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Originally a monastery under the Cluniac order, Monk Bretton Priory is located in the village of Lundwood, near Barnsley, South Yorkshire. It was founded in 1154 as the Priory of St. Mary Magdelene of Lund, by Adam Fitswane, sited on the Lund, from Old Norse. In the course of time, the priory took the name of the nearby village of Bretton, to be commonly known as Monk Bretton Priory.
Little remains of the church, although there are several particularly fine examples of medieval grave slabs. The cloister buildings are better preserved. They include the high south wall of the monks’ refectory, with its two great windows; parts of the chapterhouse; and the west range which is almost complete.
North-east of the church a large building of the late 13th century stands alone. It retains its medieval double-ridged roof, and, inside, tall octagonal pillars support the upper storey. The building was probably the courthouse and administrative building for the management of the priory estates.
The imposing priory gatehouse, which was built in the early 15th century, is still almost intact, although roofless.
Lacock Abbey in the village of Lacock, Wiltshire, England, was founded in the early 13th century by Ela, Countess of Salisbury, as a nunnery of the Augustinian order. The abbey remained a nunnery until the Dissolution of the monasteries in the 16th century; it was then sold to Sir William Sharington who converted the convent into a residence. Sharington retained the cloisters and the medieval basement largely unaltered and built another storey above, so that the main rooms are on the first floor.
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.
Litteraly shooting from teh hip. Photography is not strictly permitted in the Chapter house of the Cathedral. I am not sure if it is for reasons of security or protection for the original copy of the Magna Carta house there, but I flouted those rules and pressed the shutter button a few times with the camera propped against my body.
And blow me, but one came out not to bad at all. In fact I didn't even need to correct the verticals. Seems i am more orthoganal when I'm not trying
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,
One of my favourite buildings. Each time I visit Wells I spend so much time in the Cathedral there's no time to visit the Bishop's Palace. I wish it was easier to get to, if it was I'd visit annually.
Construction of the cathedral began in about 1175, to the design of an unknown master-mason. Wells is the first cathedral in England to be built, from its foundation, in Gothic style. According to art historian John Harvey, it is the first truly Gothic cathedral in the world, its architects having entirely dispensed with all features that bound the contemporary east end of Canterbury Cathedral and the earlier buildings of France, such as the east end of the Abbey of Saint Denis, to the Romanesque. Unlike these churches, Wells has clustered piers rather than columns and has a gallery of identical pointed arches rather than the typically Romanesque form of paired openings.
The building of the chapterhouse was completed by 1306. A narrow door from the north transept leads to a wide curving 'sea of stairs' up to the first floor. The additional upper flight leading over the Chain Bridge to the Vicars' Hall was added in the 15th Century. The staircase windows hold the oldest stained glass in the cathedral, dating from c.1290.
From the Ante-Chapter-House a curved passage leads to one of the most admirable areas of Spanish Renaissance architecture: the Chapter-House of the Cathedral. It was begun in 1558 under the direction of the architec Hernán Ruiz II and was finished by Asensio de Maeda in 1592.
The layout of this area is elliptical so that all the members of the cathedral chapter were perfectly visible at their meetings where the problems of the spiritual and material government of the church were brought up and discussed. The oval vaulting in one simple unit helps the voice to carry and has exceptional acoustics. The need for hearing and seeing required in the meetings of the numerous clergy was thus satisfactorily solved, but at the same time the wall decoration of the Chapter-House consists of a complex series of pictures and figures to emphasize the virtues expected of those who came to meet there so that their exchange of ideas and opinions would take place in an atmosphere of harmony and concerd. The walls therefore show a moral code for the canons to observe in their chapter meetings. The composition of pictures and figures designed by the canon Francisco Pacheco includes a seies of sculptures ans paintings with Latin inscriptions referring to the meanings of the images. All this decoration appears in the second section of the Hall, and the first to be seen between the pedestals of the columns are painted versions of the Virtues, among which Justice, Charity, Faith, Compassion and Hope can be identified. These virtues are female figures, some of which represent Saints at the same time, such as St Barbara, St Katherine, St Lucy and St Agnes. These paintings were carried out by Pablo de Céspedes in 1592.
The authors of the large vertical reliefs between the columns are Juan Bautista Vázquez el Viejo and Diego de Velasco who made them approximately between 1582 and 1582. They show The Assumption of the Virgin, Two Miracles of St John the Evangelists, The cleasing of the Temple, The Heavenly Father with the Vintagers, The seven Angels calling the Damned, The Ectasy of St John Evangelist and The Allegory of the Mystic Lamb. The rectangular reliefs were carried out by Marcos Cabrera around 1590 and show The last Sermon of Jesus Christ, Daniel in the Lions´Den, Christ´s Baptism, The Storm in the Sea of Tiberias, The Parable of the Sower, Christ,s Agony in the Garden, St Peter contemplating the unclean Animals and Christ washing the Feet of the Apostles.
In the vault there is a magnificent series of paintings by Murillo who was commissioned by the Chapter in 1667. In a splendid carved frame everything centres on La Inmaculada, which may be considered among the most beautiful the artist made of the subject. Painted on circular canvases around the vault there is a series of eight Seville Saints who can be identified by the name on the signs. They are San Hermenegildo, San Fernando, San Leandro, San Isidoro, San Laureano, Santa Justa, Santa Rufina and San Pio. The Chapter-House centres on a magnificent mahogany armchair which was carved by the sculptor Diego de Velasco in 1592. Before it there is the secretary´s bench, also of excellent design by the same artist.
hispalis.net/turismo_y_cultura/monumentos/catedral/capitu...
The University of Glasgow is the fourth oldest university in the English-speaking world and one of Scotland's four ancient universities. It was founded in 1451. Along with the University of Edinburgh, the University was part of the Scottish Enlightenment during the 18th century. It is currently a member of Universitas 21, the international network of research universities, and the Russell Group.
In common with universities of the pre-modern era, Glasgow originally educated students primarily from wealthy backgrounds, however it became a pioneer in British higher education in the 19th century by also providing for the needs of students from the growing urban and commercial middle class. Glasgow University served all of these students by preparing them for professions: the law, medicine, civil service, teaching, and the church. It also trained smaller but growing numbers for careers in science and engineering.
Originally located in the city's High Street, since 1870 the main University campus has been located at Gilmorehill in the West End of the city. Additionally, a number of university buildings are located elsewhere, such as the Veterinary School in Bearsden, and the Crichton Campus in Dumfries.
Alumni or former staff of the University include philosopher Francis Hutcheson, engineer James Watt, philosopher and economist Adam Smith, physicist Lord Kelvin, surgeon Joseph Lister, 1st Baron Lister, seven Nobel laureates, and two British Prime Ministers.
And now a wee history lesson.
The University of Glasgow was founded in 1451 by a charter or papal bull from Pope Nicholas V, at the suggestion of King James II, giving Bishop William Turnbull, a graduate of the University of St Andrews, permission to add a University to the city's Cathedral. It is the second-oldest university in Scotland after St Andrews and the fourth-oldest in the English-speaking world. The universities of St Andrews, Glasgow and Aberdeen were ecclesiastical foundations, while Edinburgh was a civic foundation. As one of the Ancient Universities of the United Kingdom, Glasgow University is one of only eight institutions to award undergraduate master's degrees in certain disciplines.
The East Quadrangle of the Main Building.
The University has been without its original Bull since the mid-sixteenth century. In 1560, during the political unrest accompanying the Scottish Reformation, the then chancellor, Archbishop James Beaton, a supporter of the Marian cause, fled to France. He took with him, for safe-keeping, many of the archives and valuables of the Cathedral and the University, including the Mace and the Bull. Although the Mace was sent back in 1590, the archives were not. Principal Dr James Fall told the Parliamentary Commissioners of Visitation on 28 August 1690, that he had seen the Bull at the Scots College in Paris, together with the many charters granted to the University by the monarchs of Scotland from James II to Mary, Queen of Scots. The University enquired of these documents in 1738 but was informed by Thomas Innes and the superiors of the Scots College, that the original records of the foundation of the University were not to be found. If they had not been lost by this time, they certainly went astray during the French Revolution when the Scots College was under threat. Its records and valuables were moved for safe-keeping out of the city of Paris. The Bull remains the authority by which the University awards degrees.
Teaching at the University began in the chapterhouse of Glasgow Cathedral, subsequently moving to nearby Rottenrow, in a building known as the "Auld Pedagogy". The University was given 13 acres of land belonging to the Black Friars (Dominicans) on High Street by Mary, Queen of Scots, in 1563.
By the late 17th century, the University building centred on two courtyards surrounded by walled gardens, with a clock tower, which was one of the notable features of Glasgow's skyline, and a chapel adapted from the church of the former Dominican (Blackfriars) friary. Remnants of this Scottish Renaissance building, mainly parts of the main facade, were transferred to the Gilmorehill campus and renamed as the "Pearce Lodge", after Sir William Pearce, the shipbuilding magnate who funded its preservation. The Lion and Unicorn Staircase was also transferred from the old college site and is now attached to the Main Building.
John Anderson, while professor of natural philosophy at the university, and with some opposition from his colleagues, pioneered vocational education for working men and women during the industrial revolution. To continue this work in his will he founded Anderson's College, which was associated with the university before merging with other institutions to become the University of Strathclyde in 1964.
In 1973, Delphine Parrott became its first woman professor, as Gardiner Professor of Immunology.
In October 2014, the university court voted for the University to become the first academic institution in Europe to divest from the fossil fuel industry.
Southwell Minster, formally the Cathedral and Parish Church of the Blessed Virgin Mary, is a Church of England cathedral in Southwell, Nottinghamshire. The cathedral is the seat of the bishop of Southwell and Nottingham.
The current church is the successor to one built in 956 by Oscytel, archbishop of York. Some late eleventh century fabric survives from this church, but the majority of the building dates from between 1108 and c. 1150, when it was reconstructed in the Romanesque style. The chancel was rebuilt from 1234 to 1251 in the Early English Gothic style. In 1288 the chapter house was built; it is decorated with carved foliage of exceptional quality. The minster's rood screen is also of high quality.
During the Middle Ages Southwell was part of the large diocese of York, and the archbishop maintained a palace adjacent to the minster. Although it was not a cathedral, the minster acted as the mother church of the surrounding area; Ripon Cathedral and Beverley Minster fulfilled a similar function in other parts of the diocese. The church was collegiate from its foundation until 1841, although the college was twice dissolved and re-founded during the English Reformation. It was a parish church from 1841 until 1884, when it became the cathedral of a new diocese covering Nottinghamshire and Derbyshire; in 1927 the diocese was divided by the creation of the Diocese of Derby.
The nave, transepts, central tower and two western towers of the Norman church which replaced the Anglo-Saxon minster remain as an outstanding achievement of severe Romanesque design. The western facade has pyramidal spires on its towers – a unique feature in Britain today, although common in the 12th century.
The chapter house, started in 1288, is in an early decorated style, octagonal, with no central pier. It is reached from the choir by a passage and vestibule, through an entrance portal. Many writers have commented on the elegant proportions of the space, and of the profusion of exquisitely carved capitals and tympana (in the vestibule and passage, as well as the chapter house), mostly representing leaves in a highly naturalistic and detailed representation. The capitals in particular are deeply undercut, adding to the feeling of realism. Individual plant species such as ivy, maple, oak, hop, hawthorn can often be identified. The botanist Albert Seward published a detailed description of the carvings and their identification in 1935, and Nikolaus Pevsner wrote the classic description entitled The Leaves of Southwell.
Built around 1300, including the “Leaves of Southwell”, some of the best medieval stone carvings in England.
Grade I listed. Octagonal Chapter House. Delicate ball-flower surrounds each window arch and the vault bosses have beautiful leaf designs. Seats round the outer walls give places to more than forty prebendaries or canons, to meet together and discuss the affairs of the cathedral. Legal proceedings were also carried out from time to time. Each seat is marked with headstops under the canopies and in all the corners there are humorous and mischievous faces. The vestibule originally had wooden doors to separate the Chapter House from the steps, where, close to the wall, were seats for witnesses waiting to give testimony. The earliest stained glass in the cathedral can be found in the traceries of the windows above the steps, dating from around 1290.
The cathedral was built between 1175 & 1490. The stairs were built between 1265 & 1280. Chapter House was built between 1290 & circa 1307.
The Cathedral Church of Saint Andrew, dedicated to St Andrew the Apostle,
Visiting Wells on an overcast rainy day meant that very few of my photos were a success. Previous visits had been in the summer when the light was marvellous but impossible to get people free shots. I'd rather poor light & no people.
Bessa + Leica + Kodak TRI-X film lith-printed in the darkroom onto EMAKS using Moersch Easylith, which I love.
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 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.
The chapter house is notable for its octagonal shape, slender central pillar and decorative medieval frieze. It was redecorated in 1855-9 by William Burges. The frieze circles the interior above the stalls and depicts scenes and stories from the books of Genesis and Exodus, including Adam and Eve, Noah, the Tower of Babel, and Abraham, Isaac and Jacob. (Wikipedia)
Nikon 1 V2
When part of a monastery, the chapter house is generally located on the eastern wing of the cloister, which is next to the church. Since many cathedrals in England were originally monastic foundations, this is a common arrangement there also. Elsewhere it may be a separate building. The chapter house comprises a large space, in order to hold all the monks of the monastery, and is often highly ornamented. Typically there is seating around, often built into, all the walls of the room, often in stone, with the central space left open. The seats for the senior members are often larger than the others, and may be raised on a dais. Usually there is only one doorway, and though the room is well-lit where the location allows, the windows are often too high to allow a view in from outside (or eavesdropping). Many larger chapter houses are designed with vestibules for attendants and those waiting to be called, where opening onto a cloister does not provide such a space. There is often a fireplace, and altars are found in some examples, sometimes added later.
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.
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.
Originally a monastery under the Cluniac order, Monk Bretton Priory is located in the village of Lundwood, near Barnsley, South Yorkshire. It was founded in 1154 as the Priory of St. Mary Magdelene of Lund, by Adam Fitswane, sited on the Lund, from Old Norse. In the course of time, the priory took the name of the nearby village of Bretton, to be commonly known as Monk Bretton Priory.
Little remains of the church, although there are several particularly fine examples of medieval grave slabs. The cloister buildings are better preserved. They include the high south wall of the monks’ refectory, with its two great windows; parts of the chapterhouse; and the west range which is almost complete.
North-east of the church a large building of the late 13th century stands alone. It retains its medieval double-ridged roof, and, inside, tall octagonal pillars support the upper storey. The building was probably the courthouse and administrative building for the management of the priory estates.
The imposing priory gatehouse, which was built in the early 15th century, is still almost intact, although roofless.
While staying with my sis I went to York and visited the Minster. This is the ceiling of one of the smaller chapels and I had to think of Sir Cam who likes these kind of stars ;o)
Looking from the top tower of Lincoln Cathedral towards Lincoln Castle and the west end of Lincoln. 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).
The Cathedral and Metropolitical Church of Saint Peter (York Minster), begun 1220, consecrated 1472; Chapter House completed by 1296; Great West Window, 1338–39; Great East Window, 1405–1408
Another interior shot of the Seville cathedral, showing the domed ceiling of the chapterhouse. Gorgeous spot!
La de Santes Creus respon al esquema arquetípic de les sales capitulars de l'Ordre del Císter: està situada al mateix centre de l'ala est del claustre, per tant, la llum del matí entrava i la il·luminava per les tres grans finestres obertes al mur.
Com que era una de les estàncies principals del cenobi, la Sala Capitular era una de les peces que primer és construia, per això les finestres són d'estil romànic, però la volta ja és plenament gòtica.
Sala Capitular del Reial Monestir de Santes Creus, 1178. Aiguamúrcia (Tarragona)
Chapter house of Santes Creus, 1178
From the Minster website:
"The Chapter House is one of York Minster’s architectural gems and its vaulted roof is the earliest example of its kind to use a revolutionary engineering technique.
The octagonal space was built between over around 20 years from the 1260s to 1280s and its magnificent, vaulted ceiling is supported by timbers in the roof, instead of by a central column, which was a revolutionary approach at the time.
In 1297 the Chapter House was used as the location for the Parliament of King Edward I and the space is still used today for the College of Canons meetings and for part of the installation of new Canons. The 44 seats which run around its walls are arranged in groups of six, so each canon has an equal voice during the meetings.
The Chapter House’s walls contain some of the Minster's finest carvings, most dating from 1270 to 1280s. They include characters you might not expect to see within a building of this importance, from a lowly mouse, cats and dogs to a jester, and several characters pulling funny faces."
yorkminster.org/visit-york-minster/minster-treasures/chap...
Seville Cathedral is built on the site of the former Almohad Mosque. After its completion in the early 16th century, Seville Cathedral supplanted Hagia Sophia as the largest cathedral in the world, a title the Byzantine church had held for a thousand years.
The cathedral was built to demonstrate the city's wealth, as it had become a major trading center in the years after the Reconquista in 1248. In July 1401, city leaders decided to build a new cathedral to replace the grand mosque that served as the cathedral until then.
Construction of the eliptical domed Renaissance chapterhouse began in 1558, and was completed in the 1590s.
Construite au XIIIe siècle, cette salle qui servait aux réunions de l'abbé et de ses moines garde des traces de polychromie du XVe siècle.
Silvacane Abbey, founded in 1144 as a "filia" of Morimond Abbey (Haute Marne) is one of the three Cistercian abbeys in Provence known as the "three sisters of Provence" ("les trois soeurs provençales"). The sisters are Sénanque, Le Thoronet and Silvacane. The abbey was founded on swampy grounds near to the Durance (cane=reed). With the support of the regional nobility the abbey prospered. The wealth of the Cistercians provoked the envy of the Benedictines of Montmajour Abbey, who attacked Silvacane in 1289 and took the Cistercians hostage for a while. The abbey got looted by mercenaries in 1358 and in 1443 the monks had to abandon Silvacane. The buildings became the property of the chapter of Aix Cathedral. The church was turned into the parish church of La Roque-d’Anthéron.
Over the next centuries, the buildings fell into disrepair, as they were used as a quarry. Finally the premises were auctioned off during the French Revolution and were used as a farm. In 1846 the church was bought by the French government and declared an historical monument. The other buildings were still used as a farm until 1949. Meanwhile the complex is well restored and shows the sober Cistercian architecture of the 12th century.
The chapterhouse, where the monks met every early morning to listen to one of the 73 chapters of the Cisternian order, was built in the 13th century.
Dante Alighieri next to Virgil (with stole and mink cap)
parete della Chiesa militante e trionfante - Andrea Bonaiuto (Andrea da Firenze) (1365-1367) - Santa Maria Novella Florence
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.
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York Minster, York, England
I took my car to Knaresborough yesterday to have a few bits done to it and so had a few hours to kill so got the train back to York and thought I would have a visit to York Minster.
I have never actually visited York Minster before, I also even opted to go up the tower, a whole 270+ steps, phew!! I really enjoyed looking around the Minster but found it difficult from a photographic point of view, maybe I was having an off day? However this is one of the photos that I did get. This is from a bit just off of the main part of the Minster called Chapter House. Its an Octagonal shaped room and is awesome, spend about 30 minutes in here just looking at the detailing and taking images. Shame I couldn't use a tripod but I think I got most of lined up.
Photo Details
Sony Alpha SLT-A99 / ISO1000 / f/4 / 1/15s / Sony Carl Zeiss 16-35mm F2.8 ZA SSM @ 17mm
Software Used
Lightroom 5
Colour Efex Pro 2
Sharpener Pro 3
Location Information
York Minster is a cathedral in York, England, and is one of the largest of its kind in Northern Europe. The minster is the seat of the Archbishop of York, the second-highest office of the Church of England, and is the cathedral for the Diocese of York. It is run by a dean and chapter, under the Dean of York. The formal title of York Minster is "The Cathedral and Metropolitical Church of St Peter in York". The title "minster" is attributed to churches established in the Anglo-Saxon period as missionary teaching churches, and serves now as an honorific title. Services in the minster are sometimes regarded as on the High Church or Anglo-Catholic end of the Anglican continuum.
The minster has a very wide Decorated Gothic nave and chapter house, a Perpendicular Gothic Quire and east end and Early English north and south transepts. The nave contains the West Window, constructed in 1338, and over the Lady Chapel in the east end is the Great East Window, (finished in 1408), the largest expanse of medieval stained glass in the world. In the north transept is the Five Sisters Window, each lancet being over 52 feet (16 m) high.[citation needed] The south transept contains a famous rose window, while the West Window contains a famous heart-shaped design, colloquially known as 'The Heart of Yorkshire'.
The Cathedral and Metropolitical Church of Saint Peter (York Minster), begun 1220, consecrated 1472; Chapter House completed by 1296; Great West Window, 1338–39; Great East Window, 1405–1408
Originally a monastery under the Cluniac order, Monk Bretton Priory is located in the village of Lundwood, near Barnsley, South Yorkshire. It was founded in 1154 as the Priory of St. Mary Magdelene of Lund, by Adam Fitswane, sited on the Lund, from Old Norse. In the course of time, the priory took the name of the nearby village of Bretton, to be commonly known as Monk Bretton Priory.
Little remains of the church, although there are several particularly fine examples of medieval grave slabs. The cloister buildings are better preserved. They include the high south wall of the monks’ refectory, with its two great windows; parts of the chapterhouse; and the west range which is almost complete.
North-east of the church a large building of the late 13th century stands alone. It retains its medieval double-ridged roof, and, inside, tall octagonal pillars support the upper storey. The building was probably the courthouse and administrative building for the management of the priory estates.
Ship of the Apostle Peter - ceiling of the 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.