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1960s text. Original edition 1955. As an introductory book, this is heavy going but it has a splendid treatment of the covariant formulation of electricity and magnetism, relating these to relativity and showing that relativistically speaking, the scalar and vector potentials are "different aspects of the same thing" as are the electric and magnetic fields. Page 325.
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
In performance during the Avison Ensemble Roman Jewels II concert at King's Hall, Newcastle University, 23rd July 2011.
As part of their July 2011 Corelli season the Avison Ensemble performed concerts of Concerti Grossi by Corelli. The concerts also included works for cello by Gabrielli, works for archlute by Romano and works for harpsichord by Pasquini and Stradella. The Corelli Concerti Grossi concerts were presented in St James's Church, Piccadilly, in London (21st July 2011) and in the King's Hall, Newcastle (23rd July 2011).
The Avison Ensemble is the outstanding period instrument orchestra based in Newcastle upon Tyne, which plays and popularises the music of Charles Avison (1709-1770) and other English classical composers of the Baroque period, such as Garth, Arne and Herschel. The Ensemble also performs Purcell, Handel, Vivaldi, Corelli, Geminiani, Pergolesi, Teleman, Rameau, Bach, Mozart, Haydn and Beethoven.
Fake flowers from around the house. Taken with Panasonic GF1 and Konica Hexanon 50mm f/1.7. Aperture f/4. ISO 100.
Classical Concerts Vienna – Wolfgang Amadeus Mozart and Johann Strauss which was seen in the Schoenbrunn Palace in Vienna Austria
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
Was lucky enough to have beautiful natural light during yesterdays visit to the little known Museum of Classical Archaelogy in Cambridge
Originally built in 514 BCE, Suzhou has over 2,500 years of rich history, and relics of the past are abundant to this day. The city's canals, stone bridges, pagodas, and meticulously designed gardens have contributed to its status as one of the top tourist attractions in China. Since the Song Dynasty (960-1279), it has also been an important centre for China's silk industry.
The classical gardens in Suzhou were added to the list of the UNESCO World Heritage Sites in 1997 and 2000. Suzhou is often dubbed the "Venice of the East" or "Venice of China".
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
Was lucky enough to have beautiful natural light during yesterdays visit to the little known Museum of Classical Archaelogy in Cambridge
The Greco-Roman city of Jerash (ancient Gerasa) is one of the most important and best preserved Classical sites in the Near East. The city's major buildings and monuments are in good condition and the huge extent of the site is impressive. Restoration and reconstruction of important elements has continued throughout the 20th century and today the ancient ruined city sits immediately alongside the thriving modern town of Jerash.
The sprawling site is dominated by it's more significant remains, which include the seemingly numerous columns of the main colonnaded street and oval forum, along with two fine amphitheatres, several temples and imposing triumphal arches.
For more information see below:-
dame kiri te kanawa and julian reynolds at dr anton philipszaal, the hague - festival classique 15 06 2008
The Rijksmuseum
The Rijksmuseum (English: State Museum) is a Netherlands national museum dedicated to arts and history in Amsterdam. The museum is located at the Museum Square in the borough Amsterdam South, close to the Van Gogh Museum, the Stedelijk Museum Amsterdam, and the Concertgebouw.
The Rijksmuseum was founded in The Hague in 1800 and moved to Amsterdam in 1808, where it was first located in the Royal Palace and later in the Trippenhuis. The current main building was designed by Pierre Cuypers and first opened its doors in 1885. On 13 April 2013, after a ten-year renovation which cost € 375 million, the main building was reopened by Queen Beatrix. In 2013 and 2014, it was the most visited museum in the Netherlands with record numbers of 2.2 million and 2.45 million visitors.
The museum has on display 8,000 objects of art and history, from their total collection of 1 million objects from the years 1200–2000, among which are some masterpieces by Rembrandt, Frans Hals, and Johannes Vermeer.
Kedleston Hall is a neo-classical manor house owned by the National Trust, and seat of the Curzon family, located in Kedleston, Derbyshire, approximately 4 miles (6 km) north-west of Derby. The medieval village of Kedleston was moved in 1759 by Nathaniel Curzon to make way for the manor.[2] All that remains of the original village is the 12th century All Saints Church, Kedleston.[3]
Background
The current house was commissioned in 1759 by Nathaniel Curzon and designed by Robert Adam.[4]
The Curzon family, whose name originates in Notre-Dame-de-Courson in Normandy, have been in Kedleston since at least 1297, and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo.
At the time a relatively unknown architect, Robert Adam, was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with his designs that Adam was quickly put in charge of the construction of the new mansion.
On the death of Richard Curzon, 2nd Viscount Scarsdale in 1977, expenses compelled the heir, his cousin (Francis Curzon), to transfer the property to the care of the National Trust.[5]
Exterior
Kedleston Hall was Brettingham's opportunity to prove himself capable of designing a house to rival Holkham Hall. The opportunity was taken from him by Robert Adam who completed the North front (above) much as Brettingham designed it, but with a more dramatic portico.
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The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, corps de logis, the largest block, contains the state rooms and was intended only for formal entertaining. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation.
Plans for two more pavilions (as the two smaller blocks are known), of identical size and similar appearance, were never executed. These further wings were intended to contain, in the south-east a music room, and in the southwest a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.
The north front, approximately 117 yards [107 m] in length, is Palladian in character, dominated by a massive, six-columned Corinthian portico; however, the south front (illustrated right) is pure neoclassical Robert Adam. This garden facade is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief.
The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.
Hall
Marble Hall 1763, decoration completed in 1776-7
Entering the house through the great north portico on the piano nobile, one is confronted by the marble hall. Nikolaus Pevsner describes this as one of the most magnificent apartments of the 18th century in England.[6] It measures 67 feet (20 m) by 37 feet (11 m) in plan and is 40 feet (12 m) high.
Twenty fluted pink Nottingham alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. Niches in the walls contain casts of classical statuary by Matthew Brettingham the Younger and others;[6] above the niches are grisaille panels of Homeric subjects inspired by Palladio's illustration of the Temple of Mars. The stucco in the ceiling was created by Joseph Rose in the 1770s.[6]
The floor is of inlaid Italian marble. Matthew Paine's original designs for this room intended for it to be lit by conventional windows at the northern end, but Adam, warming to the Roman theme, did away with the distracting windows and lit the whole from the roof through innovative glass skylight.
The overmantels to the fireplaces are by Joseph Rose with firebaskets by Robert Adam.[6]
At Kedleston, the hall symbolises the atrium of the Roman villa and the adjoining saloon the vestibulum.
Saloon
The saloon
The saloon, contained behind the triumphal arch of the south front, like the marble hall rises the full height of the house, 62 feet (19 m) to the top of the dome, where it too is sky-lit through a glass oculus. Designed as a sculpture gallery, this circular room 42 feet (13 m) in width was completed in 1763.
The decorative theme is based on the temples of the Roman Forum with more modern inventions: in the four massive, apse-like recesses are stoves disguised as pedestals for classical urns.[1] The paintings of ruins are by Gavin Hamilton and the grisaille panels have scenes of British worthies painted by John Biagio Rebecca.[6]
The four sets of double doors giving entry to the room have heavy pediments supported by scagliola columns, and at second-floor height, grisaille panels depict classical themes.
From the saloon, the atmosphere of the 18th-century Grand Tour is continued throughout the remainder of the principal reception rooms of the piano nobile, though on a slightly more modest scale.
State bedroom
The "principal apartment", or State bedroom suite, contains fine furniture and paintings.
The state bed was constructed by James Gravenor of Derby.[7] The state bed posts are carved to represent palm tree trunks which soar up and break into flamboyant foliage at the top, sweeping in palm-fronds behind.[8]
Drawing room
Settee by John Linnell in the Drawing Room dated from around 1765.
The drawing room with huge alabaster Venetian window is 44 feet (13 m) by 28 feet (8.5 m) by 28 feet (8.5 m). The doorcase is also alabaster. The fireplace with a scene of virtue rewarded by honour and riches is flanked by large female figures sculpted by Michael Henry Spang.[6] The gilt sofas by John Linnell date from around 1765.[9] They were commissioned by the 1st Baron Scarsdale and supplied, together with a second pair of sofas to Kedleston in 1765.
Dining room
The dining room
The dining room, with its gigantic apse, has a ceiling that Adam based on the Domus Augustana in the Farnese Gardens. The apse contains curved tables designed by Adam in 1762[6] and a giant wine cooler. The ceiling contains panel paintings of the continents by Antonio Zucchi, the seasons by Gavin Hamilton and the centre is by George Morland. The original wall panels are by Francesco Zuccarelli, Frans Snyders, Claude and Giovanni Francesco Romanelli.
Music Room
The Music Room has Ionic doorcases and delicate plaster ceiling designed by Adam. The marble chimneypiece is inlaid with Blue John. The pipe organ was second hand by John Snetzler with the case designed by Robert Adam and built by Robert Gravenor.[10] A second manual with Hautboy was added in 1824 by Alexander Buckingham.[11] The organ was restored in 1993 by Dominic Gwynn.
Library
The Library
The library contains a Roman doric doorcase leading to the Saloon. The bookcases were designed by Robert Adam[6] and built by James Gravenor of Derby.[12] The plaster ceiling is divided into octagonal patterns. The library desk was built in 1764 by James Gravenor. Wikipedia
Model is Heaphy AKA Mr Jonathon Nightshade ( a fellow member of my troupe). Vampire themed, fangs weren't visible in the photos unfortunately... though I didn't want to make the series too obvious.
Eindpresentaties van de dansschool van het KunstenHuis.
www.colinvdbel.com/eindpresentaties-dansschool/
© 2013 Colin van der Bel
Dallmeyer Super-Six 3" F1.9 + Schneider 100mm F2.0 + Nikon 80-200mm F2.8 + Canon 35mm F1.4L + Sony E 16mm F2.8 + Canon 5D + Sony NEX-3
A guy plays classical guitar in Post Office Square (also called Leventhal Park) in Boston's Financial District.
Taken and originally posted in 2005.
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