View allAll Photos Tagged classical
Built in 1922 in the Classical Revival style, the old Covington Train Station replaced an earlier wood-frame structure located in the vicinity of the intersection of 8th Street and Russell Street, approximately one block to the north.
The building features a red tile roof, large glass and metal canopy over the front door, four ionic-style white terra cotta pilasters, and white terra-cotta trim. In front of the building, the brick-paved Harvey Court, once used to load and unload passengers, has been remarkably well-preserved, though it has since been cut off from its original connection to the intersection at nearby Pike Street.
Inside, the building features a large passenger waiting hall in the center with three tall arched bays on either side, allowing in ample natural light, and two wings to the north and south of this space, which housed offices and a waiting room for people of color.
To the rear, the building is adjacent to the concrete railroad viaduct built between 1927 and 1929, which features a passenger concourse under the tracks, which is presently in a state of partial dilapidation after a long period of disuse and lack of proper maintenance.
The building served as the local passenger train depot until the late 1960s, upon which passenger service ceased in Covington due to declining ridership. The building sat abandoned until the 1980s, by which point it was in an advanced state of deterioration. The building was saved from demolition, and adaptively reused as a multi-tenant office building known as Covington Station.
The building was once neighbored by several other structures to the south along Russell Street and Harvey Court, including the four-story Greek Revival-style Elliston House Hotel, and several Italianate and Greek Revival-style brick townhouses, which were abandoned and demolished in the 1980s, during the zenith of the city's decline.
TONZIG, Sergio. L'accrescimento della cellula vegetale dal punto di vista chimico-biologico. Milano 1940 (Estratto dalla Rivista La Chimica e l'Industria, Anno XXII). In 4°, br. edit., pp.7-(1).
Beautiful that this 17-18thC watercolour was done in 1940.
And is of a very uninteresting mushroom indeed.
And more thanks to those Flickrers whose textures I have downloaded, but whom I can no longer trace
The Avison Ensemble rehearsing and performing their 'Our Lady of Sorrows' concert at St. James's Church, Piccadilly, London. The Ensemble was joined by soprano Julia Gooding and countertenor Robin Blaze to perform Pergolesi's Stabat Mater and Vivaldi's Stabat Mater amongst other works. This concert was also presented at St. Brandon's Church, Brancepeth and King's Hall, Newcastle.
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.
19th November 2015 at St Pancras Parish Church, London NW1.
St Pancras Parish Church Lunchtime Concert (free event).
Country: Britain. Style: Western Classical - Choral.
Lineup: Peter Hellyer (director), Giles Ridley (organ/p), Christopher Scobie (p), Hanah Clark, Christ Dowle-Yeats, Vincent Daniels, Graham Edwards, Hidemi Hatada, Kristen Johnson, Hans Rashbrook (soloists) and about a dozen singers.
This amateur choir celebrated its 50th anniversary this year.
At this concert they performed Rossini Petite Messe Solennelle (Kyrie, Gloria) and Janaček Otčenáš (Our Father) and some popular songs.
Sunday, November 12 was an amazing day at State Theatre New Jersey for classical music and patronage! The day marked the kickoff to our 2017-2018 Orchestra Series with our Classical Season Celebration, honoring Steve DeMicco and Jeanne Fox. Event guests were treated to a pre-performance champagne reception and post-performance dinner, along with an incredible performance by the Moscow State Symphony Orchestra, with three encores, and the event raised over $65,000!
Photos by Jeff Auger
Stuff around Buffalo, NY for Scott Kelby's World Wide PhotoWalk.
The sign at the Irish Classical Theater, all lit up. It looked pretty cool, especially with the extra added softness of the star filter.
the most relaxing Classical Music To learn how to control Anxiety and Panic Attacks more check this out: bit.ly/ControlAnxiery Relaxing Blogger Blog: ift.tt/2KcVyMR Relaxing WordPress Blog: ift.tt/2YwrxLK Relaxing Twitter: mobile.twitter.com/RelaxingtoSound Relaxing Weebly Blog: ift.tt/2Kb596G listen to classical music classical music radio classical music radio station classical radio station classical music radio station near me mpr classical streaming listen to classical music online minnesota public radio classical old country radio stations mpr classical stream classical radio stations near me classical streaming free streaming classical music classical station mozart radio listen to classical music
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".
The visit to the National Trust property in Derbyshire, Kedleston Hall.
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. All that remains of the original village is the 12th century All Saints Church, Kedleston.
The current house was commissioned in 1759 by Nathaniel Curzon and designed by Robert Adam.
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.
All Saints Church. It is the only survivor of the medieval village which Sir Nathaniel Curzon demolished to provide a site for his new house.
The oldest surviving feature is a Norman south door. The rest dates to the late 13th century.
In 1700 Sir Nathaniel Curzon, 2nd Bt got Smith of Warwick to classicise the east wall facing the house.
Between 1795 and 1916 the rector of Kedleston was a member of the Curzon family.
The church if now in the care of the Churches Conservation Trust.
Grade I listed building
Details
SK 34 SW; 3/40
PARISH OF KEDLESTON, KEDLESTON PARK
Church of All Saints
13.2.67
I
Parish church, now redundant. C12, late C13, C14, early C17, restoration 1885, north aisle, 1907-9 by G F Bodley. Coursed squared sandstone with sandstone dressings. Welsh slate roofs with stone coped gables, stone ridge tiles and parapets. Chamfered plinth and string course. Cruciform plan, of central tower, nave with north aisle, transepts, clerestoried chancel and north vestry.
C12 south doorway has one order of colonnettes, with beakheads biting into them. Round arch with zigzag, enclosing a defaced tympanum with traces of beasts. Plank door. To the right are two 2-light flat-arched windows with cusped ogee lights. The transepts each have a late C13 window of three stepped lancet lights, with stopped hoodmoulds. No openings to west or east. Diagonal buttresses. The south side of the chancel has a trefoiled lancet with hoodmould, a priest's doorway with continuous keeled and filletted mouldings. Door with wrought-iron work dated 1613. To the right, a 2-light, possibly C17, window under a flat arch (it is shown in an engraving of 1792). Cusped lancets with quatrefoils in circles above. The wall was raised in C17 and has two 2-light clerestory windows, each light of almost keyhole shape. East wall has diagonal buttresses and a C19 3-light window with geometrical tracery. C17 parapet with pedimented sundial with cherub head and aprons. End piers with skull and cross-bones motifs and urn finials. The north side of the chancel has a 2-light window and two clerestory windows, as on the south side. C19 flat-roofed vestry with two 2-light cusped lancets under flat arches, to the north. Three bay north aisle chapel. 1907-9 by Bodley. The bays are divided by full height buttresses with two gablets. Each bay has a row of three trefoils below the plinth, as ventilators, and a 3-light window with reticulated tracery. Parapet inscribed Qui Amultum Amavit, in each bay. Similar west bay. The west wall of the nave has diagonal buttresses and a C19 3-light window with reticulated tracery. Gable above, raised in 1885, has a small trefoiled lancet. The central tower has a chamfered string course. Below it, to south-west and to north-east, is a trefoiled lancet. Late C13 2-light bell openings with Y-tracery, to each face. Battle- mented parapet and four crocketed pinnacles. C13 steep pitch roof lines visible to south, north and east.
INTERIOR: Massive triple-chamfered crossing arches with moulded capitals. Three-bay north arcade with quatrefoil piers with fillets and filleted keels in the hollows. Moulded capitals with fleurons. Arches with wave and hollow mouldings, with fleurons in the hollow. Moulded hoodmould. Piscinae, one with a single-chamfered arch in the south transept, with a moulded arch in the north transept, and one with a sub-cusped moulded arch in the chancel. Aumbry recess in the chancel. Wooden rib vault with tiercerons, under the tower. Plaster groin vaults in the transepts. Late C19 organ case in the north transept. C19 open- work wooden pulpit. Brass eagle lectern of 1886. Early C18 stone font with a circular bowl on a polygonal shaft which divides into four scrolly feet. Painted wood cover. C18 panelled dado in nave and east wall of chancel. C18 box pews in the chancel and early C18 communion rails. North arcade has elaborate iron gates and screen by P Krall. Wrought-iron corona lucis and light fittings. Stained glass; heraldic glass in the chancel. C17 continental figure screens in the south windows. Early C20 glass by F C Eden. Five hatchments.
Monuments: In the chancel. Effigy of Sir John Curzon, died 1406, reset in tomb recess with depressed crocketed and pinnacled ogee arch, with shields above. The jamb of an earlier arch to the left. Richard De Curzon, died 1275, and wife, head of each set in a quatrefoil and sunk into the floor. Presumably part of the grave slabs. Richard Curzon died 1496, and wife, brass with figures. William Curzon, died 1547, incised slab set in the floor. Sir Nathaniel Curzon and wife, identical classical tablets of 1912. Alfred Curzon, died 1916, an early C17 style tablet. Blanche Baroness Scarsdale, died 1875, tablet with portrait in high relief. In the south transept. Tomb chest to Sir John Curzon and wife, c1450. Effigies and along the front of the chest figures of angels and saints. C13 coffin lid with foliated cross, possibly to Thomas De Curzon, died 1245. Incised lead plaque to William Curzon, died 1749. Sir John Curzon, died 1727, obelisk with portrait medallion surrounded by a wreath of cherubs' heads. Standing putti on either side. John Curzon, died 1719, tablet treated as a swag. Sir John Curzon and wife, 1664, two niched panels with columns on either side, and frontal demi-figures with an angel in whole figure. In the predella seven frontal busts of children between draperies. Several early C19 tablets. In the north transept. Sir Nathaniel Curzon, 1765 by Rysbrack to Robert Adam's design. Rusticated pyramid, and upright figures of husband, wife and two sons. Sir Nathaniel Curzon and wife, 1737 by Peter Scheemakers, a standing wall monument with obelisk and husband and wife in Roman attire seated with an urn between. In the north aisle chapel a large free-standing white marble tomb chest with effigies, 1913, by Sir B MacKennel.
Listing NGR: SK3121940307
This List entry has been amended to add the source for War Memorials Register. This source was not used in the compilation of this List entry but is added here as a guide for further reading, 25 January 2017.
Stained glass window
Classical sculpture for sale in the amusement arcade opposite Sidney Sussex College, Cambridge. Bit pricey.
More shameless Gimpery!
Natyanjali Dance festival Mumbai, is a Classical Dance festival held every year on the occasion of Mahashivaratri. Students, teachers and artists from all across the city perform in front of the Nataraja. The Subramanaya temple in Chembur, Mumbai makes a beautiful setting for the week long celebration.
I was fortunate to attend the kite festival being held at the Portland Classical Chinese Gardens this past month. The festival is running through the entire month of April. This kite really took my eye with its symmetry, colors, and realism.
Festivals Masterclass students concert
Photo: Kārlis Miksons, Official photographer of VI International Salacgriva Classical Music Festival
downtown Vancouver, Royal Canadian Mint building. Intersection of Granville Street and Pender Street. :)
Check out my set "Most Interesting 500" here!
Visit my Waldorfschool/Steinerschool related pinboards here!
This is the most vague and I'm not sure if it's supposed to be Greek or Roman solders depicted in this section, ether way they don't really look like either.