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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
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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.
Another view of the central pillar in the Chapter House. Octagonal in form, it was completed in 1249, and although it looks quite cosy in this warm lighting, must have been a very cold meeting place for the dean and chapter.
The Grade I Listed Bristol Cathedral, in Bristol, Avon.
Bristol Cathedral was founded as St Augustine's Abbey in 1140 by Robert Fitzharding, a wealthy local landowner and royal official. As the name suggests, the monastic precinct housed Augustinian canons. The original abbey church, of which only fragments remain, was constructed between 1140 and 1148 in the Romanesque style, known in England as Norman. The dedication ceremony was held on 11 April 1148, and was conducted by the Bishops of Worcester, Exeter, Llandaff, and St Asaph.
Further stone buildings were erected on the site between 1148 and 1164. Three examples of this phase survive, the chapterhouse and the abbey gatehouse, now the diocesan office, together with a second Romanesque gateway, which originally led into the abbot's quarters. T.H.B. Burrough, a local architectural historian, describes the former as "the finest Norman chapter house still standing today".
Under Abbot David (1216–1234) there was a new phase of building, notably the construction in around 1220 of a chapel dedicated to the Blessed Virgin Mary, abutting the northern side of the choir. This building, which still stands, was to become known as the "Elder Lady Chapel". The architect, referred to in a letter as 'L', is thought to have been Adam Lock, master mason of Wells Cathedral. The stonework of the eastern window of this chapel is by William the Geometer, of about 1280. Abbot David argued with the convent and was deposed in 1234 to be replaced by William of Bradstone who purchased land from the mayor to build a quay and the Church of St Augustine the Less. The next abbot was William Longe, the Chamberlain of Keynsham, whose reign was found to have lacked discipline and had poor financial management. In 1280 he resigned and was replaced as abbot by Abbot Hugh who restored good order, with money being given by Edward I.
Under Abbot Edward Knowle (1306-1332), a major rebuilding of the Abbey church began despite financial problems. Between 1298 and 1332 the eastern part of the abbey church was rebuilt in the English Decorated Gothic style. The Black Death is likely to have affected the monastery and when William Coke became abbot in 1353 he obtained a papal bull from Pope Urban V to allow him ordain priests at a younger age to replace those who had died. Soon after the election of his successor, Henry Shellingford, in 1365 Edward III took control of the monsatery and made Maurice de Berkeley, 4th Baron Berkeley its commissioner to resolve the financial problems. In the late 14th and early 15th centuries Abbots Cernay and Daubeney restored the fortunes of the order, partly by obtaining the perpetual vicarage of several local parishes. These difficulties meant that little building work had been undertaken for nearly 100 years, however in the mid 15th century, the number of Canons increased and the transept and central tower were constructed. Abbot John Newland, (1481–1515), began the rebuilding of the nave, but it was incomplete at the Dissolution of the Monasteries in 1539.
The partly built nave was demolished and the remaining eastern part of the church closed until it reopened as a cathedral under the secular clergy. In an edict dated June 1542, Henry VIII and Thomas Cranmer raised the building to rank of Cathedral of a new Diocese of Bristol. The new diocese was created from parts of the Diocese of Gloucester and the Diocese of Bath and Wells. Paul Bush, (d. 1558) a former royal household chaplain, was created the first Bishop of Bristol. The new cathedral was dedicated to the Holy and Undivided Trinity.
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.
The ceiling of the octagonal Chapter House at York Minster.
The building is thirteenth century but this ceiling (or at least the paintwork) is obviously quite new.
for Make it Interesting challenge #1 Sea Lion Pup
wonderful starter image: Rubyblossom
chapterhouse: stevecadman
coronation robe: www.wikipedia.org
crown: Kaotiqua
nebula: zamb0ni
texture1: my own :)
texture2: my own :)
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Wide angle view of the interior of The Chapter House in York Minster, Yorkshire, England, UK. 2014
The Chapter House of the Cathedral of Valencia, now known as the Holy Grail Chapel, holds a small amber chalice dating back to the first century BC, which is believed to have been used at the Last Supper.
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.
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.
Sala Capitular levantada en el siglo XIII en estilo gótico cisterciense.
Consta de cuatro pilares cilíndricos que dividen la sala en nueve espacios y que fueron construidos con tambores de piedra apilados y ocho columnillas, de una sola pieza, adosadas a cada uno.
Estancia de extraordinaria belleza que la hacen única en la arquitectura medieval europea.
Chapter House built in the 13th century in Cistercian Gothic style.
It consists of four cylindrical pillars that divide the room into nine spaces and were built with stacked stone drums and eight small columns, in one piece, attached to each one.
Room of extraordinary beauty that makes it unique in European medieval architecture.
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.
After a number of visits to St Mary's, this was the first time we'd been able to get inside the Chapter House. It's a modest space, rebuilt in the 14th century by Thomas Beauchamp. Taking up most of the space is this enormous monument to Sir Fulke Greville (1554 – 1628), for which he paid £280. He was a poet, dramatist and statesman, and served under Elizabeth I and James I. He was granted Warwick Castle in 1604, where he made numerous improvements and in 1621 he was made Baron Brooke. He was also the biographer of Sir Philip Sidney. There is a theory that the Chapter House was also used as a Rosicrucian temple by Greville.
In 1628 Greville was stabbed at his house in Holborn, by Ralph Haywood, a servant who believed that he had been cheated by being left out of his master's will. Haywood then turned the knife on himself. Greville's physicians treated his wounds by filling them with pig fat which infected them, and he died in agony four weeks later. His body was brought back to Warwick, and buried in this massive monument, where a short epitaph ends ‘Trophaeum peccati’ - sins triumph. He never married and left no natural heirs, so the barony passed to his cousin and adopted son, Robert Greville (1608–1643).
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).
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.
(Explore 2024 Jun 9, # 498)
Verschiedene Versionen der Legende vom Heiligen Gral sehen im Gral ein wundertätiges Gefäß, das mit jenen Rittern in Verbindung steht, die nach diesem Gral und damit letztlich nach Erlösung suchen. Der Gral wurde als der Kelch verstanden, den Jesus Christus beim letzten Abendmahl mit seinen Jüngern benutzt und in dem Josef von Arimathäa das Blut Christi unter dessen Kreuz aufgefangen haben soll, wie schon früh in apokryphen Schriften berichtet wurde. Der Gral stellt sich damit als eine der wichtigsten der zahlreichen Reliquien dar. Das Foto zeigt den gotischen Kapitelsaal der Kathedrale von València, wo der Gral bzw. Heilige Kelch (spanisch Santo Cáliz) seit 1506 aufbewahrt wird.
Various versions of the legend of the Holy Grail see the Grail as a miraculous vessel associated with the knights who search for this Grail and thus ultimately for redemption. The Grail was understood to be the chalice that Jesus Christ used at the Last Supper with his disciples and in which Joseph of Arimathea is said to have collected the blood of Christ under his cross, as was reported early on in apocryphal writings. The Grail is therefore one of the most important of the numerous relics. The photo shows the Gothic chapter house of the Cathedral in València, where the Holy Grail or Holy Chalice (Santo Cáliz in Spanish) has been kept since 1506.
Baixo estas pedras están os mortos, baixo estas columnas están os ancestros, baixo estas pedras todo aquilo que foi algo, baixo estas pedras todo o que non se debera esquecer.
Neste espacio a luz do día, neste espacio o aire que respirar, neste espacio as sombras da memoria, neste espacio a calor e o frio que xeran movemento.
Sobre este teito o descoñecido, sobre este teito o que está por vir, sobre este teito todo o que pode ser, sobre este teito tamen habemos morrer.
-----------------
Under these stones are the dead, under these columns are the ancestors, under these stones all that was something, under these stones all that should not be forgotten.
In this space the light of the day, in this space the air to breathe, in this space the shadows of memory, in this space the heat and cold that generate movement.
Over this roof the unknown, over this roof what is yet to come, over this roof all that may be, over this roof we will also die.
After a number of visits to St Mary's, this was the first time we'd been able to get inside the Chapter House. It's a modest space, rebuilt in the 14th century by Thomas Beauchamp. Taking up most of the space is this enormous monument to Sir Fulke Greville (1554 – 1628), for which he paid £280. He was a poet, dramatist and statesman, and served under Elizabeth I and James I. He was granted Warwick Castle in 1604, where he made numerous improvements and in 1621 he was made Baron Brooke. He was also the biographer of Sir Philip Sidney. There is a theory that the Chapter House was also used as a Rosicrucian temple by Greville.
In 1628 Greville was stabbed at his house in Holborn, by Ralph Haywood, a servant who believed that he had been cheated by being left out of his master's will. Haywood then turned the knife on himself. Greville's physicians treated his wounds by filling them with pig fat which infected them, and he died in agony four weeks later. His body was brought back to Warwick, and buried in this massive monument, where a short epitaph ends ‘Trophaeum peccati’ - sins triumph. He never married and left no natural heirs, so the barony passed to his cousin and adopted son, Robert Greville (1608–1643).
For all its grandiosity, the memorial has a simple classical style, with the sarcophagus about as simple as it could be. Over the centuries, the stone has become quite dark and discoloured.
The ceiling of Chapter House in York Minster, Northern Europe's greatest Gothic Cathedral.
I had the camera on the floor at 10mm for this!
Best Viewed LARGE AND ON BLACK
Chapter House. 1290-c 1307. Doulting ashlar with blue Lias dressings, some Purbeck marble internal dressings. Octagonal in shape with outstanding ribbed-vaulted ceiling. The ceiling is supported by a central column enclosed by shafts of Purbeck marble, rising to a single continuous rippling foliate capital of stylised oak leaves and acorns. Above the column rises 32 lierne ribs.
The remains 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.
Definately best large on black.
This is the roof (and windows) of the chapter house in York Minster. It's an HDR I've tried a couple of times, and haven't been able to improve it. It's not quite right, and very difficult to photo/process due to the huge amount of detail in the windows which stresses the 10Megapixels of the D200, the murky light in that room, and the scafolding which currently surrounds the outside.
The cathedral was built between 1175 & 1490. The stairs were built between 1265 & 1280. Chapter House was built between 1290 & circa 1307.
Grade I listed. The stairway to the Chapter House and Chain bridge of two bays with Purbeck marble vault shafts, those at the bottom of the stair on good carved figure shafts and spherical capitals to the west windows, and a Tudor-arched doorway at the top in a square frame beneath a two-light Decorated tracery set within an arch of three orders as the windows. To the west side are stepped seats, to the east the steps curve off to a two-bay-wide vaulted lobby with open cusped entrances with cusped trefoils above and panelled walls, and Purbeck marble shafts.
The Cathedral Church of Saint Andrew, dedicated to St Andrew the Apostle,
[ENG] Saint Andrew's of Creek Monastery is surrounded by a perimeter fence and it accedes through the Romanesque late gate of beautiful execution full of floral details and capitals from the own style. On having penetrated the gate we can estimate the Jurisdictional Roll and the bell gable of the "strangers' chapel " (ancient "chapel of the executed convicts") to the left side, the western exterior of church and porch to the front, and the guest quarters to the right, where we will accede to the visit of cloister and chapterhouse.
[ESP] El Monasterio de San Andrés de Arroyo se halla rodeado por una valla perimetral y se accede a través una portada románica tardía de bella factura plena de detalles florales y capiteles de estilo "andresino". Al traspasar la portada podemos apreciar el Rollo Jurisdiccional y la espadaña de la "capilla de forasteros" (antigua "capilla de los ajusticiados") a la izquierda, el exterior occidental de iglesia y pórtico al frente, y la hospedería a la derecha, por donde accederemos a la visita de claustro y sala capitular.
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After a number of visits to St Mary's, this was the first time we'd been able to get inside the Chapter House. It's a modest space, rebuilt in the 14th century by Thomas Beauchamp. Taking up most of the space is this enormous monument to Sir Fulke Greville (1554 – 1628), for which he paid £280. He was a poet, dramatist and statesman, and served under Elizabeth I and James I. He was granted Warwick Castle in 1604, where he made numerous improvements and in 1621 he was made Baron Brooke. He was also the biographer of Sir Philip Sidney. There is a theory that the Chapter House was also used as a Rosicrucian temple by Greville.
In 1628 Greville was stabbed at his house in Holborn, by Ralph Haywood, a servant who believed that he had been cheated by being left out of his master's will. Haywood then turned the knife on himself. Greville's physicians treated his wounds by filling them with pig fat which infected them, and he died in agony four weeks later. His body was brought back to Warwick, and buried in this massive monument, where a short epitaph ends ‘Trophaeum peccati’ - sins triumph. He never married and left no natural heirs, so the barony passed to his cousin and adopted son, Robert Greville (1608–1643).
This small vaulted Chapter House is all that remains of Cockersands Abbey. This little Grade 1 listed building was constructed in 1230 and sits on a coastal terrance near Cockerham on the Lune Estuary, west of Lancaster.
Explore #334
The original Cathedral was built in the 11th century after the Norman Conquest, two miles north of the current building at Old Sarum, the site of an iron age hillfort. By 1217 relations between the cathedral’s bishop and the royal castle had broken down, and an alternative site in the river valley to the south was chosen for the construction of a new cathedral. Work started in 1220 and the city of Salisbury grew up around it. By 1225 the Trinity Chapel at the east end of the Cathedral was completed and in 1258 the Cathedral was consecrated. The original tower was heightened and the spire added between about 1300 and 1329. At 404 ft (123m) it became the tallest structure in medieval Britain and is still the tallest spire in England.
A later addition to the Chapter House is this 15th-century wall painting, of the Assumption. It looks more than a bit unfinished to me, barely more than a sketch, but the 14th century saw a devastating outbreak of the Plague which may have contributed to its interruption. The brown splodges are angels' wings.
This beautifully embroidered banner by Ruth O'Leary is an authentic reconstruction of a long-lost medieval banner carried into war. This one usually hangs above steps up to the shrine of St Cuthbert within Durham Cathedral but comes out for processions, including the cathedral's magnificent carol services, so I was lucky to get close to it resting in the Chapterhouse between those. I particularly admired the embroidered plants and leaves - but couldn't capture fine detail handheld in the low light.
The Chapterhouse was not open to the public when I was young but is now a Warm Space for the people of the city. Admission to the cathedral is free, the carol services are open to all and the welcome is just as warm as my hazy childhood memories.
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.
Looking up the central column that supports the vaulted ceiling of the Chapter House, Wells Cathedral
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.
Candid at St Bavos Cathedral Gent
( be careful madam , theres a broken glass at your feet !)
The Saint Bavo Cathedral (also known as Sint-Baafs Cathedral, or in Dutch Sint Baafskathedraal) is the seat of the diocese of Ghent. It is named for Saint Bavo of Ghent.
The building is based upon the Chapel of St. John the Baptist, a primarily wooden construction; it was consecrated in 942 byTransmarus, Bishop of Tournai and Noyon. Traces of this original structure are evident in the cathedral's crypt.
The chapel was subsequently expanded in the Romanesque style in 1038. Some traces of this phase of expansion are still evident in the present day crypt.
In the subsequent period from the 14th through 16th centuries, nearly continuous expansion projects in the Gothic style were executed on the structure. A new choir, radiating chapels, expansions of the transepts, a Chapterhouse, nave aisles and a single tower western section were all added during this period. Construction was considered complete June 7, 1569.
In 1539, as a result of the rebellion against Charles V, the old Abbey of St. Bavo was dissolved. Its abbot and monks went on to become canons in a Chapter that was attached to what then became the Church of Saint Bavo. When the Diocese of Ghentwas founded in 1559, the church became its Cathedral. The church of Saint Bavo was also the site of the baptism of Charles V.
More candids here
www.flickr.com/photos/23502939@N02/sets/72157622769131641/
More Ghent here
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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.
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.'
A view into the cloister from the chapter house of l'abbaye de Fontevraud.
Hope you have a lovely Friday! Thanks, as always, for stopping by and for all of your kind support.
© Melissa Post 2016
The ceiling of the Chapter House in Buildwas Abbey, just outside Shrewsbury. One of finest remains of a Cistercian Abbey in the country, established 1135, disestablished in 1536. And nicely, it's free to visit except for the £2.00 charge for the car park. The English Heritage warden onsite said we should check out the tiling on the floor of the Chapter House but it was the ceiling that I found amazing. The whole site is hidden in a little valley on the banks of the Severn between Shrewsbury and Ironbridge.