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St Lawrence's church at West Wycombe is one of the most unique churches one could encounter, and being perched dramatically on the hilltop together with the enormous shell of the Dashwood Mausoleum one of the most unforgettable.
The Dashwood family, particularly the notorious Sir Francis, have made this place the stuff of legend; in the hill below the church are the Hellfire Caves, setting for all sorts depraved antics of the notorious Hellfire Club, who are reputed to have also met in the great gilded ball atop the church tower (largely wood and canvas and capable of seating up to 12 people), another unique feature of the church.
The church itself is still partially the medieval building, but has been given such a thorough Georgian makeover that one could be forgiven for not noticing. The redesign of the church dates from 1761 and was initiated by Sir Francis Dashwood himself. The architect is unknown, but believed probably to be Nicholas Revett who had worked at the nearby Hall. The old west tower was given a new upper storey with arched openings and crowned by the afforementioned gold ball. The chancel was remodelled but and given square-headed windows and a flat plaster ceiling, but otherwise retains it's old dimensions. The nave was the real tour de force, being mostly rebuilt and transformed into a sort of huge ballroom from an enormous stately home, it's interior is Georgian architecture at it's best, richly detailed and clearly designed to impress!
The classical portrait of Lord Toppenbottom, modeled by Chris B.
I'll be doing a blog entry about the genesis of this character and how we finally got him into the studio after a year of planning.
To check that out, check out www.greginda.com/blog
Chrome line guides & silk thread wraps with a deep, rich varnish are all features of the Classical Series rods.
Taken in the kitchen at the club meeting last night. She is very camera shy and was trying to hide behind the cup of Milo.
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November 15, the U.S. Mission organized a classical musical concert by Medical Musical Group at the United Nations Palais des Nations in Geneva Switzerland. Medical Musical Group (MMG) is a chorale and orchestra group comprised of medical professionals, who have performed in London, Berlin and Paris in recent years as part of their “Healing for the Nations” concert series. The theme of the concert was “Tous Pour Un, Un Pour Tous.” MMG collaborated with local choirs and orchestras for the event, which was also sponsored by the Swiss Mission. The concert program emceed by Jim Bitterman, CNN, and Victoria Morgan, France 24, included classical pieces such as Beethoven’s Choral Fantasy in addition to American classics like John Philip Sousa’s Stars and Stripes, and featured appearances by soloists including Michele Tiziano and Elisa Belmonte.
U.S. Mission Photo by Eric Bridiers
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
A couple of photos from London again today, taking during the Open House event weekend.
We spotted this classic car on the way back from the Allen & Overy building. Luckily it was parked on the side of a relatively quiet street - which in reality wasn't a hill climb like it looks in this photo. Post-processed for some rich, deep vintage tones.
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Exalt your photography with Golden Ratio Compositions!
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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
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Ralph Waldo Emerson. “The happiest man is he who learns from nature the lesson of worship”
The Avison Ensemble rehearsing at St Silas the Martyr for their concert to open the 2012 Gregynog Festival. The Ensemble performed a programme that included Vivaldi's Four Seasons. The 2012 Festival theme 'Venezia' explored six centuries of music-making associated with Venice and the Ensemble continued the Grand Tour of North Italy with concerti by Tomaso Albinoni (who was born, worked and died in Venice) and Pietro Locatelli (who was born in Bergamo, Lombardy). And not to ignore Southern Italy the Ensemble performed one of Charles Avison's facsinating Concerti after the keyboard sonatas by the Neapolitan Domenico Scarlatti.
The continuo performers were Pavlo Beznosiuk (baroque Violin), Paula Chateauneuf (archlute), Roger Hamilton (harpsichord) and Richard Tunnicliffe (violoncello).
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.
Photos by Natasha Marco
"Classical Jam" artist residency presented by The Forum for their 2012-2013 Season in St. Thomas, US Virgin Islands
"Classical Jam" is a unique ensemble innovative for bringing together performances of the highest caliber in combination with engaging presentations.
MEMBERS:
Cyrus Beroukhim, violin/viola
Wendy Law, cello
Marco Granados, flute
Justin Hines, percussion
Guest Artist: Kyle Ambrust
"Classical Jam" perform regularly with “Musicians from Marlboro”, Chamber Music Society of Lincoln Center, and Fireworks. Individually, they have soloed with the Boston Symphony Orchestra, the New York Philharmonic, the Singapore Symphony, the Juilliard Orchestra, the Oregon Symphony, and the Virginia Symphony, among others. They have performed in venues throughout Europe, Asia, the Americas, and the Middle East. Along with their dedication to highly coveted individual musical careers, members of Classical Jam are teaching artists at such leading organizations as the Lincoln Center Institute, the New York Philharmonic, the 92nd St. Y, and Young Audiences.
"Classical Jam" members have won awards such as the Pablo Casals award for Educational Outreach, Grand Prize at the Fischoff Chamber Music Competition, the McGraw-Hill Company’s Robert Sherman Award for Music Education and Community Outreach, as well as recognition from the National Society of Arts and Letters. CJ was recently selected by Concert Artists Guild to receive the Cary Trust Fund for Contemporary Music Projects, in commissioning composer Randall Woolf for a new work for the ensemble. "Classical Jam" musicians are graduates of the Juilliard School, the Oberlin Conservatory of Music, the New England Conservatory, and Indiana University.
"Classical Jam" was created because they saw the need to reach out to diverse audience in terms of age, cultural and social backgrounds. They are interested in developing a deeper and more personal relationship between seasoned concertgoers and classical music. They are also interested in promoting Classical Music to people who feel that they cannot relate to it, or for one reason or another, are not exposed to it.
They truly believe that Classical Music is something that anyone can relate to, and enjoy. They believe that the success of "Classical Jam" is that they are able to engage any audience, and also be able to connect at a very personal level. They do so by adding some fun to our concerts while retaining the integrity of their art. On an even more personal level, sharing the process of discovery with listeners is an incredibly moving experience for everyone.
Their diverse backgrounds reflect the very audience that they are trying to reach. The chemistry of the group produces a result appealing to music connoisseur and new audiences alike. They really enjoy performing together, and the listeners can hear that love, dedication...creativity really is the language that we are all speaking. "Classical Jam" connects, inspires, and uplifts.
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28 June 2014 - European leaders whose nations were at war 100 years ago, stood in solidarity in Sarajevo tonight, united by a programme of music from the Vienna Philharmonic Orchestra (VPO), distributed across Europe by 29 television and 24 radio public service broadcasters.
Picture credit : EBU \ Almin Zrno
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My Epic Gear Guide for Epic Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
Epic books, prints, & more!
The Tao of Epic Landscape Photography:
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's . . . !
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
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Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic...
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Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.