View allAll Photos Tagged chapterhouse
The C13th chapter-house of thestructure hidden from teh public gase in private grounds. Cisterciam abbey at Hinton Charterhouse is an extraordinary space. Empty and decaying it is a poetic and beautiful
As I've got older I think I have got more cynical but occasionally you realise how nice people can be.
Since I got my hands on a Zeiss 15mm I've been thinking I need to go photograph the Chapter House ceiling at York Minster.
So with the weather looking awful today I headed to York. Made my way to the Minster, paid in and then headed straight to the Chapter House. When I got there it was shut. There where a couple of older ladies who were sorting out an area with sandwiches etc so I asked them it it was shut for the day. They explained it was as a number of important services where being held in the room. But they wanted to know why I wanted to go in as I explained on of them said well we shall have to get you special permission! Off she went and ten minutes later came back removed the barrier and said I would be ok for 15 minutes. Great when someone helps like that :)
Have to say I love this spot it's one of those places which feeds the soul!
While staying with family in Bath over Christmas I got in a day trip to Wells. This is the size of a small market town but with a large Cathedral in its centre making it a City. The Cathedral was built between 1175 and 1490, replacing an earlier church built on the same site in 705.. Each Cathedral is different in its attitude to Photographers and Wells is one of the friendly ones. Their Website said they welcomed Photography outside service times and the only restriction was on flash in one part of the building. No mention of Tripods so I ended up taking all my shots with a Tripod and nobody objected.
This is a view of the stairs to Wells Cathedral Chapter House. It has been done many times before and indeed is said to be the most photographed interior view of any Cathedral. The Chapter House was finished by 1306 and was the meeting place for Cathedral affairs. The stairs to it have thus been worn by many centuries of use. I tried something a little different from the usual by going for a very low POV and focusing on the steps. Many pictures of this view are done in mono but I wanted to keep the warmth through the Archway.
The picture was taken with a tripod with a Sony A700 with a Sigma 10-20 wide angle zoom at 10 mm. I took 3 shots for HDR processed in Photomatix using fusion Real Estate for a natural look. I copied the minus 2 image in as a new layer after reducing the exposure some more in RAW and used a layer mask to apply that only to bring down highlights. Further processing using Topaz Clarity for more detail. In Photoshop I straightened the drastically converging verticals using Transform-Skew and also Filter-Lens Correction- Custom- Vertical Perspective.
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Explore #2
View on black please!
While on a photowalk around Westminster with Siany, we walk around the back of Westminster Abbey and she found this little entrance. We wandered in and found this fantastic little cloister and many other churchy-type things. We also found the oldest door in England, dating back to around 1050.
The interior of this, I believe it's called a chapter house, is modelled on the Sainte-Chapelle in Paris. I loved the sense of perspective that this corridor gave, plus the wonderful ceiling and the bright sunlight shining in through the cloister windows.
This looks much more lovely large on black. I've also just realised that my Flickr stream has just passed over a million views, so thank you everyone who as visited and continues to visit my photos!
No images in comments please.
Details
Canon EOS 5D Mark II / ISO 100 / f/16 / 17-40mm @ 17mm / HDR
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
Wall of the Church militant and triumphant - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
Wall of the Church militant and triumphant - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
detail of the wall of the Triumph of St. Thomas Aquinas - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
The descent of Jesus into hell - Spanish Chapel - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
This is a details from the entrance to the chapter house of the former "Abbaye Saint-Georges de Boscherville", founded by a chamberlain of William the Conqueror, and in existence upto the French Revolution.
The abbey church serves the parish since then. Most buildings of the abbey got demolished after the Revolution, but the chapter house survived. I had been here about 10 years ago, when this part of the abbey was closed. This time I had more luck - and was surprised by originality and quality of the carvings.
Some of the carvings here are copies, as the delicate and already weathered originals are kept in a museum in Rouen.
The Chapter House in the East Cloister was a meeting place where the monks gathered with the abbot to ‘hold chapter’: to pray, read from the rule of St Benedict, discuss the day’s business and when the abbot decided on punishments. (Rebuilded under Henry III between 1246 and 1255)
Chiostro Verde - Santa Maria Novella - Firenze
Il chiostro deve la sua notorietà al ciclo di affreschi della prima metà del XV secolo che occupa le pareti dei rimanenti tre lati, comprendente alcune importanti pitture di Paolo Uccello, tra le quali il celebre capolavoro del Diluvio universale.
Il nome con il quale il chiostro è storicamente conosciuto deriva dal colore predominante di questo ciclo, dipinto secondo una particolare tecnica, prevalentemente monocroma, detta “a terra verde”.
Le pitture raffigurano le Storie della Genesi, il primo libro della Bibbia, nell’ordine in cui si presentavano ai frati che accedevano al chiostro dalla chiesa.
Il ciclo quindi comincia a fianco della porta che si trova nella campata nord-orientale, con la Creazione, e prosegue lungo i lati est, sud e ovest con le storie dei Progenitori, di Noé, di Abramo, di Isacco e di Giacobbe.
Green Cloister - Santa Maria Novella - Firenze
The cloister, that in the past was part of the Dominican Convent of Santa Maria Novella, borders with the left nave of the church with which it is connected by a door reached by a staircase that is to be found in the north-east corner of the church.
It was built between 1332 and 1362, based on a project of the Dominicans Giovanni da Campi and Jacopo Talenti. There is little evidence of its first years of existence. The decoration of the vaults, with Busts of Saints and Blessed Dominicans in polylobate frames, dates back to the 14th century but it has been totally repainted in recent years, apart from in some bays of the south and west sides. The other 14th paintings which have survived until today are all in the northern bays, at the sides of the entrance wall of the Chapterhouse or Spanish Chapel.
The cloister owes its fame to the cycle of frescoes executed in the first half of the 15th century which takes up the walls of the remaining three sides, including some important works by Paolo Uccello, amongst which the famous masterpiece The Deluge. The name by which the cloister has always been known derives from its predominant colour of this cycle, painted according to a particular technique, mostly in monochrome, called “green earth”.
The paintings represent the Stories of Genesis, the first book of the Bible, in the order in which they were seen as the friars entered the cloister from the church. The cycle, therefore, begins from next to the door which is in the north-east bay, with the Creation, and continues along the east, south and west sides with the stories of the Forefathers: Noah, Abraham, Isaac and Jacob.
Processed with Silver Efex Pro 2
The chapter house was begun in the late 13th century and built in two stages, completed about 1310. It is a two-storeyed structure with the main chamber raised on an undercroft. It is entered from a staircase which divides and turns, one branch leading through the upper storey of Chain Gate to Vicars' Close. The Decorated interior is described by Alec Clifton-Taylor as "architecturally the most beautiful in England". It is octagonal, with its ribbed vault supported on a central column. The column is surrounded by shafts of Purbeck Marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns, quite different in character from the Early English stiff-leaf foliage. Above the moulding spring thirty-two ribs of strong profile, giving an effect generally likened to "a great palm tree"
Wells Cathedral, Somerset, UK
The vaulted ceiling and purbeck marble central column of the Chapterhouse. The collegiate church of St Peter at Westminster, London, England (Westminster Abbey).
for more on the same subject click here:
www.flickr.com/photos/191876035@N02/collections/721577216...
- image by Phil Brandon Hunter - www.philbhu.com - P1260226a
Il chiostro deve la sua notorietà al ciclo di affreschi della prima metà del XV secolo che occupa le pareti dei rimanenti tre lati, comprendente alcune importanti pitture di Paolo Uccello, tra le quali il celebre capolavoro del Diluvio universale.
Il nome con il quale il chiostro è storicamente conosciuto deriva dal colore predominante di questo ciclo, dipinto secondo una particolare tecnica, prevalentemente monocroma, detta “a terra verde”.
Le pitture raffigurano le Storie della Genesi, il primo libro della Bibbia, nell’ordine in cui si presentavano ai frati che accedevano al chiostro dalla chiesa.
Il ciclo quindi comincia a fianco della porta che si trova nella campata nord-orientale, con la Creazione, e prosegue lungo i lati est, sud e ovest con le storie dei Progenitori, di Noé, di Abramo, di Isacco e di Giacobbe.
Green Cloister - Santa Maria Novella - Firenze
The cloister, that in the past was part of the Dominican Convent of Santa Maria Novella, borders with the left nave of the church with which it is connected by a door reached by a staircase that is to be found in the north-east corner of the church.
It was built between 1332 and 1362, based on a project of the Dominicans Giovanni da Campi and Jacopo Talenti. There is little evidence of its first years of existence. The decoration of the vaults, with Busts of Saints and Blessed Dominicans in polylobate frames, dates back to the 14th century but it has been totally repainted in recent years, apart from in some bays of the south and west sides. The other 14th paintings which have survived until today are all in the northern bays, at the sides of the entrance wall of the Chapterhouse or Spanish Chapel.
The cloister owes its fame to the cycle of frescoes executed in the first half of the 15th century which takes up the walls of the remaining three sides, including some important works by Paolo Uccello, amongst which the famous masterpiece The Deluge. The name by which the cloister has always been known derives from its predominant colour of this cycle, painted according to a particular technique, mostly in monochrome, called “green earth”.
The paintings represent the Stories of Genesis, the first book of the Bible, in the order in which they were seen as the friars entered the cloister from the church. The cycle, therefore, begins from next to the door which is in the north-east bay, with the Creation, and continues along the east, south and west sides with the stories of the Forefathers: Noah, Abraham, Isaac and Jacob.
Wall of the Church militant and triumphant - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
“Seek freedom and become captive of your desires. Seek discipline and find your liberty.”
-Frank Herbert, “Chapterhouse: Dune”
The descent of Jesus into hell - Spanish Chapel - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
Santa Maria Novella is a church in Florence, Italy, situated just across from the main railway station which shares its name. Chronologically, it is the first great basilica in Florence, and is the city's principal Dominican church.
The church, the adjoining cloister, and chapterhouse contain a store of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance. They were financed through the generosity of the most important Florentine families, who ensured themselves of funerary chapels on consecrated ground.
This church was called Novella (New) because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne. When the site was assigned to Dominican Order in 1221, they decided to build a new church and an adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. Building began in the mid-13th century (about 1246), and was finished about 1360 under the supervision of Friar Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy. At that time, only the lower part of the Tuscan gothic facade was finished. The three portals are spanned by round arches, while the rest of the lower part of the facade is spanned by blind arches, separated by pilasters, with below Gothic pointed arches, striped in green and white, capping noblemen's tombs. This same design continues in the adjoining wall around the old churchyard. The church was consecrated in 1420.
The Cloister at the Grade I Listed Lincoln Cathedral in Lincoln, Lincolnshire.
Known in full as The Cathedral Church of the Blessed Virgin Mary of Lincoln, or sometimes St. Mary's Cathedral, is a Grade I Listed Building and the seat of the Bishop of Lincoln in the Church of England. Building commenced in 1088 and continued in several phases throughout the medieval period. It was reputedly the tallest building in the world for 238 years (1311–1549) before the central spire collapsed in 1549 and was not rebuilt. It is highly regarded by architectural scholars; the eminent Victorian writer John Ruskin declared: "I have always held... that the cathedral of Lincoln is out and out the most precious piece of architecture in the British Isles and roughly speaking worth any two other cathedrals we have."
Remigius de Fécamp, the first bishop of Lincoln, moved the Episcopal seat there between 1072 and 1092. Up until then St. Mary's Church in Stow was considered to be the "mother church" of Lincolnshire (although it was not a cathedral, because the seat of the diocese was at Dorchester Abbey in Dorchester-on-Thames, Oxfordshire). However, Lincoln was more central to a diocese that stretched from the Thames to the Humber.
Bishop Remigius built the first Lincoln Cathedral on the present site, finishing it in 1092 and then dying on 9 May of that year, two days before it was consecrated. In 1141, the timber roofing was destroyed in a fire. Bishop Alexander rebuilt and expanded the cathedral, but it was mostly destroyed by an earthquake about forty years later, in 1185. The earthquake was one of the largest felt in the UK. The damage to the cathedral is thought to have been very extensive: the Cathedral is described as having "split from top to bottom"; in the current building, only the lower part of the west end and of its two attached towers remain of the pre-earthquake cathedral.
After the earthquake, a new bishop was appointed. He was Hugh de Burgundy of Avalon, France, who became known as St Hugh of Lincoln. He began a massive rebuilding and expansion programme. Rebuilding began with the choir (St. Hugh's Choir) and the eastern transepts between 1192 and 1210. The central nave was then built in the Early English Gothic style. Lincoln Cathedral soon followed other architectural advances of the time – pointed arches, flying buttresses and ribbed vaulting were added to the cathedral. This allowed the creation and support of larger windows. The cathedral is the 3rd largest in Britain (in floor space) after St Paul's and York Minster, being 484 feet (148 m) by 271 feet (83 m). Until 1549 the spire was reputedly the tallest medieval tower in Europe, though the exact height has been a matter of debate. Accompanying the cathedral's large bell, Great Tom of Lincoln, is a quarter-hour striking clock. The clock was installed in the early 19th century.
The two large stained glass rose windows, the matching Dean's Eye and Bishop's Eye, were added to the cathedral during the late Middle Ages. The former, the Dean's Eye in the north transept dates from the 1192 rebuild begun by St Hugh, finally being completed in 1235. The latter, the Bishop's eye, in the south transept was reconstructed 100 years later in 1330.
After the additions of the Dean's eye and other major Gothic additions it is believed some mistakes in the support of the tower occurred, for in 1237 the main tower collapsed. A new tower was soon started and in 1255 the Cathedral petitioned Henry III to allow them to take down part of the town wall to enlarge and expand the Cathedral, including the rebuilding of the central tower and spire. They replaced the small rounded chapels (built at the time of St Hugh) with a larger east end to the cathedral.
In 1290 Eleanor of Castile died and King Edward I of England decided to honour her, his Queen Consort, with an elegant funeral procession. After her body had been embalmed, which in the 13th century involved evisceration, Eleanor's viscera were buried in Lincoln cathedral, and Edward placed a duplicate of the Westminster tomb there. The Lincoln tomb's original stone chest survives; its effigy was destroyed in the 17th century and replaced with a 19th-century copy.
Between 1307 and 1311 the central tower was raised to its present height of 271 feet (83 m). The western towers and front of the cathedral were also improved and heightened. At this time, a tall lead-encased wooden spire topped the central tower but was blown down in a storm in 1548. With its spire, the tower reputedly reached a height of 525 feet (160 m) (which would have made it the world's tallest structure, surpassing the Great Pyramid of Giza, which held the record for almost 4,000 years).
I had to lie prostrate on the floor for this shot, but I still couldn’t capture the entire ribbed vault ceiling. Even so, I think some of its extraordinary beauty is evident.
This is the exquisitely beautiful 13th century octaganal Chapter House in York Minster, where in previous centuries the daily business of the minster was conducted.
Wall of the Crucifixion - Spanish Chapel - Andrea di Bonaiuto (Andrea da Firenze) (1365 - 1367) - Santa Maria Novella Firenze
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
from the left: Clemente 5th - Aristotle - St. Jerome - detail of the wall of the Triumph of St. Thomas Aquinas - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
These ruins of an unusually large twelve-sided chapter house, that dates from the 13th century, is part of the remains of Margam Abbey; a former Cistercian monastery. The ruins stand within Margam Country Park, close to Margam Castle in South Wales.
Photomerged from five images.
X Unknown 15th-century painter - The Sacrifice of Isaac (first half of the 15th century) - Green Cloister - Santa Maria Novella
Il chiostro deve la sua notorietà al ciclo di affreschi della prima metà del XV secolo che occupa le pareti dei rimanenti tre lati, comprendente alcune importanti pitture di Paolo Uccello, tra le quali il celebre capolavoro del Diluvio universale.
Il nome con il quale il chiostro è storicamente conosciuto deriva dal colore predominante di questo ciclo, dipinto secondo una particolare tecnica, prevalentemente monocroma, detta “a terra verde”.
Le pitture raffigurano le Storie della Genesi, il primo libro della Bibbia, nell’ordine in cui si presentavano ai frati che accedevano al chiostro dalla chiesa.
Il ciclo quindi comincia a fianco della porta che si trova nella campata nord-orientale, con la Creazione, e prosegue lungo i lati est, sud e ovest con le storie dei Progenitori, di Noé, di Abramo, di Isacco e di Giacobbe.
Green Cloister - Santa Maria Novella - Firenze
The cloister, that in the past was part of the Dominican Convent of Santa Maria Novella, borders with the left nave of the church with which it is connected by a door reached by a staircase that is to be found in the north-east corner of the church.
It was built between 1332 and 1362, based on a project of the Dominicans Giovanni da Campi and Jacopo Talenti. There is little evidence of its first years of existence. The decoration of the vaults, with Busts of Saints and Blessed Dominicans in polylobate frames, dates back to the 14th century but it has been totally repainted in recent years, apart from in some bays of the south and west sides. The other 14th paintings which have survived until today are all in the northern bays, at the sides of the entrance wall of the Chapterhouse or Spanish Chapel.
The cloister owes its fame to the cycle of frescoes executed in the first half of the 15th century which takes up the walls of the remaining three sides, including some important works by Paolo Uccello, amongst which the famous masterpiece The Deluge. The name by which the cloister has always been known derives from its predominant colour of this cycle, painted according to a particular technique, mostly in monochrome, called “green earth”.
The paintings represent the Stories of Genesis, the first book of the Bible, in the order in which they were seen as the friars entered the cloister from the church. The cycle, therefore, begins from next to the door which is in the north-east bay, with the Creation, and continues along the east, south and west sides with the stories of the Forefathers: Noah, Abraham, Isaac and Jacob.
The descent of Jesus into hell - Spanish Chapel - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.
From the Minster website:
'One of York Minster’s architectural gems, the Chapter House contains some of the Minster’s finest carvings and in 1297 was used as the location for the Parliament of King Edward I. The octagonal space dates from the 1280s and its magnificent, vaulted ceiling is supported by timbers in the roof, instead of a central column, which is the earliest example of its kind to use this revolutionary engineering technique.'
Well-worn steps lead up to the Chapter House, completed in 1306. The beautiful octagonal chamber was where clergy met to transact Cathedral business, and is still used today on formal occasions.
Wells Cathedral is an Anglican cathedral in Wells, Somerset, dedicated to St Andrew the Apostle, and is the seat of the Bishop of Bath and Wells. Built as a Roman Catholic cathedral from around 1175 to replace an earlier church on the site since 705, it became an Anglican cathedral when King Henry VIII split from Rome.
The Gatehouse of Thornton Abbey, located close to Thornton Curtis in Lincolnshire.
The Abbey was founded as a priory in 1139 by William le Gros, the Earl of Yorkshire, and raised to the status of Abbey in 1148. It was a house for Augustinian or black canons. These priests lived a communal life under the Rule of St Augustine but also undertook pastoral duties outside of the Abbey. Officers within the Abbey besides the abbot and prior included a cellarer, bursar, chamberlain, sacrist, kitchener and an infirmer.
The founding abbey building from the 12th century was Romanesque in style, but nothing of it remains above ground. The later abbey from the 13th/14th centuries was built in Early Gothic style. Little remains of the building, except for three walls of the chapter house and part of the cloister, though the groundplan of the abbey is traced out.
The main interest lies in the gatehouse which is amongst the earliest largescale uses of brick in England. It stands two storeys high and is structurally intact. There are few windows in the building, and the internal dimensions are cramped due to the thickness of the walls.
The outside of the building is adorned with three almost lifesize statues directly above the gate. A bridge over the moat adjoins the gatehouse and is fortified with walls and guardrobes.
The abbey was closed in 1539 by Henry VIII as part of the dissolution. Since then the site has been owned by: Henry Randes (the Bishop of Lincoln); Sir Robert Tyrwhitt of Kettleby; Sir Vincent Skinner of Westminster; Sir Robert Sutton; George Appleby; and in 1816 Charles, 1st Baron Yarborough.
In 1938 the fifth earl handed the care of the Abbey remains to HM Office of Works. The site is currently in the care of English Heritage and is open to the public.
Information source:
www.lincolnshirelife.co.uk/posts/view/thornton-abbey-and-...
Dia Internacional dos Monumentos e Sítios
Janela do Capítulo
International Day For Monuments and Sites
The chapterhouse window
A grand day out to Wells Cathedral with the even grander Archidave.
A view up to the celing of the startlingly beautiful Cathedral Chapterhouse.
He was right...I did love it!
Santa Maria Novella is a church in Florence, Italy, situated just across from the main railway station which shares its name. Chronologically, it is the first great basilica in Florence, and is the city's principal Dominican church.
The church, the adjoining cloister, and chapterhouse contain a store of art treasures and funerary monuments. Especially famous are frescoes by masters of Gothic and early Renaissance. They were financed through the generosity of the most important Florentine families, who ensured themselves of funerary chapels on consecrated ground.
This church was called Novella (New) because it was built on the site of the 9th-century oratory of Santa Maria delle Vigne. When the site was assigned to Dominican Order in 1221, they decided to build a new church and an adjoining cloister. The church was designed by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. Building began in the mid-13th century (about 1246), and was finished about 1360 under the supervision of Friar Iacopo Talenti with the completion of the Romanesque-Gothic bell tower and sacristy. At that time, only the lower part of the Tuscan gothic facade was finished. The three portals are spanned by round arches, while the rest of the lower part of the facade is spanned by blind arches, separated by pilasters, with below Gothic pointed arches, striped in green and white, capping noblemen's tombs. This same design continues in the adjoining wall around the old churchyard. The church was consecrated in 1420.
The Chapter House was finished in the early 1290s, with its vaulted ceiling unique at the time of its creation because it is not supported by a central column, but instead by timbers in the roof.
The Chapter House of Salisbury Cathedral houses the Magna Carta - the great document from 1215 which is regarded as the source of democracy for the free world
Linhof Technikardan S45
Rodenstock Grandagon-N 4.5/90
E82/112 center ND filter
50mm front rise
f22
90 seconds
Kodak Portra 160 (EI 100)
Gitzo GT3532LS
Arca-Swiss Z1
Lab developed
Digitised using 16-shot pixel-shift capture using a 99 CRI light source
(Best viewed fullscreen in the lightbox)
The descent of Jesus into hell - Spanish Chapel - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
Costruita tra il 1343 e il 1355 dall’architetto Fra Iacopo Talenti, a spese del mercante Buonamico (detto Mico) Guidalotti, l’ampia aula anticamente era la Sala Capitolare del convento di Santa Maria Novella. Prese definitivamente il nome di Cappellone degli Spagnoli nel 1566, quando venne ceduta alla colonia spagnola di Firenze che era solita radunarsi in questo luogo dal tempo in cui Eleonora di Toledo, divenuta moglie del duca Cosimo I de’ Medici (1539), ne aveva ottenuto l’uso per le funzioni religiose dei suoi connazionali.
Mico Guidalotti, alla sua morte, lasciò anche una somma per dipingere e ornare l’interno del Capitolo che, tuttavia, venne affrescato dal pittore Andrea di Bonaiuto, detto Andrea da Firenze, solo dieci anni più tardi, tra il 1365 e il 1367.
Built between 1343 and 1355 by the architect Fra Iacopo Talenti and paid for by the merchant Buonamico (called Mico) Guidalotti, the vast hall, in the past was the Sala Capitolare (The Chapterhouse) of the convent of Santa Maria Novella. It finally and definitely took the name of The Spanish Chapel in 1566 when it was given over to the Spanish colony in Florence who used to meet in this very place since when Eleonora di Toledo, wife of Duke Cosimo I de’ Medici (1539), had been granted use of it for the religious services of her fellow countrymen.
When he died, Mico Guidalotti also bequeathed a sum of money in order to paint and decorate the interior of the Chapterhouse which, nevertheless, was frescoed by the painter Andrea di Bonaiuto, called Andrea da Firenze, only ten years later, between 1365 and 1367.