viers after the climate classification of Emmanuel de Martonne[77] and found in the NW Mediterranean area (e.g. Marseille), can be seen as transitional to the humid subtropical climate (Cfa) found in inland areas.

Barcelona is densely populated, thus heavily influenced by the urban heat island effect. Areas outside of the urbanized districts can have as much as 2 °C of difference in temperatures throughout the year.[78] Its average annual temperature is 21.2 °C (70.2 °F) during the day and 15.1 °C (59.2 °F) at night. The average annual temperature of the sea is about 20 °C (68 °F). In the coldest month, January, the temperature typically ranges from 12 to 18 °C (54 to 64 °F) during the day, 6 to 12 °C (43 to 54 °F) at night and the average sea temperature is 13 °C (55 °F).[79] In the warmest month, August, the typical temperature ranges from 27 to 31 °C (81 to 88 °F) during the day, about 23 °C (73 °F) at night and the average sea temperature is 26 °C (79 °F).[79] Generally, the summer or "holiday" season lasts about six months, from May to October. Two months – April and November – are transitional; sometimes the temperature exceeds 20 °C (68 °F), with an average temperature of 18–19 °C (64–66 °F) during the day and 11–13 °C (52–55 °F) at night. December, January and February are the coldest months, with average temperatures around 15 °C (59 °F) during the day and 9 °C (48 °F) at night. Large fluctuations in temperature are rare, particularly in the summer months. Because of the proximity to the warm sea plus the urban heat island, frosts are very rare in the city of Barcelona. Snow is also very infrequent in the city of Barcelona, but light snowfalls can occur yearly in the nearby Collserola mountains, such as in the Fabra Observatory located in a nearby mountain.[80]

Barcelona averages 78 rainy days per year (≥ 1 mm), and annual average relative humidity is 72%, ranging from 69% in July to 75% in October. Rainfall totals are highest in late summer and autumn (September–November) and lowest in early and mid-summer (June–August), with a secondary winter minimum (February–March). Sunshine duration is 2,524 hours per year, from 138 (average 4.5 hours of sunshine a day) in December to 310 (average 10 hours of sunshine a day) in July.[81]

St Georges Wrotham by Adam Swaine

57 6

www.adamswaine.co.uk

DESCRIPTION: From the early Norman period (and probably the late Anglo-Saxon period), this was an important church belonging to the Archbishop. It has a large nave and chancel and two large gabled aisles.

As is usual, the nave is the earliest surviving part of the church, and it probably dates from the late 11th or early 12th century, though the only visible evidence for this is the (reset) tufa quoins at the south-west corner and the tufa quoins on the north-east side of the nave.

The chancel was completely rebuilt in the later 13th century, though all its windows have subsequently been replaced. Inside it, there is a roll-moulding going all the way around, below the windows, and on the south-east side is an ogee-headed piscina (with unusual ball-flower stops) of c. 1300. There is also an aumbry to the north-east. The chancel arch and the nave arcades are also later 13th century with round piers, though there is evidence that the nave arcades, with double chamfered arches, were rebuilt later. (There are only 3 wide bays on the south, but four on the north, and the western responds to the arcades are semi-octagonal with hollow chamfers, suggesting a rebuilding in the late 15th century.

26566 by Ben Abel

42 1

The Grade II Listed St Helens Church on the edge of Boultham Park, at 37 Hall Drive in Boultham, Lincoln, Lincolnshire.

The original church built on the site is mentioned when Gilbert of Ghent, a nephew of William the Conqueror, endowed newly founded Bardney Abbey with the Manor or Estate of Boultham amongst many others. Gilbert’s grandson, Robert, Earl of Lincoln, gave the care of the church and the appointment of a Rector to the Abbott and Convent of Bardney.

In 1864 the current St Helens Church was built by the Ellison family of Boultham Hall, by architect Michael Drury to replace the original medieval church. Dressed stone and ashlar with slate roofs and a side wall stack. Nave with western bellcote, and chancel. The nave extended and restored in 1887 by architect C Hodgson Fowler, with new spired turret and seating. The contractor was W Cowper of Campsall near Doncaster, and the reopening was held in November 1887. The present church contains some elements of the medieval church, such as a 13th-century blocked arcade containing stiff leaf capitals and octagonal pier with detached shafts, double chamfered arches under hoodmoulds with sculpted terminals.

The cemetery was extended to more than an acre in 1928, funded by public subscription. When Boultham Hall estate became a public park, Boultham Park, the church was still used publicly, but its functions were mostly taken over by the new Holy Cross Church in 1940. There are occasional services, such as weddings, funerals and a Christmas Carol Service. The churchyard contains a granite memorial, from the fortifications of Sebastopol during the Crimean War. The inscription reads "Brought from Sevastopol and placed here by Major R G Ellison, in memory of the men of his company 47th Regt who fell in the Crimean War".

Church of St Thomas in Simpson, Milton Keynes 25Feb21 by Kerry Taylor

27 2

Name: CHURCH OF ST THOMAS

Designation Type: Listing

Grade: II*

List UID: 1160223

Here is a link for the history of Simpson village.

www.simpsonandashland.co.uk/history-of-simpson-and-ashlan...

Info from historicengland.org.uk

GV II* DATES/ARCHITECTS: Crossing tower is late C13 or earlier, the rest of the building was rebuilt c.1330-40. It was restored in 1873, 1892 by J O Scott and again in 1904-5, also to designs by Scott.

MATERIALS: Stone rubble with stone dressings, some repairs in brick. Tiled and slated roofs.

PLAN: Cruciform, with central tower, chancel, N and S transepts, unaisled nave and S porch.

EXTERIOR A cruciform church with a tall, slender central tower which retains the scars of earlier, very steeply pitched roofs on its E and W faces. The tower has an embattled parapet, rebuilt in the C19, and two light late C14 bell openings. There are small, rectangular openings below the roof scars on E and W, possibly inserted after the roofs were lowered. The rest of the church is largely C14 in appearance, but has been heavily restored and partially rebuilt. The chancel has a large 3-light E window with Decorated-style tracery, wholly rebuilt in 1904, and renewed 2-light Decorated N and S windows. There is a large, square headed window on the chancel S, blocked in brick, and a blocked pointed headed window and a blocked door in the chancel N wall. The scar of the roof of a former N vestry is visible against the E wall of the N transept. The C15 door to the former vestry survives. The transepts have Decorated N and S windows, that on the S wholly renewed, and curious small blocked openings, apparently formerly squints providing a view into the transepts from the outside. There is a large, blocked, probably C15 window in the S transept W wall. The nave has renewed C14 windows with intersecting tracery, and a large C15-style W window, almost renewed. The S porch has a C15 or C16 outer arch and C14 S door with continuous mouldings and an ogee hood-mould with head stops and foliate finial.

INTERIOR Wide, unaisled nave. In the NE corner is an unusual early C20 timber stair rising from the former rood loft door and running up to a door to the tower ringing chamber. The central tower has pointed arches of two orders in each face. The outer orders are continuously chamfered, and the inner orders stand on half-round attached shafts with moulded capitals and bases, probably C13. The tower is noticeably narrower than the nave, transepts and chancel, and in the nave the W tower arch is flanked by doors into the transepts with shallow relieving arches over pointed heads on shafted jambs. Both transepts are now closed to the tower by timber screens; that to the N has been divided into toilets and service facilities, but retains an early C15 E door to the former vestry and a small, blocked opening of the late C15 or early C16 that was formerly an external squint. The entrance to the former rood stair is from the N transept and remains in use as access to the ringing chamber. The S transept has a similar blocked opening, and part of the jamb of a blocked window is visible in the W wall. The chancel floor has been significantly raised, and only the upper part of the former chancel N door is now visible.

PRINCIPAL FIXTURES Font, plain round tub shape with a stepped base, C12 or C13. The cover is probably C17 and has a turned post and shaped brackets. C14 piscina with a trefoiled head in the N transept, cinquefoiled piscina in the S transept, and a piscina in the chancel partially blocked by the raised floor. Square aumbry with rebate for a door in chancel N wall. Unusual and interesting royal arms of 1742 painted directly onto the plaster over the chancel arch; the outer GR2 was changed to ER2 in 1953 for the Coronation of Elizabeth II. Some C19 and early C20 glass, the most notable a figure of St Nicholas in the NE nave window. E window of 1921 by Powell and Sons.

In the chancel, a group of monuments to the Hanmer family. The most notable are Job Hanmer, d. 1738, an architectural wall tablet by Bayliss; and Sir Walden Hanmer, d.1789, by John Bacon, a large monument with a white marble mourning figure of Justice in a roundel and an achievement of arms against a black obelisk; white marble base with fluted columns. Also in the chancel, loose within the former piscina, a broken round headstone for William Gale, d.1638 (an early example of such).

C15 nave roof with hammer beam trusses at the E and W ends and three intermediate trusses with arched braces to the collars. The lower edges of the beams are moulded, but the upper parts are rough and unshaped. Windbraces in two tiers. Transept roofs of the C17, with plain trusses and reused beams. Chancel roof is C19, with short king posts and moulded ribs dividing boarded panels with simple painted decoration.

HISTORY Simpson is mentioned in the Domesday Book of 1086, but the church is not recorded. The first mention of the church is in the early C13, and the earliest surviving fabric is the late C13 tower arches, although the font is probably significantly earlier. The church was wholly rebuilt around the tower in the second quarter of the C14, and there were further works in the late middle ages including reroofing the nave, building the S porch and the former N vestry, now demolished. There was additional work in the C17, when the transepts were reroofed and the font cover made. The church was restored in stages in the late C19 and early C20. Work included underpinning the tower, restoring the transepts and rebuilding the chancel roof in 1873; the E wall of the chancel was wholly rebuilt in 1904; the S transept S window was entirely renewed in 1999. The church was amalgamated with four others, not all Anglican, to form the Woughton Ecumenical parish in 1977.

REASONS FOR DESIGNATION The church of St Thomas, Simpson, is designated at Grade II* for the following principal reasons: * Cruciform parish church, with slender C13 tower and wide nave, transepts and chancel of the C14, retaining much medieval fabric. * It possesses interesting fittings, such as the C13 font with C17 cover, and monuments. * Its unusual C15 nave roof is of particular note.

Pate-Comiskey House, Michigan Avenue, Washington Park, Chicago, IL by Warren LeMay

Built in 1901, this Prairie-style townhouse was designed by George W. Maher for Davey Pate, a lumber baron, and was later owned by Charles Comiskey, longtime owner of the Chicago White Sox. The house is clad in limestone and Chicago common brick with a hipped roof, a barrel vaulted front dormer, decorative reliefs at the arched trim surround of the front dormer, chamfered columns, chamfered engaged piers on the front facade, lion head sculptures flanking the second-story front bay, buff brick chimneys, and a front porch with boxy chamfered columns. The house was designated a Chicago Landmark in 2003.

Kniveton Derbyshire by jmc4 - Church Explorer

6 1

Church of St Michael & All Angels, Kniveton Derbyshire. (One of very few smaller churches who reopened at the start of the Covid easing)

Dating from the 12c with late 13c tower

Consisting of a nave and chancel, vestry, west tower and south porch, It has a shallow pitched lead roof with stone coped gables at the east and west end and over the chancel arch.

It was restored again in 1870, the vestry being added in 1907

The plain 12c south doorway has one carved labelstop surviving, at the top a keystone carved with a face. www.flickr.com/gp/52219527@N00/v005Kw

The late 13c west tower has a small lancet window and plain chambered door to the nave. . Square-headed two-light bell openings, battlements and short spire are Perpendicular or later.

The north and south walls of the nave with irregular fenestration, all windows square headed, some without divisions others with chamfered mullions. The lights in one north window have segmental heads. All probably placed during the 1663 restoration . The font said to be 13c, has the 1663 date carved on the bowl recording its being brought back into the church, after it was probably thrown out during the Commonwealth , www.flickr.com/gp/52219527@N00/8Kk509

The early 19c west gallery stands on 2 cast-iron columns and the poppy heads on the benches are of the same date .

The chancel east window was also reworked in 19c with Perpendicular style tracery.

The Kniveton family lived here until Sir Andrew Kniveton became so impoverished through his loyalty to Charles l that he had to sell most of his estates.

Nettlestead Place Grade 1 Listed Manor House Nettlestead, Maidstone Kent by John K Thorne

GV I Country house. Used as oast house from C18 until c.1921. Now house. Circa 1250-1260, circa 1438 or slightly earlier, and circa 1589, with restoration and additions of 1921-1922 by Morley Horder.

Roughly coursed galleted ragstone to ground floor of main range and lower section of first floor, more random and less galleted ragstone to rest of first floor. Roughly coursed comparatively rubbly ragstone to C15 right (east) addition. Small blocks of roughly-coursed ragstone to 1920 section. Plain tile roofs.

Ground floor of main range comprises mid C13 undercroft of four double bays, with low doorway at north end of east gable end. First floor of main range rebuilt or extensively modified c.1438, and possibly divided into two rooms. Shorter, narrower two storey section built or rebuilt at east end, its south elevation aligned with that of main range, its north elevation, or the west end of it, probably abutting a non-extant turret or wing running north from the angle with the main range. A 1922 stair turret now occupies this position.1922 additions comprise a two storey addition to the east end of the narrow C15 section, (set back from south elevation), a wing running north from it, and a passage and two storey porch along north elevation of main range.

South elevation: two storeys. High hollow-chamfered plinth to main range only. Eaves of C15 addition same height as main range, ridge formerly lower, but made continuous with main range in 1922. Stone-coped gable to each end of whole range. 1920s red and grey brick stack with two diagonally-set flues to rear of west end of main range, and another, projecting, with three flues, to east gable end of C15 addition. Irregular first floor fenestration of five tall C15 two-light windows with cinquefoil-headed lights and moulded architraves, mullions and hoodmoulds; one with squared head towards west end of main range, two with cambered heads adjacent to each other to east end of main range, another with cambered head to west end of C15 addition, and one with squared head to east end of addition. Three small plain-chamfered rectangular windows to undercroft. Narrow uncusped three-centred-arched single light with moulded architrave and squared moulded hoodmould towards west end of C15 addition on ground floor. Further window similar to, and virtually underneath first floor window towards east end. Four-centred-arched hollow-chamfered doorway with broach stops, moulded outer architrave, squared moulded hoodmould, and shields dated "Ad 1589" to spandrels, to west end of C15 addition. Three rectangular two storey projections, probably garderobes of late C16 or earlier, but that to the addition probably of a slightly different date from the other two; one towards centre and one to east end of main range, and one towards centre of C15 addition. All formerly had lean-to roofs, but now have plain stone- coped parapets. Two to main range have stonework similar to that of main wall, and continuous hollow-chamfered plinths. Projection to C15 addition has similar stonework to the addition, a low hollow-chamfered plinth, long irregular quoins, and an off-set between ground and first floors. None appears to have a drainage arch. Each has a small moulded stone window towards top, that to centre of main range oval, the other two circular. Projection to east end of main range also has a rectangular slit light towards top of east return. Two buttresses towards west end of main range, one with hollow-chamfered plinth. Battered buttress to south-east corner.

West gable end rebuilt in 1922. 1922 addition: two storeys, with lower eaves and ridge than C15 section. Roof gabled to east. Two small gabled dormers. Two leaded first floor windows, one single-light and one four-light. Long east return elevation has a gabled bay towards each end, two stacks, and mullioned windows.

North west courtyard elevation has gabled bay, stair-turret and two-storey porch, small gabled dormers stone mullioned windows, and moulded four-centred-arched stone doorway.

Interior: quadripartite vaulting to undercroft, with plain-chamfered ribs springing from low central columns with moulded capitals and bases, and from moulded wall corbels. Stone flag floor. Rectangular windows to north side, now giving on to 1922 corridor. Broad pointed-arched hollow-chamfered stone north doorway with broach stops, probably a 1922 insertion, in second bay from west, opposite 1922 porch. Low late C13 doorway towards north end of east gable end, with cambered rere-arch to undercroft side, and pointed hollow-chamfered archway with broach stops to present staircase - hall side. Doorway, probably C15, with more rounded rere-arch to undercroft, towards south end of same wall, giving access to C15 ground floor room, which has three broad cross beams to ceiling, equally broad, tenoned axial beams, and broad close-set joists, all with flush surfaces. Splayed and chamfered architrave to south-east window. C15 doorway at west end of north wall has cambered chamfered rere-arch to room, moulded pointed arch and hoodmould to present staircase-hall side, and ribbed door. Similar doorway immediately above it in same wall on first floor.

First floor level of C15 addition is several steps lower than that of main range. Cavetto-moulded inner architraves to all first-floor windows except south-west, and shutter rebates to all. 1922 staircase hall separated from corridor on north side by pair of C20 pointed-arched doubly hollow-chamfered doorways with broach stops, aligned with north wall of undercroft. Immediately east of them, open-well staircase with turned balusters and newels rising to north. Two doubly hollow-chamfered C20 segmental stone arches dying into walls, span hall at foot of stairs. Roof not inspected.

The Church of Saint Michael and All Angels. Tonbridge Road Maidstone by John K Thorne

The Church of St Michael and All Angels, Maidstone, built to the design of the architect Sir Arthur Blomfield in 1875 to 1876, is listed at Grade II for the following principal reasons:

Architectural interest

* the church forms a large and impressive external composition which is well detailed in Bath Stone and Kentish ragstone;

* for the high quality fixtures and fittings including: two medieval misericords, a particularly good scheme of Victorian stained glass by the firms Hardman and Company and Heaton, Butler and Bayne, an elaborate oak reredos by Sir Arthur Blomfield, a painting of the Crucifixion above the chancel arch, and a finely carved stone pulpit;

* as a design by the distinguished and prolific architect Sir Arthur Blomfield, one of the last great Gothic Revivalists, who has many listed buildings to his name;

* although the church has undergone some changes to the original scheme, there is a relatively high degree of survival and continuing integrity.

History

The following is largely based on Cleggett’s history of St Michael and All Angels (see Sources). In the later C19, the Westborough suburb of Maidstone developed rapidly, and the existing Church of St Peter was soon found to be inadequate for the needs of the area. It was decided that a new church should be built. Frederick Scudamore, a prominent local solicitor and Under Sheriff of Kent, donated the site and funded a large part of the cost of construction, alongside other benefactors. (Sir) Arthur Blomfield (1829-1899) was appointed as architect and the contractors were Messrs George Naylor of Rochester. Blomfield was one of the last great Gothic Revivalists and was also a prolific architect whose primary activity was church building and restoration (Waterhouse and Elliott, 2009). His reputation was such that he was awarded the royal gold medal by the Royal Institute of British Architects in 1891 (Ibid). Surprisingly, Blomfield’s initial design for the church was not enacted. The construction plan was to build the nave, aisles and lower part of the tower, adding the remainder of the building as funds became available. However, it was soon discovered that this plan would not allow the church to be consecrated because the altar would not be in its proper place and unless it was consecrated grants would not be received. Blomfield was asked to modify his design and at this stage he produced a plan based on his church at Epsom, Surrey (Grade II*-listed) built the previous year, 1874.

The foundation stone for the Church of St Michael and All Angels was laid on St Michael’s Day, 29 September 1875 by the Archbishop of Canterbury, Dr Archibald Campbell Tait. The church was finished and consecrated in 1876. The St Michael’s Stained Glass Window Society was formed in 1880 and, together with individual benefactions, a scheme incorporating angels based on their biblical appearances was completed over a number of years, by the two firms Hardman and Company and Heaton, Butler and Bayne. In 1878, a low wrought iron screen was added at the entrance to the chancel, which was in turn replaced by an oak screen with gothic tracery and a cross in 1898 before this was itself removed in 1960. Parts of the early wrought-iron screen were incorporated into entrance gates to the north and south transepts. Six bells were cast for the church by John Warner and Sons of Croydon between 1875 and 1878, which were recast to make seven in 1979 at Whitechapel Bell Foundry. An eighth bell of 1866, re-cast in 1933, was acquired from St Paul’s Church, Penge, in 1974, and the bells are still situated within the original wooden bell frame. A clock manufactured by T Cooke and Sons of York was installed in 1877. However, the clock bell is older, having originally been cast in 1734 for Burham Old Church by Richard Phelps of Whitechapel Bell Foundry. In order to mark the Golden Jubilee of Queen Victoria’s reign in 1887, a painting of the Crucifixion by Heaton, Butler and Bayne was placed over the chancel arch. An organ was also installed at this time, which was built by Henry Willis, with electric action added in 1926. To commemorate Frederick Scudamore, the reredos of the high altar was erected in 1890 to the design of Sir Arthur Blomfield with paintings by Heaton, Butler and Bayne. The Ashburton marble steps to the sanctuary were also installed in 1900. A Chapel of the Ascension was added to the north transept as a memorial to Kate Arkcoll, a benefactor of the church, in 1903. It was designed by Nicolson and Corlette with an apse set in the east wall, a reredos (removed in 1957), and a screen between the chapel and the choir designed and carved by Kuchemann of London. A stained-glass north window was added to the chapel in 1921 as a First World War memorial. The chapel contains two medieval misericord seats which were originally in St Frideswide’s chapel at Christ Church Cathedral, Oxford. In 1934, a Lady Chapel was added to the south aisle. The church was partly redecorated in 1960 and the walls of the sanctuary, which since 1890 had a painted scheme featuring palm branches, pomegranate plants and angels, were painted over. The wagon roof of the chancel was also boarded over and decorated with a Campbell Smith and Company painted scheme. A nave altar was erected in about the 1960s, in line with wider liturgical changes, before being replaced by a new platform and altar from St Peter’s Church in 1976.

Details

Anglican church. Built in 1875 to 1876 to the design of the architect (Sir) Arthur Blomfield by the contractors Messrs George Naylor of Rochester in Early English and Decorated Gothic style.

MATERIALS: constructed of Kentish ragstone with Bath Stone dressings and red tile roof coverings.

PLAN: cruciform plan with a north-west bell tower, four-bay gabled nave flanked by aisles, transepts and a chancel with a lower gabled roof. The north transept contains a Chapel of the Ascension and the south transept accommodates a vestry adjacent to a Lady Chapel. At the west end of the nave is a lean-to baptistry.

EXTERIOR: the church is situated at the corner of Tonbridge Road and St Michael’s Road. It is orientated ENE to WSW, aligned with the street grid. (Note: the following description is simplified to the cardinal points; for example, chancel at east rather than ENE). The main north front, facing Tonbridge Road, has from west to east: a prominent crenelated tower with a turret at the south-west angle; the lean-to north aisle with a gabled porch at the east end beneath the nave clerestory; the north transept, which has a canted projection at the east end; and the chancel. A ragstone plinth carries around the return walls and there is a cill course and band courses to the tower. At the foot of the north face of the tower is a pointed doorway of three moulded orders containing timber double doors with decorative wrought-iron strap hinges. It is flanked by stepped angle buttresses. Above the doorway is a single lancet window with trefoil tracery, then two square-headed cusped lancets beneath a clock and, higher still, a two-light pointed bell chamber window with trefoiled Y-tracery. The top of the tower has a crenelated parapet and gargoyle rainwater spouts. The other sides of the tower also have a similar design. Continuing along the north front, the north aisle has three trefoil-headed windows to each of the first three bays separated by buttresses, a pointed doorway to the porch, and two small quatrefoil lights. Above it there are seven two-light windows with cusped Y-tracery under pointed arches to the nave clerestory. The north transept contains a three-light window with cusped tracery and quatrefoils under a two-centred arch with a hoodmould. There is a small round window in the gable end and a cross finial. Further east, the apse of the transept chapel has single cusped lancets and the main chancel of the church contains two-light pointed windows with Y-tracery to the north and south.

The east elevation has a large five-light window with elaborate geometric tracery and numerous quatrefoils to the chancel and a three-light pointed window to the south transept. The south elevation is similar to the north, except there is a porch with a shouldered-arch doorway next to the south transept which contains four lower lancet windows and two upper lancet windows beneath a carving of St Michael and hoodmould in the gable. At the west end of the nave there are two two-light windows with cusped tracery and quatrefoils under pointed arches and then a small rose window and cross finial to the gable. Beneath it, the baptistry lean-to is entered via a pointed doorway at the south and has quatrefoil windows to the west.

INTERIOR: there is an entrance to the church via a porch that leads into the south aisle. Immediately adjacent to it is a vestry and sacristy in the south transept; the former is situated beneath a Henry Willis organ (built 1887, electrified 1926) whilst the latter contains a trefoil-headed piscina, a fireplace and a painted panel of Christ. Both the side aisles have a black and red tiled floor and exposed timber roof beams and trusses. The stained glass of the north aisle is largely devoted to Old Testament angels whilst that to the south aisle has a scheme of New Testament angels, variously by Hardman and Company of Birmingham and Heaton, Butler and Bayne. The aisles are separated from the nave by four pointed arches resting on pillars formed of a cluster of engaged columns. Both the nave and aisles contain timber pews and the nave has an open arched-braced roof with collar ties and rafter ties, which is supported on corbels between the clerestory windows. At the west end of the nave are stained glass windows depicting four miracle stories from the gospels, installed by Heaton, Butler and Bayne in 1898. The baptistry beyond is entered through a paired arcade of three pointed arches resting on columns. It contains an octagonal stone font with a stem formed of engaged columns with foliage capitals and a bowl carved with fishnet panels. The stained glass windows in this part of the church depict Noah’s ark, the Israelites crossing the Red Sea, the Baptism of Christ and His ministry to children.

The chancel is separated from the nave by a large chamfered pointed arch, above which is a painting of the Crucifixion by Heaton, Butler and Bayne. Immediately in front of it is a 1970s platform with a wrought-iron and timber rail, a timber altar and a stone pulpit carved with pierced trefoil tracery panels. Ashburton marble steps lead up into the chancel past a low wooden Gothic screen. The chancel contains polychromatic tiling, wooden choir stalls, a pointed arch sedilia and gabled aumbry, as well as an elaborate oak reredos featuring panels painted with the apostles and saints against a gold backdrop. The walls of the chancel previously had a painted scheme of 1890 comprising palm branches, pomegranate plants and angels but this was painted over in the 1960s and the wagon roof also boarded over with panels painted to a Campbell Smith scheme. The stained glass of the east window depicts Christ in Majesty whilst those to the sides depict angels; the archangel Michael at the south, and Gabriel and Raphael at the north, all installed by Heaton, Butler and Bayne in 1881. The Chapel of the Ascension in the north transept is separated from the chancel by a wooden screen of three bays with elaborate pierced curvilinear tracery and a pierced cornice. It contains two medieval misericord seats which were originally in St Frideswide’s chapel at Christ Church Cathedral, Oxford, a stone piscina and a wooden altar. The north memorial window of 1921 depicts the ascended Christ. The church tower has a turret with a newel staircase rising to the ringing chamber, a chamber containing a clock of 1877 by T Cooke and Sons of York, and belfry.

Ulverston [Listed Building Grade II] - Church Walk House 240912 by maljoe

13 4

Listed Building Grade II

List Entry Number : 1374976

Date First Listed : 20 June 1972

Built in 1838, a pebbledashed house with ashlar dressings, chamfered quoins, a moulded cornice gutter, and a slate roof. There are two storeys, an attic, a basement, and a symmetrical front of three bays. The central doorway is approached by steps, and has Tuscan pilasters, a semicircular fanlight, and an open pediment. The central bay is gabled and contains a lunette. The other windows are sashes with architraves, and in the right return is a Venetian window. The forecourt is enclosed by a low stone wall and railings with fleur-de-lis finials.

en.wikipedia.org/wiki/Listed_buildings_in_Ulverston

historicengland.org.uk/listing/the-list/list-entry/1374976

Carlisle [Listed Building Grade I] - Deanery & Prior's Tower 240307 by maljoe

19 8

Listed Building Grade I

List Entry Number : 1208577

Date First Listed : 31 May 1949

Dating from the late 15th Century, the oldest part is the tower, to which additions were made in the 17th and 19th centuries. The buildings are in sandstone on a chamfered plinth, the tower has a battlemented parapet and a lead roof, and elsewhere the roofs are of green slate. The tower has three storeys over a basement, and to the right is a two-storey three-bay hall range, a projecting two-storey extension, to the left is a three-storey three-bay extension, and beyond this are single-storey four-bay stables. In the tower is an oriel window, and elsewhere there are casement and mullioned windows.

historicengland.org.uk/listing/the-list/list-entry/1208577

en.wikipedia.org/wiki/Listed_buildings_in_Carlisle

All Saints Churchyard, Sherburn-in-Elmet, Selby by I Itsmee (Dave)

18 4

Sherburn-in-Elmet is a large industrial village but the excellent church is well placed on an eminence by itself to the west, with steeply falling ground to the north and distant views across flat countryside towards Tadcaster. It is also another church in this area built of cream-coloured magnesian limestone, probably here to be equated with the Huddleston stone that was once dug in the region of Huddleston Old Wood, a mile and a half to the west. There are still working quarries nearby, notably in the triangle between the railway line, the A1 and the B1222.

All Saints' presents a fine sight from the south (as above) as a result, chiefly, of its Perpendicular work, yet the interior is even better and of a different age entirely. However, to begin outside, the building consists of a W. tower, a four-bay nave and a three-bay chancel, with six bay aisles that embrace the tower and extend for one bay alongside the chancel, a S. porch, and a tall, cross-gabled chantry chapel adjoining the S. porch to the east. The show side of the building has three-light windows with supermullioned tracery, with two tiers of reticulation units above the central lights and inverted daggers beneath secondary subarcuation over the outer lights in the manner that Dr. John Harvey traced back to Great Shelford in Cambridgeshire, where the work is dated c. 1396 (The Perpendicular Style, London, Batsford, 1978, pp. 125 & 142). The nave clerestory is formed of three-light but untraceried, square-headed windows, and this is also the form of the N. aisle windows, where the sills are some 8½' (2.6 m.) from the ground, allowing room below for a narrow Norman window, still thought to be in situ. Yet the S. porch outer doorway is neither Norman nor Norman-Transitional, notwithstanding the chevron moulding on both sides (i.e. outside and in) of its pointed arch, nor its two orders of circular shafts with scalloped capitals, even though a very small amount of ancient masonry has been re-used in its construction. Rather, this is the work of Anthony Salvin (1799-1881), a pupil of Nash, who restored the church in 1857 and built the vestry in the northeast angle between the chancel and the end of the N. aisle. The one-bay extension of the S. aisle beside the chancel, known as the Steeton chapel, has a magnificent five-light E. window (illustrated left) with intersecting subarcuation of the lights in threes, through reticulation, supertransoms above lights two and four, and inverted daggers beneath secondary subarcuation over lights one, three and five. Beyond this, the chancel is lit by three lancets in the S. wall, of which the easternmost is steeper than the other two, and by three equal lancets in the E. wall, together with an oval window in the gable. Pevsner considered these to be original (Nikolaus Pevsner & Enid Radcliffe, The Buildings of England: Yorkshire West Riding Harmondsworth, Penguin, 1967, p. 482) but notes in the church says they are of restoration date only (although they do look old). This leaves the chantry (formerly mortuary) chapel to describe, and the W. tower. The former has a three-light, square-headed S. window and a similar window to the east, on which side also the chapel is embattled. It communicates with the porch through a doorway in its W. wall, and is divided from the nave by another wall to the north, pierced only by a large, oddly-shaped, glazed window that could be sixteenth century in origin or later. The tower is diagonally buttressed and has two, two-light bell-openings with supermullioned tracery on each side, while above, there are battlements and crocketed pinnacles at the angles. Yet the Perpendicular guise of this church is highly misleading and the interior comes as a shock, for which neither the round-headed N. window nor the round-arched S. porch inner doorway, have been adequate preparation, for it proves almost wholly Norman, with the power to recall twelfth century work on the monumental scale, most notably at Durham Cathedral, an association that is entirely apposite as it is probably that cathedral's influence which is seen here, after translation via Selby Abbey.

This is most apparent in the nave arcades, composed of massive circular piers and round arches bearing a complex series of rolls and hollows. (See the N. arcade, above right.) The capitals (which go together in pairs, north to south) present variations on the scalloped form except for the leaf volutes on the E. responds. (Successive N. arcade piers and responds, from west to east, are illustrated at the foot of the page, beginning from the left.) Still powerful but cruder are the tower arches (north and south towards the embracing aisles and east towards the nave), each formed of three stepped orders bearing only the narrowest of chamfers, between which rises a heavy quadripartite vault (shown above right). Thus the majority of the tower is also Norman, the nave retains its twelfth century length, and the N. aisle (though not the S. aisle) is apparently still of its original width. Neither can the earlier nave have been much lower than the present one, for above the E. arch of the tower is a round-headed Sanctus bell window (which were generally constructed to allow someone sitting in the ringing chamber to follow the service) with an order of side shafts, and the nave roof must always have been above this. Only at the line of the chancel arch is the twelfth century finally left behind and the thirteenth century reached, for here the pointed arch consists of two flat-chamfered orders, the outer continuous down the responds and the inner springing from semicircular shafts. It looks very tall and slender in comparison with the nave arcades although its proportions are actually quite commonplace. The arches from the chancel to the Steeton chapel and what was once the N. chapel but is now the organ chamber, are double-flat-chamfered with the inner orders supported on corbels, the style of which is simpler to the north. There are no arches between the nave aisles and their extensions as chapels, which now appear as unified spaces although they cannot have been so originally. Indeed, a curved portion of the N. aisle wall, east of the easternmost pier, seems to show this aisle once terminated in an apse, in which case the S. aisle and chancel would probably have done likewise. The nave and aisles may then have been covered by a single, steeply pitched roof, very high in the centre but coming down at the aisle walls to the level of the present Perpendicular window sills, making narrow round-headed windows like that surviving to the north, the only lighting this very wide church would probably have received.

Circa late 15th century - Shakespeare's Birthplace in Henley St, Stratford-upon-Avon grade I listed - photo taken @1968 by Kerry Taylor

21 4

Circa late 15th century - Shakespeare's Birthplace in Henley St, Stratford-upon-Avon, Warwickshire.

Grade I listed.

Slide taken by my parents when we were on a caravanning holiday around about Easter of 1968.

The following is from Historic Englands website.

Name: SHAKESPEARE'S BIRTHPLACE

Designation Type: Listing

Grade: I

List UID: 1187807

Town house, now museum. Late C15 and late C16, severely restored 1858, following drawing of 1769. Timber-frame and with plaster infill; rubble plinth; tile roof with rubble stacks. 4-unit plan. 2 storeys with attic; 4-window range. The facade to the right half is mostly C19 replacing c1800 brick refronting. 3 entrances with wide-boarded doors, a pair to left end have pentice continued over flanking windows and with central gablet; entrance to right end unit. Wood-mullioned projecting windows, mostly C19: ground floor has 1:3:1-light bay window and 4-light windows; 1st floor has two 4-light windows with 3-light window to left end and 1:3:1-light oriel with hipped roof and moulded base to right end; attic has 2 gabled dormers with 4-light windows and gable to right end with 3-light window; all windows with leaded glazing, 1st-floor window to left of centre has plastic protective screen. Small panel of exposed wattle to left of centre. End stack and stack to rear wing. Rear has gabled wing with similar details. INTERIOR: stop-chamfered beams and original timber-framing; signs of through-passage to right end bay; back-to-back fireplaces with stop-chamfered Tudor-arched bressumers; left end originally separate, with fireplace with bressumer and timber-framed smoke hood with winding stair to side. C20 stair to right of centre; 1st floor has exposed roof trusses and wind braces to right end; birth room to left of centre has ceiling, window inscribed with names of visitors including famous people eg Sir Walter Scott, signatures to walls and ceiling now covered with whitewash. Rear wing has kitchen with large fireplace and battened door; 1st floor has tie-beam and collar truss, the tie cut for round-headed doorway. HISTORICAL NOTE: William Shakespeare born here April 23, 1564. His father John lived here c1551-1601, the right end unit probably being his wool shop. The house passed to the Hart family, descended from Shakespeare's sister, until 1794, and was a tourist attraction from the 1740s or before. It was bought by the Shakespeare Birthplace Committee for preservation as a national monument in 1847. A museum in care of the Birthplace Trust.

Poole Arms Early C17 Pub. by John K Thorne

Public house. Early C17, extended late C17-early C18, refaced mid C19. Brick with faience front, 3 front gable brick stacks, outer ones blank, and a tiled roof. Right-angle 2-room plan. 2 storeys and attic; 2-window range. Green-glazed tile front has a coped gable with kneelers, and darker impost bands to each floor. Near central doorway has darker surround and pediment, and darker shallow segmental-arched heads with keys to 2/2-pane sashes. Central name panel in gable. Rear gable has a 4/8-pane sash in a flush frame and a ground-floor pent. INTERIOR: altered mid C20 interior; reported to contain a C17 fireplace in E wall with chamfered jambs and 4-centre-arched lintel. HISTORICAL NOTE: Poole had an important ceramic industry in the nineteenth century, and a number of public houses have decorative glazed fronts, of which this is the finest.

Circa 17th century - 40 & 42 High Street Newport Pagnell - 04Apr21 grade II listed. by Kerry Taylor

Circa 17th century - 40 & 42 High Street Newport Pagnell - 04Apr21 grade II listed.

The following is from Historic England.

Name: 40 and 42, High Street

Designation Type: Listing

Grade: II

List UID: 1200394

Shops with accommodation above. C17, possibly with some earlier work; remodelled and partly rebuilt in the early C19 and altered in the C20. Timber-framed partly rebuilt in Flemish-bond red brick and partly rendered. Slate roofs with gabled ends and deep eaves, No.42 on left with bracketed soffit. Brick axial and gable-end stacks.

PLAN: No.40 on right is a deep narrow C17 range with what might be earlier framing in the rear wing. No.42 on left is on wider plot and largely rebuilt in circa 1835.

EXTERIOR: three storeys, 3:1 window ranges. No.40 on right rendered, first floor large canted bay window with sixteen-pane sash and four-pane side-lights and sixteen-pane second floor sash. No.42 on left has three windows on first and second floors with flat brick arches and later four-pane sashes. Circa late C19 shop fronts with C20 fascia applied over the top. At rear No.42 on right has tall narrow early C19 extension and on left; No.40 has timber-framed rear wing with brick infill, partly rebuilt in brick and with some stone rubble at base; C19 casement and sash windows and C17 hipped dormer with two-light casement with leaded panes.

INTERIOR: No.40 first front room has plaster ceiling cornice with cyma reversa and recta mouldings and two-panel door. Chamber above has timber framing exposed in partition, two-panel door and cast-iron grate. Rear wing has chamfered axial beams and two half-glazed doors; first floor has chamfered axial beams with hollow step stops and two-panel door; purlins exposed in attic chambers and truss in lower rear range of wing,its tie-beam apparently sooted on the north side. No.42 has cast-iron columns supporting shop, C19 staircase with elliptical arches on landings, two-panel doors and panelled and glazed door with crown glass.

46450 by Ben Abel

The Grade II Listed St Helens Church on the edge of Boultham Park, at 37 Hall Drive in Boultham, Lincoln, Lincolnshire.

The present church contains some elements of the medieval church, such as a 13th-century blocked arcade containing stiff leaf capitals and octagonal pier with detached shafts, double chamfered arches under hoodmoulds with sculpted terminals.

The churchyard contains a granite memorial, from the fortifications of Sebastopol during the Crimean War. The inscription reads "Brought from Sevastopol and placed here by Major R G Ellison, in memory of the men of his company 47th Regt who fell in the Crimean War".

Information Source:

www.heritageconnectlincoln.com/character-area/boultham-pa...

Claughton [Listed Building Grade II] - Duckett's Farmhouse 201014 by maljoe

15 5

Listed Building Grade II

List Entry Number : 1163414

Date First Listed : 17 April 1967

The farmhouse was probably built in the late 17th century and is in sandstone with a slate roof, and contains earlier timber-framing. There are two storeys, and a main range of two bays with a one-bay cross wing at the right. The windows are mullioned, some containing sashes. The doorway has a chamfered surround.

historicengland.org.uk/listing/the-list/list-entry/1163414

en.wikipedia.org/wiki/Listed_buildings_in_Claugton,_Wyre

McKinlay-McQinty House, 232 Highway 8, Dundas, ON by Snuffy

18 19

Excerpt from historicplaces.ca:

Description of Historic Place

The property at 232 Highway 8, known as the McKinlay-McGinty House, is situated in the village of West Flamborough, in the City of Hamilton. The two-and-a-half-storey brick building was designed in the Classical Revival style and constructed in ca. 1848.

The exterior, selected elements of the interior and the scenic character of the property are protected by an Ontario Heritage Trust conservation easement (1987). The property is also designated by the former Town of Flamborough (now part of the City of Hamilton) under Part IV of the Ontario Heritage Act (By-law 80-119).

Heritage Value

Located in the village of West Flamborough, west of the City of Hamilton, McKinlay-McGinty House is situated within the Niagara Escarpment Plan Area and its semi-rural setting contributes to its heritage value. The house is set back from the highway, surrounded by a number of mature trees with the old carriage house located at the rear of the property.

The McKinlay-McGinty House is significant for its association with William McKinlay, Hugh McGinty Jr. and the early economic prosperity of West Flamborough. William McKinlay (1807-1849) came to the village of West Flamborough in the early 1830s from the United States, acquiring the three-quarter acre lot upon which he would build the McKinlay-McGinty House in 1833. He established an iron and brass foundry in 1836 and his enterprise became the most important economic concern in the village, contributing greatly to its early prosperity. The McKinlay-McGinty House, constructed in 1848, is a reminder of the town's early growth and McKinlay's contributions to it.

The house was acquired by Hugh McGinty Sr. in 1922. Hugh Sr. died in 1932, leaving the house to his son Hugh Jr., a local historian and a collector and restorer of early Canadian furniture. McGinty remained in the house until his death in 1982, bequeathing the property, its contents and his estate to the Ontario Heritage Foundation (now Ontario Heritage Trust). It was acquired by the Trust in 1984, restored and sold as a private home with a protective covenant.

The McKinlay-McGinty House is a remarkable example of the Classical Revival architectural style. Two-and-a-half storeys high, built of red brick laid in Flemish bond on a limestone foundation, the McKinlay-McGinty House has a centre hall plan, is five bays wide and two bays deep, has four pairs of octagonal brick chimneys and is capped with a low hip roof. The projecting centre bay contains the front entrance and is set within an umbrage and screened by four Tuscan wooden columns. The main door is flanked by pilasters of ashlar limestone set on a plinth and surmounted by a limestone lintel carved to simulate a rusticated voussoir. The surface of each 'stone' in the voussoir is finished with a dressed margin and picked surface. The door frame is finished with broad fluted pilaster trim and is flanked by sidelights glazed in a lozenge pattern with a four light transom above. The panels below the sidelights and of the umbrage soffit are decorated with bead and reel moulding. The door contains a single rectangular panel. Above the entrance there is a Palladian-inspired window, set within an elliptical arch, with a central semi-circular headed window with gothic glazing bars, flanked by a pair of lancet windows showing the growing influence of the Picturesque and early Gothic Revival movement. Above this window is a recessed yellow brick lozenge pattern detail below a low gable with return eaves. The front windows are detailed with shutters and rusticated voussoirs.

The centre-hall plan has original elements including Greek Revival mantels in the parlour and ballroom, plank flooring, baseboards and six paneled doors with pilaster and architrave trim. Ornamental plaster work survives in three rooms. In the hall there is a ribbed plaster cornice, and small acanthus leaf ceiling medallion, in the parlour a larger acanthus leaf medallion and an elaborate three banded cornice. The second floor ballroom also has a ribbed plaster cornice. The hall has a black and white painted floor in a lozenge pattern. The stairs have cherry wood railings with white spindles.

Although the McKinlay-McGinty House has never had an archaeological assessment, animal bones, pottery shards, bottle fragments and pieces of clay pipe recovered indicate a high archaeological potential on site.

Character-Defining Elements

Character defining elements that contribute to the heritage value of the McKinlay-McGinty House include its:

- Classical Revival style

- red brick laid in Flemish bond

- limestone foundation

- low hip roof

- slightly projecting centre bay

- front door set within a shallow umbrage

- sidelights and transom in the front entrance

- four wooden columns with Tuscan bases and capitals

- limestone ashlar pilasters flanking the front entrance

- limestone lintel carved to simulate a heavily rusticated double voussoir

- dressed margin and picked surface of each 'stone' in the voussoir

- sidelights glazed in a lozenge pattern

- wood panels below the sidelights and paneled soffits of the umbrage decorated with bead and reel moulding

- single rectangular panel with simple chamfered detailing on the door

- Palladian-inspired window with a central semi-circular headed window with gothic glazing bars, flanked by a pair of narrow lancet windows

- recessed yellow brick lozenge pattern detail below a low gable

- classically inspired return eaves of the centre gable

- plain limestone lintels of the side and rear windows

- wooden window shutters

- stylized voussoirs of the front façade windows

- four pairs of octagonal brick chimneys

- centre hall plan

- staircase with cherry wood railing and white spindles

- six-panel doors with plain mouldings

- Greek Revival mantels in the ballroom and parlour

- ribbed plaster cornice, paneled plaster ceiling with a small plaster acanthus leaf ceiling medallion in the hall

- large plaster acanthus leaf medallion and elaborate cornice composed of three bands of cast decoration in Parlour

- second floor ballroom with a ribbed plaster cornice

- painted floor rendered in a lozenge patterned of black and white

- high baseboards

- wooden door and window frames

- wide plank flooring

- grounds surrounding the house as areas of high archaeological potential

- semi-rural location in the Village of West Flamborough, within the Niagara Escarpment Plan Area

- mature trees surrounding the house

- relationship to the carriage house at the rear of the property

Teruel Citywalls and Tower Lombardera, Ronda Damaso Torán, Teruel, Aragon, Spain by Dilys Anne Kevan

4 1

The walls that surrounded the city had 40 towers, of which only a few are preserved.

The wall was built in four phases from the 13th to the 15th century. Numerous sections of the wall are preserved, although most of it is hidden by the houses that have been built in the last two centuries.

This tower gets its name from being equipped with cannons, it was built on a polygonal floor plan and its masonry walls and masonry in the corners, its battlements stand out in the upper part. Its angles are chamfered to facilitate the defense of the city. At present, a section of the wall still remains attached and halfway up it has a door through which you can access the upper part of the wall.

27717 by Ben Abel

25 2

A Grade II Listed Statue of Queen Victoria in Bitts Park in Carlisle, Cumbria.

Created in 1902 by Sir Thomas Brock RA. Unpolished light-coloured granite ashlar and bronze. Set on broad granite steps is a moulded and chamfered plinth with square shaft which has bronze panels depicting EMPIRE, EDUCATION, SCIENCE AND ART, COMMERCE (all signed by sculptor); surmounted by standing figure of Victoria in state robes. Inscription on front of plinth gives details of Victoria and her reign; rear inscription records the names of those subscribing to costs of the panels.

This statue is identical to one erected by the same sculptor at Brighton and Hove. Sir Thomas Brock was one of the more prominent late-Victorian sculptors who did a large number of statues of Queen Victoria (pre-eminently the Victoria Memorial, The Mall, London).

2nd Street, Harrisburg, PA by Warren LeMay

Built around the turn of the 20th Century, this Flemish Revival-style building features a red brick exterior, mansard roof, stepped gable parapets, decorative angled brickwork above the windows at the gable parapets, an oxeye attic window on the largest gable, semi-circular stone panels at the top of the gable parapets, a cornice with modillions at the base of the third floor, an oriel window on the second floor, a chamfered corner, stone belt coursing and sills, one-over-one double-hung windows, a recessed entry doors flanked by a chamfered wall on the south side and an oxeye window on the north side, and a stucco-clad base. The building is a contributing structure in the Harrisburg Historic District, listed on the National Register of Historic Places in 1976.

1 2 ••• 5 6 7 8 9 10 11 ••• 79 80

Tags chamfering

View allAll Photos Tagged chamfering