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Sarkhej or Sarkhej Rauza is an architectural complex located 8 km south from Ahmedabad. Mainly erected under Mahmud Begada's reign (1442- 1451), it has been built on the location where the holy man and religious muslim leader Ahmed Khattu Ganj Baksh (or Shaikh Ahmad Khattri)lived and died (in 1446). He was the spiritual guide of the sultan Ahmed Shah,founder of the Ahmedabad city. He is said to have been one of the fourth Ahmed who founded the city of Ahmedabad. His Rauza or Maqbara is one of the biggest mausoleum of India, competing with the Taj Mahal. The complex became a retreat place for sultans and later an imperial necropolis.
Organized around a large artificial water reservoir are to be found gardens, a mosque and the holy man's tomb, together with the tombs of Mahmud Begada and his wife Rajabai, as well as palaces, a harem and pavilions. The buildings have an austere beauty, a mixture of hindu and islamic styles. carved columns,domes and niches at Sarkhej Mosque,Ahmedabad,India,Built in 15th or 16th century AD.
Melbourne’s “Argus” newspaper reported on the 19th of July 1881 that a new shire hall had been erected in Alexandra at a cost of about £3,000.00, and was considered to be one of the finest buildings of its class in the colony.
Located on Grant Street at the intersection of Perkins Street, the Alexandra Shire Hall is indeed very grand building, and is part of the north eastern Victorian town’s historical centre. It was designed by the Collins Street architect W. H. Ellerker, and whilst described by the “Argus” as Italianate in style, the hall is actually typical of the mid Victorian eclectic revival and modification of various stands of European Renaissance architecture that culminated in what was called the Academic Classical style. The building is symmetrical with large rounded windows and an arched entrance. The building date of 1881 may be found carved into the bluestone threshold of the main doors. The entire Grant Street façade is inspired by Roman architecture, with a pedimented portico derived from classical temple facades. A wonderful piece of Australiana, installed after Federation in 1901, may be found in a central cartouche in the apex of the grand gable; the Victorian coat-of-arms flanked by an emu and kangaroo, with “advance Australia” emblazoned on a ribbon below them.
Built by Thomas Carison, the Alexandra Shire Hall features a banqueting hall that could seat over 1,000 people and the grand room was often used as a ballroom for district gatherings and dances. It was the meeting place for the first shire councilors, who convened in the council chambers, and the Shire Hall also housed the office for the first shire secretary and engineer, who had their own offices in the complex.
The building narrowly avoided demolition in 1976 after there was a strong backlash by the citizens of Alexandra, who objected strongly to the proposal. Today the Shire Hall is enjoying a Renaissance as one of the focal points for Alexandra’s artistic scene.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
Kylemore Abbey (Irish: Mainistir na Coille Móire) is a Benedictine nunnery founded in 1920 on the grounds of Kylemore Castle, in Connemara, County Galway, Republic of Ireland. The abbey was founded when Benedictine Nuns fled Belgium in World War I.
Originally called Kylemore Castle, it was built between 1863 and 1868 as a private home for the family of Mitchell Henry, a wealthy politician from Manchester, England. After the death of his wife Margaret in 1875, Mitchell did not spend much time there. He and his wife are both buried in the small mausoleum near the church in the grounds of the abbey. Notable features of the abbey are the neo-Gothic church (built between 1877 and 1881), a miniature replica of Norwich Cathedral, made from local green Connemara marble, and the Victorian walled garden.
The abbey houses a secondary girls' boarding school, Kylemore Abbey International Girls' School. The house and gardens are open to the public.
During our visit this year we were told that the school is closing in 2010. At present there are only two classes of students left in the school.
Sarkhej or Sarkhej Rauza is an architectural complex located 8 km south from Ahmedabad. Mainly erected under Mahmud Begada's reign (1442- 1451), it has been built on the location where the holy man and religious muslim leader Ahmed Khattu Ganj Baksh (or Shaikh Ahmad Khattri)lived and died (in 1446). He was the spiritual guide of the sultan Ahmed Shah,founder of the Ahmedabad city. He is said to have been one of the fourth Ahmed who founded the city of Ahmedabad. His Rauza or Maqbara is one of the biggest mausoleum of India, competing with the Taj Mahal. The complex became a retreat place for sultans and later an imperial necropolis.
Organized around a large artificial water reservoir are to be found gardens, a mosque and the holy man's tomb, together with the tombs of Mahmud Begada and his wife Rajabai, as well as palaces, a harem and pavilions. The buildings have an austere beauty, a mixture of hindu and islamic styles. carved columns,domes and niches at Sarkhej Mosque,Ahmedabad,India,Built in 15th or 16th century AD.
After passing the Fortezza Medicea in Siena, before heading into the City Centre for our guided tour, we stopped off for this view of the skyline of the City!
From near Viale XXV Aprile.
Vista Panoramica de Siena
Duomo di Siena (Siena Cathedral)
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
After leaving Piazza Jacopo della Quercia (and Piazza del Duomo) it was time to leave Siena Cathedral behind and head down to the Piazza del Campo where our guided tour would end.
Outside of the Cathedral is Via di Monna Agnese.
Steps to the left goes down to the Baptistery of St John.
unfinished walls of Siena Cathedral
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
On the right of the Cathedral, the large space where the great fourteenth-century cathedral should have stood, is today the so-called "New Cathedral", in front of a space in which the first aisle (now home to the Museo dell'Opera del Duomo ) is built. the so-called facetone. This area is called today Piazza Jacopo della Quercia.
Via Palazzo Reale overlooks the work of Bernardo Buontalenti of the late sixteenth century, born to house the Medici governor of the city. Today it houses the Prefecture and the Provincial Administration.
Situated at 3 Dawson Street, the former Ballarat Baptist Church was designed by architect J. A. Doane for Jacobs, Lewis and Vine Architects. Building commenced in 1866 and was completed in externally between 1875 and 1876.
The Baptist Church is located in a church precinct dating from the 1860s, close to the intersection of Sturt and Dawson Streets, which is dominated by St Patrick’s Cathedral and Hall as well as St Andrew’s Kirk on the other side of Sturt Street and the former Congregational Church in Dawson Street. The church was renovated in 1891, 1910 and again in 1933. In 1958 further internal changes were made. A new pulpit and panelling in front of the choir stalls were dedicated in September 1959.
The former Baptist Church has a stuccoed main facade features a double storey pedimented prostyle portico on fluted Corinthian columns. The main wall is faced with giant Corinthian pilasters supporting the parapet and continuous entablature and is infilled with ashlar masonry and blind pedimented openings. The bluestone side walls have not been rendered.
The former Baptist Church, Ballarat is architecturally significant as one of J. A. Doane’s most important works and is of note particularly for the fine detailing of the pedimented portico.
The Former Baptist Church, Ballarat is architecturally and historically significant as part of one of the finest religious precincts in Victoria, constructed in the 1860s from the prosperity due to the gold discoveries in the surrounding area.
This bank building built in Colac's premier thoroughfare, Murray Street, used to be the State Savings Bank of Victoria.
The State Savings Bank of Victoria has been built in the Classical Revival style which is derived from Italian palazzo design. The two storey building's ground floor is detailed in smooth rustication with voussoirs. The plain first floor is enlivened by aedicules using prominent pillar detailing and triangular pediments.
The State Savings Bank of Victoria has long since ceased operation, however the building is still used as a bank in Twenty-First Century Colac. Today it serves as the town's branch of the Rabobank.
The State Savings Bank of Victoria was established in 1842 and existed until 1990. A government controlled savings bank had been founded on 1 January 1842 as the Savings Bank of Port Philip. The independent Savings Banks developed over time from this original banking establishment and this development was recognised formerly in 1912. The bank was established as the State Savings Bank of Victoria. In 1980 its name was changed to the State Bank until its eventual sale and subsequent dissolution in 1990 when it was taken over by the Commonwealth Bank.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
Located near the top end of the main shopping strip, the Commercial Banking Company’s former Korumburra bank branch is a tribute to 1930s architectural style and stands out sharply amid its Victorian and Edwardian neighbours with its clean lines and bold brown brick and white painted colour scheme.
Like the Korumburra Masonic Hall around the corner, the Art Deco facade of the former bank branch, is extremely stripped back. The only piece of ornamentation identifying it as a branch of the Commercial Banking Company is the cartouche above the central window of the building, in which appear the letters CBC intertwined in classical script. Whilst the building now houses a firm of barristers and solicitors, when the building was occupied by its original owners there would not have been any more signage to advertise the business inside. There were identically designed and decorated branches in towns across South Gippsland to give uniformity and help with the recognition of the bank’s brand. There is still an existing example in Korumburra’s neighbouring town, Leongatha.
The building is very Inter-War Stripped Classical in style because of the limited decoration, its symmetrical façade, the division of the frontage into vertical bays indicating classical origin, vestigial classical columns and the element of the Art Deco style in its decoration. This Art Deco detailing is perhaps the building’s main attraction as it is very much in the “Egyptomania” or “Tutmania” style that gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. The columns have stylised papyrus capitals and the portico they hold up is decorated in the same patterns which is so evocative of the Jazz Age. A similar design of papyrus flowers top each of the three windows appearing on the bank’s façade. The bank also features Functionalist Moderne metal windows.
The Commercial Banking Company began operations on 1 November 1834 as The Commercial Banking Company of Sydney. In 1848 it was incorporated by an Act of the New South Wales Parliament. 1981 saw the bank amalgamate with the National Bank of Australasia Limited.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
A Palladian, or Serlian, window two stories in height, lights the staircase beyond. A modified Doric order of pilasters from Chadsworth Columns and a custom entablature frame the windows.
Located near the top end of the main shopping strip, the Commercial Banking Company’s former Korumburra bank branch is a tribute to 1930s architectural style and stands out sharply amid its Victorian and Edwardian neighbours with its clean lines and bold brown brick and white painted colour scheme.
Like the Korumburra Masonic Hall around the corner, the Art Deco facade of the former bank branch, is extremely stripped back. The only piece of ornamentation identifying it as a branch of the Commercial Banking Company is the cartouche above the central window of the building, in which appear the letters CBC intertwined in classical script. Whilst the building now houses a firm of barristers and solicitors, when the building was occupied by its original owners there would not have been any more signage to advertise the business inside. There were identically designed and decorated branches in towns across South Gippsland to give uniformity and help with the recognition of the bank’s brand. There is still an existing example in Korumburra’s neighbouring town, Leongatha.
The building is very Inter-War Stripped Classical in style because of the limited decoration, its symmetrical façade, the division of the frontage into vertical bays indicating classical origin, vestigial classical columns and the element of the Art Deco style in its decoration. This Art Deco detailing is perhaps the building’s main attraction as it is very much in the “Egyptomania” or “Tutmania” style that gripped the world after the discovery of Pharaoh Tutankhamen’s tomb in 1922. The columns have stylised papyrus capitals and the portico they hold up is decorated in the same patterns which is so evocative of the Jazz Age. A similar design of papyrus flowers top each of the three windows appearing on the bank’s façade. The bank also features Functionalist Moderne metal windows.
The Commercial Banking Company began operations on 1 November 1834 as The Commercial Banking Company of Sydney. In 1848 it was incorporated by an Act of the New South Wales Parliament. 1981 saw the bank amalgamate with the National Bank of Australasia Limited.
Korumburra is a medium-sized dairy and farming town in country Victoria, located on the South Gippsland Highway, 120 kilometres south-east of Melbourne. Surrounded by rolling green hills, the town has a population of a little over 4,000 people. Korumburra has built itself on coal mining (after the discovery of a coal seam in 1870), local forestry and dairy farming. Whilst the coal seam has been used up, farming in the area still thrives and a great deal of dairy produce is created from the area. The post office in the area opened on the 1st of September in 1884, and moved to the township on the railway survey line on the 1st of November 1889, the existing office being renamed Glentress. The steam railway connecting it with Melbourne arrived in 1891. Whilst the train line has long since operating commercially, it has found a new life as the popular tourist railway the South Gippsland Railway which operates a heritage railway service between the major country centre of Leongatha and the small market town of Nyora.
Standing in the middle of Memorial Square in the heart of Colac, facing Murray Street is the Colac War Memorial.
Built rather like a classical temple of Roman or Grecian origin, the war memorial is built of sandstone and was erected as a tribute to those who both fought and died in the Great War (1914 - 1918), but it has been supplemented with plaques to other conflicts that occurred in later times. The shrine is engraved "1914 The Shire's Tribute 1918" and features places where conflict took place during the Great War; Egypt, Gallipoli, Palestine, Flanders, Pozieres, Polygon Wood, Bullecourt, Paschendale, Viller Brettoneux and Mont St Quinton. The Colac War Memorial was unveiled by Lieutenant-General Sir Harry Chauvel (1865 - 1945) on the 15th November, 1924. The cost of the memorial was ₤3600.00 and it was built by the monument manufacturers Sale and Keape. There are the names of 1665 men who had enlisted during the war. Those who died as a result of the conflict have their names picked out in gold lettering. A pine tree taken as a cutting from the original Lone Pine tree in Galippoli has been planted at the rear of the shrine on a lush piece of lawn.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
Now to Piazza Jacopo della Quercia and a look at the unfinished part of Siena Cathedral. Now just used as a car park! But the walls have survived since the 14th century!
unfinished walls of Siena Cathedral
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
On the right of the Cathedral, the large space where the great fourteenth-century cathedral should have stood, is today the so-called "New Cathedral", in front of a space in which the first aisle (now home to the Museo dell'Opera del Duomo ) is built. the so-called facetone. This area is called today Piazza Jacopo della Quercia.
Via Palazzo Reale overlooks the work of Bernardo Buontalenti of the late sixteenth century, born to house the Medici governor of the city. Today it houses the Prefecture and the Provincial Administration.
The earliest National Bank of Australia in Colac established its premises in the town's main thoroughfare at 28 Murray Street in a two storey brick building erected in 1865 to a design by the architect, Leonard Terry. In 1886 the Leonard Terry bank was demolished to make way for the present two storey stucco and brick building which was completed in August 1887.
Designed by self-trained local Colac architect Alexander Hamilton (1825 - 1901), the current National Bank of Australia building is a good example of transitional boom Classicism architecture. Builders Taylor and Ellis of Ballarat erected the bank at a cost of £3,500.00. The building, which stands detached and complete like the nearby Colac Shire Hall has an iron palisade fence. The design, with rusticated ground floor facade, Corinthian porch, unusual enframed windows and pronounced parapet entablature, is illustrative of trends in bank architecture in the mid 1880s in Victoria and is one of Mr. Hamilton's most significant and scholarly works.
The bank has seen many uses over the years, and was at one stage in its life a gentleman's club for wealthy local landowners to socialise in. Today the National Bank of Australia has moved to more modern premises in Colac, but the building houses professional suites as befits a building which such a fine architectural pedigree.
Alexander Hamilton was born in Moffat, Scotland, but migrated to Australia in 1852. Originally based in Melbourne, he went to the Western District town of Mortlake before moving in 1871 to Colac where he was amongst other professions a millwright, builder and an architect. Alexander Hamilton really concentrated on his profession as an architect when he arrived in Colac and made his name in the area as a number of older homesteads and buildings in the district were built under his instruction and supervision. These include "Illewarra House" which was built for for John Calvert in 1873, "Tarndwarncoort" for Alexander Dennis in 1877 and "Talindert" for James Manifold in 1890. Mr. Hamilton also designed the Presbyterian manse in Colac in 1883 and the Bank of Australasia in Beeac in 1888.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
Heading down Via Diacceto in Siena, towards Siena Cathedral. Having left Piazza Indipendenza. On the guided walking tour of Siena.
In the middle of this road is a viewpoint on a bridge.
Via Fontebranda goes under the bridge.
The Viewpoint from the bridge.
bell tower of Siena Cathedral.
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
Located on Grant Street at the intersection of Perkins Street, the former Alexandra Mechanic’s Institute and Free Library, built in 1883, is a beautiful example of a Victorian Free Classical building, and is part of the north eastern Victorian town’s historical centre. It was originally designed as Alexandra’s Mechanics’ Institute with a billiard room extension added in 1892. The building has been lovingly restored, and features many features typical of Victorian Free Classical architecture. The style was ebullient and self confident as it expressed society’s growing prosperity and self confidence, and is mostly represented in civil, commercial and religious buildings, but spread to a certain degree to domestic structures as well. The parapet concealing the roof, decorative accents along the roofline and windows and doors with accentuated vertical proportions are all typical of the Victorian Free Classical architecture movement.
The Mechanics' Institute Movement began in British urban industrial cities in the early 1800s to enable men of the lower classes to improve themselves. A "mechanic" was a person applying skills and technology. During the Nineteenth Century, most towns in Victoria established a Mechanics' Institute or Athenaeum with a library and meeting hall. Common objects of the Mechanics' Institute Movement was to spread useful knowledge and provide rational (non alcoholic) recreation for the community.
The former Alexandra Mechanic’s Institute and Free Library is still used for its original literary purpose, and a modern extension, subtly attached to the historic building, doubles the library’s available floor space, allowing for a wider array of benefits.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
Located on Grant Street at the intersection of Perkins Street, the former Alexandra Mechanic’s Institute and Free Library, built in 1883, is a beautiful example of a Victorian Free Classical building, and is part of the north eastern Victorian town’s historical centre. It was originally designed as Alexandra’s Mechanics’ Institute with a billiard room extension added in 1892. The building has been lovingly restored, and features many features typical of Victorian Free Classical architecture. The style was ebullient and self confident as it expressed society’s growing prosperity and self confidence, and is mostly represented in civil, commercial and religious buildings, but spread to a certain degree to domestic structures as well. The parapet concealing the roof, decorative accents along the roofline and windows and doors with accentuated vertical proportions are all typical of the Victorian Free Classical architecture movement.
The Mechanics' Institute Movement began in British urban industrial cities in the early 1800s to enable men of the lower classes to improve themselves. A "mechanic" was a person applying skills and technology. During the Nineteenth Century, most towns in Victoria established a Mechanics' Institute or Athenaeum with a library and meeting hall. Common objects of the Mechanics' Institute Movement was to spread useful knowledge and provide rational (non alcoholic) recreation for the community.
The former Alexandra Mechanic’s Institute and Free Library is still used for its original literary purpose, and a modern extension, subtly attached to the historic building, doubles the library’s available floor space, allowing for a wider array of benefits.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
Back in 1988, I attended the World Figure Skating Championships in Budapest, still behind the Iron Curtain at that time, which were absolutely thrilling to attend. For the first time ever in Ice Dancing history, Canada won a Bronze medal, Tracy Wilson and Rob McCall. It was the Battle of the Brians - the competition between USA's Brian Boitano and Canada's Brian Orser. Boitano won the gold and Orser the silver, but it was a nail biting experience. The memories are still so vivid - Katarina Witt, Gordeeva and Grinkov and their Russian powerhouse of Pairs skaters ... Kurt Browning raised the bar with landing the first quad in Oiympic history ... Midori Ito of Japan was the first woman skater to land a triple lutz - so high, even the men skaters were in awe! I could go on and on - it was a wonderful time and this wonderful city was a great host.
So, this trip back to one of my favourite cities was realized again when we took a river cruise from Budapest to Amsterdam.
Budapest is the capital city of Hungary. With green filled parks full of charming pleasures, museums that will inspire, and a pulsating nightlife that is on par with its European counterparts, Budapest is one of Europe's most delightful and enjoyable cities. Thanks to the perfect location, inhabitants' hospitality and memorable monuments is it mentioned as "Little Paris of Central Europe" and "Pearl of Danube".
Although Budapest is administratively divided into 23 numbered districts which are always written in Roman numerals, it can most simply be divided into the two cities of which it is comprised (Buda and Pest) and one historic district:
* Buda - The hilly West side of the Danube (Districts I-III, XI-XII, XXII).
* Castle Hill - District I of Buda, the oldest part of the city containing the eponymous Castle and many of Budapest's best-known attractions (Fishermen’s Bastion, Labyrinth and Mathias Church)
* Pest - The flat East side of the Danube, covering the modern commercial core of the city(Districts IV-IX).
NO INVITES with BIG SPARKLY GRAPHICS. PLEASE, TRY TO RESPECT MY WISHES.
I prefer simple honest comments, rather then a copy & paste of an award code.
Many thanks!
A look around the Piazza del Duomo in Siena, mainly to look at Siena Cathedral (Duomo di Siena) but there was other buildings around the square and some sculptures to admire!
Piazza del Duomo in Siena flanks the cathedral of Santa Maria Assunta with an "L" shape and with an ideal continuation in the missing nave of the "New Cathedral", today Piazza Jacopo della Quercia. In addition to the famous religious building, there is the museum complex of Santa Maria della Scala .
The square is located at the top of the hill of Santa Maria, near the oldest part of the Roman city, the Castelvecchio . The birth of the religious center can be referred, hypothetically and circumstantially, to the seventh century or so (although it can not be excluded that the hill hosted a sort of more ancient acropolis ), when the episcopal see and the cathedral were moved there from a place unspecified of Castelvecchio. The entire apiscopis pit was in fact included in the first circle of the early medieval walls , which passed more or less along the current via del Fosso di Sant'Ansano, that is on the back of the Santa Maria della Scala building .
With the construction of the Duomo , from the eleventh century, the square began to have the current configuration, which became mostly definitive only in the seventeenth century, when the ancient bishop's palace (eleventh century) was demolished, freeing the right flank of the cathedral, while on the northern side was demolished the loggia that connected the old Canonica to the Duomo itself.
The extraordinary façade of the Duomo visually dominates the square, with the light that illuminates it for most of the day without shadows from the surrounding buildings, which are however closely calibrated. It was built in the lower part between 1285 and 1296 by Giovanni Pisano in Gothic style with rayonnant influences, and in the upper part by Camaino di Crescentino and finished in 1317 . The steps that lift the cathedral are concluded in a proportionate platform that is the base of the monument, on which are located marble, in correspondence of the main entrances marble (today copies of the originals) representing the ceremonies of the initiation of Nastagio di Gaspare , datable to 1450 .
At the corners of the staircase two Lupe with the marble twins on columns are respectively works by Giovanni Pisano and Urbano da Cortona , both admitted to the nearby Museo dell'Opera Metropolitana and replaced by copies. The right side of the building, the one that gives onto the square, is simpler, standing out the only Door of Forgiveness adorned with a bas-relief of the Madonna and Child by Donatello (also in copy).
The bell tower , with white and black bands, was built by incorporating part of the ancient tower of the Bisdomini, towards the end of the thirteenth century.
The opposite side of the cathedral façade is occupied by the former hospital of Santa Maria della Scala , which owes its name to the steps of the Cathedral. Founded by the same canons to give hospitality to the pilgrims, assist the poor, the sick and welcome orphan children, it was one of the largest and most important structures of this kind in Tuscany between the Middle Ages and the Renaissance. Its prestige is reflected today in the rich decoration of the complex, which in the meantime became a museum. Inside there are only a small part of the works of art owned by the hospital (many are in the National Gallery ), but sufficient to give an idea of the ancient splendor. It also houses the National Archaeological Museum (in the basement) and the original pieces of the Fonte Gaia , both by Jacopo della Quercia and the nineteenth-century reconstruction by Tito Sarrocchi .
The north side of the square is occupied by the Archbishop's Palace , which today has an eighteenth-century facade, but camouflaged by the use of the Gothic-Sienese style of the fourteenth century. Here, up to the middle of the seventeenth century, the Canons and the rector of the Opera were seated, while the archbishop , as already mentioned, lived in a palace that was leaning against the right side of the cathedral.
The main facade of Siena Cathedral.
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
View of the Cathedral from the Piazza Jacopo della Quercia.
The bell tower seen to the right.
An equestrian statue of Alexander the Great taming his horse Bucephalus at a council building in Edinburgh. I adore greco-roman classical architecture.
Ashford Castle is a medieval castle near Cong in County Mayo, Ireland on the shore of Lough Corrib.
The castle was built in 1228 by the Anglo-Norman de Burgo family following their defeat of the O'Connors, the Royal House of Connacht, who are still extant in the person of the O Connor Donn.The de Burgo's would build several such castles throughout the province, including one on the mouth of the River Corrib around which was to grow the City of Galway, but Ashford would remain their principal stronghold in the vastness of a wild and untamed province. The principal legacy of the native O'Connors is to be seen at the gates of the Estate in the form of the magnificent Romanesque Augustinian Abbey of Cong. It is in this Abbey that Ireland's last High King Ruaidrí Ua Conchobair died and from which came the greatest relic of his Court, the Cross of Cong created to hold a piece of the True Cross and now in the National Museum of Ireland.
After more than three and a half centuries under the de Burgo's, Ashford passed into the hands of a new master, when following a fierce battle between the forces of the de Burgo's and those of the English official Sir Richard Bingham, Lord President of Connaught, a truce was agreed and the castle fell to Bingham in 1589 who adds a fortified enclave within its precincts. In 1715 the estate of Ashford is established by the Browne Family (Baron Oranmore) and a lodge in the style of a 17th Century French chateau was added to the medieval splendour of the castle.
The Estate was purchased in 1852 by Sir Benjamin Guinness, he extended the estate to 26,000 acres, built new roads, planted thousands of trees and added two large victorian style extensions. On his death in 1868 the estate passed to his son Lord Ardilaun, an avid gardener who oversaw the development of massive woodlands and rebuilt the entire west wing of the castle. He also subsidised the operation of several steamboats, the most notable of which was the Lady Eglinton, which plied between the villages of the Upper Lough Corrib region and Galway City, thus opening the area to increased commerce. In a time of agitation by tenant farmers in the Land Wars of the late 19th Century, epitomised by the action of tenants at nearby Lough Mask House (home of Captain Charles Boycott) he was considered by many to be an 'improving' landlord. Although some of these were not always successful, particularly the Cong Canal also known as the "Dry Canal. It was built to link Lough Mask and Lough Corrib but was a failure, primarily due to its inability to hold water. Despite such setbacks the love borne by he and his wife Olive, daughter of the 3rd Earl of Bantry for the Castle and the estate was deep and best epitomised by that fact that when he was ennobled in 1880 he derived his title from the island of Ardilaun, which formed part of the Estate on Lough Corrib.
The Castle remained in the hands of the family and its Iveagh Trust until it was sold to Noel Huggard in 1939; he opened the estate as a hotel, which it became renowned for the provision of its country pursuits, such as angling & shooting.
In 1951 the film director John Ford came to the west of Ireland to film what would become a movie classic The Quiet Man. Starring John Wayne and Maureen O Hara, Ashford Castle and its grounds, as well as nearby Cong formed the backdrop for much of the action in the film.
In 1970 Ashford Castle was bought by John Mulcahy who oversaw its complete restoration and expansion, doubling its size with the addition of a new wing in the early 1970s, building a golf course and developing the grounds and gardens. While in 1985 a group of Irish American investors, which included Chuck Feeney and Prescott Bush purchased Ashford. The Castle was sold on by these investors in 2008 and is now in the possession of the Galway-based property investor Gerry Barrett and his family.
In its time the castle has played host to many notable guests, including: HM King George V of the United Kingdom, his consort Queen Mary, Oscar Wilde (his father Sir William Wilde had an estate adjacent to Ashford and where the author, playwright and poet spent much of his childhood), U.S. President Ronald Reagan, HRH the Prince Edward, Earl of Wessex, U.S. Senator Edward Kennedy, John Wayne, HSH Prince Rainier III of Monaco & his consort HSH the Princess Grace.
The official site for the castle - www.ashford.ie/index.php
Located on Grant Street at the intersection of Perkins Street, the former Alexandra Mechanic’s Institute and Free Library, built in 1883, is a beautiful example of a Victorian Free Classical building, and is part of the north eastern Victorian town’s historical centre. It was originally designed as Alexandra’s Mechanics’ Institute with a billiard room extension added in 1892. The building has been lovingly restored, and features many features typical of Victorian Free Classical architecture. The style was ebullient and self confident as it expressed society’s growing prosperity and self confidence, and is mostly represented in civil, commercial and religious buildings, but spread to a certain degree to domestic structures as well. The parapet concealing the roof, decorative accents along the roofline and windows and doors with accentuated vertical proportions are all typical of the Victorian Free Classical architecture movement.
The Mechanics' Institute Movement began in British urban industrial cities in the early 1800s to enable men of the lower classes to improve themselves. A "mechanic" was a person applying skills and technology. During the Nineteenth Century, most towns in Victoria established a Mechanics' Institute or Athenaeum with a library and meeting hall. Common objects of the Mechanics' Institute Movement was to spread useful knowledge and provide rational (non alcoholic) recreation for the community.
The former Alexandra Mechanic’s Institute and Free Library is still used for its original literary purpose, and a modern extension, subtly attached to the historic building, doubles the library’s available floor space, allowing for a wider array of benefits.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
Located on Grant Street at the intersection of Perkins Street, the former Alexandra Mechanic’s Institute and Free Library, built in 1883, is a beautiful example of a Victorian Free Classical building, and is part of the north eastern Victorian town’s historical centre. It was originally designed as Alexandra’s Mechanics’ Institute with a billiard room extension added in 1892. The building has been lovingly restored, and features many features typical of Victorian Free Classical architecture. The style was ebullient and self confident as it expressed society’s growing prosperity and self confidence, and is mostly represented in civil, commercial and religious buildings, but spread to a certain degree to domestic structures as well. The parapet concealing the roof, decorative accents along the roofline and windows and doors with accentuated vertical proportions are all typical of the Victorian Free Classical architecture movement.
The Mechanics' Institute Movement began in British urban industrial cities in the early 1800s to enable men of the lower classes to improve themselves. A "mechanic" was a person applying skills and technology. During the Nineteenth Century, most towns in Victoria established a Mechanics' Institute or Athenaeum with a library and meeting hall. Common objects of the Mechanics' Institute Movement was to spread useful knowledge and provide rational (non alcoholic) recreation for the community.
The former Alexandra Mechanic’s Institute and Free Library is still used for its original literary purpose, and a modern extension, subtly attached to the historic building, doubles the library’s available floor space, allowing for a wider array of benefits.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
The Ballarat Synagogue at 2 Barkly Street in East Ballarat, is one of the few surviving Nineteenth Century synagogues in Victoria. Designed by architect T. B. Cameron, the Synagogue was built in 1861. Situated on the Victorian goldfields, its importance was such that its first Rabbi was Av (head) of the first recognised Australian Beth Din. The gold rush brought many Jewish people to Ballarat and the first congregation was held in 1853 and for decades the local community was the largest in the Victorian colony.
The single storey building is one of the early surviving buildings in Ballarat and is important in the streetscape and townscape of the city and in the history of the area. Architecturally the structure is an interesting example of conservative Classical design, given distinction by the architectural treatment of its facade and portico. The main facade of the brick structure was corner Tuscan pilasters supporting a parapet entablature. Paired Tuscan squared columns and pilasters support the pedimented prostyle portico and the windows are roundheaded.
The interior of the building, with features such as the ladies gallery, is in very good condition. The interior seen today is the result of extensive remodeling in 1878 including notable internal use of Victorian iron lacework panels on the balconies of the gallery and magnificent ceiling fretworks from which hang impressive crystal chandeliers. Beautiful windows with blue and red stained glass panels fill the Synagogue with light. Presiding above all is a very grand arched stained glass window created in 1884, which according to legend, is made from glass taken from a 16th Century Irish mansion.
A corner pilaster supports a custom entablature. The window and its shutter fits perfectly between the pilasters.
Palais du Luxembourg, Sitz des französischen Senats, Rue de Vaugirard, Jardin du Luxembourg, 6e arrondissement, Paris, 1615–1645, Salomon de Brosse, 1799–1805, Jean Chalgrin, 1835–1856 Alphonse de Gisors
DRK Kliniken Berlin, Krankenhaus Westend, Stationshaus, Spandauer Damm, Berlin-Westend, 1901-1904, Heino Schmieden und Julius Boethke
The earliest National Bank of Australia in Colac established its premises in the town's main thoroughfare at 28 Murray Street in a two storey brick building erected in 1865 to a design by the architect, Leonard Terry. In 1886 the Leonard Terry bank was demolished to make way for the present two storey stucco and brick building which was completed in August 1887.
Designed by self-trained local Colac architect Alexander Hamilton (1825 - 1901), the current National Bank of Australia building is a good example of transitional boom Classicism architecture. Builders Taylor and Ellis of Ballarat erected the bank at a cost of £3,500.00. The building, which stands detached and complete like the nearby Colac Shire Hall has an iron palisade fence. The design, with rusticated ground floor facade, Corinthian porch, unusual enframed windows and pronounced parapet entablature, is illustrative of trends in bank architecture in the mid 1880s in Victoria and is one of Mr. Hamilton's most significant and scholarly works.
The bank has seen many uses over the years, and was at one stage in its life a gentleman's club for wealthy local landowners to socialise in. Today the National Bank of Australia has moved to more modern premises in Colac, but the building houses professional suites as befits a building which such a fine architectural pedigree.
Alexander Hamilton was born in Moffat, Scotland, but migrated to Australia in 1852. Originally based in Melbourne, he went to the Western District town of Mortlake before moving in 1871 to Colac where he was amongst other professions a millwright, builder and an architect. Alexander Hamilton really concentrated on his profession as an architect when he arrived in Colac and made his name in the area as a number of older homesteads and buildings in the district were built under his instruction and supervision. These include "Illewarra House" which was built for for John Calvert in 1873, "Tarndwarncoort" for Alexander Dennis in 1877 and "Talindert" for James Manifold in 1890. Mr. Hamilton also designed the Presbyterian manse in Colac in 1883 and the Bank of Australasia in Beeac in 1888.
Located approximately 150 kilometres to the south-west of Melbourne, past Geelong is the small Western District city of Colac. The area was originally settled by Europeans in 1837 by pastoralist Hugh Murray. A small community sprung up on the southern shore of a large lake amid the volcanic plains. The community was proclaimed a town, Lake Colac, in 1848, named after the lake upon which it perches. The post office opened in 1848 as Lake Colac and was renamed Colac in 1854 when the city changed its name. The township grew over the years, its wealth generated by the booming grazing industries of the large estates of the Western District and the dairy industry that accompanied it. Colac has a long high street shopping precinct, several churches, botanic gardens, a Masonic hall and a smattering of large properties within its boundaries, showing the conspicuous wealth of the city. Today Colac is still a commercial centre for the agricultural district that surrounds it with a population of around 10,000 people. Although not strictly a tourist town, Colac has many beautiful surviving historical buildings or interest, tree lined streets. Colac is known as “the Gateway to the Otways” (a reference to the Otway Ranges and surrounding forest area that is located just to the south of the town).
Now to Piazza Jacopo della Quercia and a look at the unfinished part of Siena Cathedral. Now just used as a car park! But the walls have survived since the 14th century!
unfinished walls of Siena Cathedral
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
On the right of the Cathedral, the large space where the great fourteenth-century cathedral should have stood, is today the so-called "New Cathedral", in front of a space in which the first aisle (now home to the Museo dell'Opera del Duomo ) is built. the so-called facetone. This area is called today Piazza Jacopo della Quercia.
Via Palazzo Reale overlooks the work of Bernardo Buontalenti of the late sixteenth century, born to house the Medici governor of the city. Today it houses the Prefecture and the Provincial Administration.
Melbourne’s “Argus” newspaper reported on the 19th of July 1881 that a new shire hall had been erected in Alexandra at a cost of about £3,000.00, and was considered to be one of the finest buildings of its class in the colony.
Located on Grant Street at the intersection of Perkins Street, the Alexandra Shire Hall is indeed very grand building, and is part of the north eastern Victorian town’s historical centre. It was designed by the Collins Street architect W. H. Ellerker, and whilst described by the “Argus” as Italianate in style, the hall is actually typical of the mid Victorian eclectic revival and modification of various stands of European Renaissance architecture that culminated in what was called the Academic Classical style. The building is symmetrical with large rounded windows and an arched entrance. The building date of 1881 may be found carved into the bluestone threshold of the main doors. The entire Grant Street façade is inspired by Roman architecture, with a pedimented portico derived from classical temple facades. A wonderful piece of Australiana, installed after Federation in 1901, may be found in a central cartouche in the apex of the grand gable; the Victorian coat-of-arms flanked by an emu and kangaroo, with “advance Australia” emblazoned on a ribbon below them.
Built by Thomas Carison, the Alexandra Shire Hall features a banqueting hall that could seat over 1,000 people and the grand room was often used as a ballroom for district gatherings and dances. It was the meeting place for the first shire councilors, who convened in the council chambers, and the Shire Hall also housed the office for the first shire secretary and engineer, who had their own offices in the complex.
The building narrowly avoided demolition in 1976 after there was a strong backlash by the citizens of Alexandra, who objected strongly to the proposal. Today the Shire Hall is enjoying a Renaissance as one of the focal points for Alexandra’s artistic scene.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
Located on Grant Street at the intersection of Perkins Street, the former Alexandra Mechanic’s Institute and Free Library, built in 1883, is a beautiful example of a Victorian Free Classical building, and is part of the north eastern Victorian town’s historical centre. It was originally designed as Alexandra’s Mechanics’ Institute with a billiard room extension added in 1892. The building has been lovingly restored, and features many features typical of Victorian Free Classical architecture. The style was ebullient and self confident as it expressed society’s growing prosperity and self confidence, and is mostly represented in civil, commercial and religious buildings, but spread to a certain degree to domestic structures as well. The parapet concealing the roof, decorative accents along the roofline and windows and doors with accentuated vertical proportions are all typical of the Victorian Free Classical architecture movement.
The Mechanics' Institute Movement began in British urban industrial cities in the early 1800s to enable men of the lower classes to improve themselves. A "mechanic" was a person applying skills and technology. During the Nineteenth Century, most towns in Victoria established a Mechanics' Institute or Athenaeum with a library and meeting hall. Common objects of the Mechanics' Institute Movement was to spread useful knowledge and provide rational (non alcoholic) recreation for the community.
The former Alexandra Mechanic’s Institute and Free Library is still used for its original literary purpose, and a modern extension, subtly attached to the historic building, doubles the library’s available floor space, allowing for a wider array of benefits.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
Now to Piazza Jacopo della Quercia and a look at the unfinished part of Siena Cathedral. Now just used as a car park! But the walls have survived since the 14th century!
unfinished walls of Siena Cathedral
Siena Cathedral (Italian: Duomo di Siena) is a medieval church in Siena, Italy, dedicated from its earliest days as a Roman Catholic Marian church, and now dedicated to the Assumption of Mary.
Previously the episcopal seat of the Diocese of Siena, from the 15th century the Archdiocese of Siena, it is now that of the Archdiocese of Siena-Colle di Val d'Elsa-Montalcino.
The cathedral itself was originally designed and completed between 1215 and 1263 on the site of an earlier structure. It has the form of a Latin cross with a slightly projecting transept, a dome and a bell tower. The dome rises from a hexagonal base with supporting columns. The lantern atop the dome was added by Gian Lorenzo Bernini. The nave is separated from the two aisles by semicircular arches. The exterior and interior are constructed of white and greenish-black marble in alternating stripes, with addition of red marble on the façade. Black and white are the symbolic colors of Siena, etiologically linked to black and white horses of the legendary city's founders, Senius and Aschius.
The façade of Siena Cathedral is one of the most fascinating in all of Italy and certainly one of the most impressive features in Siena. Each of the cardinal points (west, east, north, and south) has their own distinct work; by far the most impressive of these is the west façade. Acting as the main entryway to the Duomo proper, it boasts three portals (see Portal (architecture)); the central one is capped by a bronze-work sun.
Built in two stages and combining elements of French Gothic, Tuscan Romanesque architecture, and Classical architecture, the west façade is a beautiful example of Sienanise workmanship. Work began on the lower part around 1284. Built using polychrome marble, the work was overseen by Giovanni Pisano whose work on the Duomo’s façade and pulpit was influenced by his father Nicola Pisano.
The lower portion of the façade is designed from Giovanni's original plans. Built in Tuscan Romanesque style it emphasizes a horizontal unity of the area around the portals at the expense of the vertical bay divisions. The three portals, surmounted by lunettes, are based on Giovanni Pisano’s original designs, as are much of the sculpture and orientation surrounding the entrances. The areas around and above the doors, as well as the columns between the portals, are richly decorated with acanthus scrolls, allegorical figures and biblical scenes.
Giovanni Pisano was able to oversee his work until about 1296 when he abruptly left Siena, reportedly over creative differences with the Opera del Duomo, the group that oversaw the construction and maintenance of the Siena cathedrals. Pisano's work on the lower façade was continued under the direction of Camaino di Crescentino, but a number of changes were made to the original plan. These included raising the façade due to the raising of the nave of the church and the instillation of a larger rose window based on designs by Duccio di Buoninsegna and commissioned by the city of Siena. Work on the west façade came to an abrupt end in 1317 when the Opera del Duomo redirected all efforts to the east façade.
Upper façade
There is debate as to when work on the upper façade was completed. Most scholars agree that it was finished sometime between 1360 and 1370, though when it began again is not known. The work continued to use Pisano's plans for the façade with some adaptations under the direction of Giovanni di Cecco. Di Cecco preferred more elaborate designs, most likely inspired by the Orvieto Cathedral. The façade needed to be much higher than foreseen as the nave had, once again, been raised.
The changes were probably needed to accommodate the raised nave and di Cecco's more elaborate design scheme, heavily influenced by French Gothic architecture, caused the apparent division of the upper portion of the cathedral. Most noticeably the pinnacles of the upper portion do not continue from the columns flanking the central portal as they normally would in such cathedrals. Instead they are substantially offset, resulting in a vertical discontinuity which is uncommon cathedrals of the time as it can lead to structural weakness. To adjust for this imbalance, the towers on each side of the cathedral were opened by adding windows, reducing the weight they needed to support. The upper portion also features heavy Gothic decoration, a marked contrast to the simple geometric designed common to Tuscan Romanesque architecture.
Façade sculpture
While most of the sculpture decorating the lower level of the lavish façade was sculpted by Giovanni Pisano and assistant depicting prophets, philosophers and apostles, the more Gothic statuary adorning the upper portion—including the half-length statues of the patriarchs in the niches around the rose window—are works of later, unattributed, sculptors. Almost all the statuary adorning the cathedral today are copies. The originals are kept in the Crypt of the Statues in the Museo dell'Opera del Duomo.
Three large mosaics on the gables of the façade were made in Venice in 1878. The large central mosaic, the Coronation of the Virgin, is the work of Luigi Mussini. The smaller mosaics on each side, Nativity of Jesus and Presentation of Mary in the Temple, were made by Alessandro Franchi.
The bronze central door is a recent addition to the cathedral, replacing the original wooden one. The large door, known as the Porta della Riconoscenza, was commissioned in 1946 near the end of the German occupation of Siena. Sculpted by Vico Consorti and cast by Enrico Manfrini, the scenes on the door represent the Glorification of the Virgin, Siena’s patron saint.
On the left corner pier of the façade is a 14th-century inscription marking the grave of Giovanni Pisano. Next to the façade stands a column with a statue of the Contrade Lupa, a wolf breast-feeding Romulus and Remus. According to local legend Senius and Aschius, sons of Remus and founders of Siena, left Rome with the statue, stolen from the Temple of Apollo in Rome.
On the right of the Cathedral, the large space where the great fourteenth-century cathedral should have stood, is today the so-called "New Cathedral", in front of a space in which the first aisle (now home to the Museo dell'Opera del Duomo ) is built. the so-called facetone. This area is called today Piazza Jacopo della Quercia.
Via Palazzo Reale overlooks the work of Bernardo Buontalenti of the late sixteenth century, born to house the Medici governor of the city. Today it houses the Prefecture and the Provincial Administration.
Sarkhej or Sarkhej Rauza is an architectural complex located 8 km south from Ahmedabad. Mainly erected under Mahmud Begada's reign (1442- 1451), it has been built on the location where the holy man and religious muslim leader Ahmed Khattu Ganj Baksh (or Shaikh Ahmad Khattri)lived and died (in 1446). He was the spiritual guide of the sultan Ahmed Shah,founder of the Ahmedabad city. He is said to have been one of the fourth Ahmed who founded the city of Ahmedabad. His Rauza or Maqbara is one of the biggest mausoleum of India, competing with the Taj Mahal. The complex became a retreat place for sultans and later an imperial necropolis.
Organized around a large artificial water reservoir are to be found gardens, a mosque and the holy man's tomb, together with the tombs of Mahmud Begada and his wife Rajabai, as well as palaces, a harem and pavilions. The buildings have an austere beauty, a mixture of hindu and islamic styles. carved columns,domes and niches at Sarkhej Mosque,Ahmedabad,India,Built in 15th or 16th century AD.
James Adams' Lion de Fleur in the Circus, Bath.
It was one of the many lions which were part of the Lions of Bath public art exhibition.
The 100-strong pride of lions - with the tag-line 'Pride in our City' - were individually painted and decorated and spread about the city.
The lions were displayed throughout 2010, before being gathered for one weekend at the Royal Crescent and then auctioned off.
The lion was chosen because it is both the symbol of royal England and because it is on the Bath coat of arms, recognising the King Edgar - first king of all England - in Bath in 973AD.
The King’s Circus was designed by John Wood and built by his son John Wood the Young after his father died the year he began construction.
The Circus is made up of 30 houses in the Palladian architectural style, divided into three smaller crescents – the first of which stood alone for seven years while funds were sought to complete the construction work, which took place between 1754 and 1767.
Britain’s first circular street, its colonnaded design and shape took obvious inspiration from the Colosseum in Rome, linking the modern Georgian city of Bath with its ancient Roman history.
There was also a link to Bath’s mystical history as he designed it to be the same size as Stonehenge – though his measurements were a little off. The stone acorns which adorn the houses represent the legend of Prince Bladud and how he discovered the hot springs in the city.
A carved frieze runs around the entire circle, while there are three styles of column on the exterior – Doric, Ionic and Corintian.
Among the former residents of the Circus are the artist Thomas Gainsborough and Prime Minister William Pitt.