View allAll Photos Tagged classicalarchitecture
A memorial to Frederick A. Robinson and members of his family. It is an example of a peristyle monument--one of a handful at Woodlawn Cemetery.
Mister Robinson was a lawyer with significant investments in lumber and mining.
Notre-Dame Cathedral Basilica of Saigon, Vietnam. This church in Ho Chi Minh City was established by French colonist, constructed in 1863 and 1880
Entrance to the ancient city of Petra is through the "Siq", a narrow gorge over one kilometer in length which is flanked on either side by soaring 80 meter high cliffs. Walking through this amazing course, traveled by thousands of tourists each day, is an experience one never forgets. The colors and formations of the rocks are dazzling.
The pathway to Petra runs along a dry torrent bed, and the sheer cliffs on either side rise higher and higher as it penetrates deeper into the heart of the mountain. Here is perpetual twilight, with an occasional glint of sun on the cliff face high above. In some parts the road is 20 feet wide, in others the rock almost touches overhead. Along one side is a channel cut in the rock, now fallen or choked with soil in most places, which originally carried water to the inhabitants of Petra from the springs at Wadi Musa. The road twists and turns, and can seldom be seen for more than a few yards ahead: it seems to be going on forever in a rather grim, hopeless kind of way.
Photographed at Petra in The Hashemite Kingdon of Jordan.....one of the ancient Wonders of the World. Taken with a Nikon D70 Digital SLR and enhanced using Photoshop CS3 and Topaz Adjust.
A handsome building of the late 18th century, one of a dozen Listed Buildings in the Buckinghamshire village of Olney.
March 1990
Rollei 35 camera
Kodak Ektachrome 100 film.
This is a grand mansion with lots of land surrounding it. Set well back off a tiny road, it's hard to get a great shot with all of the trees on the property.
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.
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 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.
St. Paul's Cathedral was designed by Sir Christopher Wren and was completed in 1677.
The cathedral is a grade I listed building.
Used by thousands of commuters between the provincial city of Ballarat and Victoria’s capital city, Melbourne, the Ballarat railway station on Lydiard Street, is of great historical and architectural value. A notable design in the conservative Classical manner, the building is distinguished by its elevated pedimented portico, clock tower and arcade, and by the enclosed platform shed, which is very uncommon and is distinctively detailed. This wonderful example of Ballarat’s early great architecture is a prime example of late Nineteenth Century railway systems built to the best of British design, standards and construction.
The station was constructed when the railway line first began servicing the city in 1862. The railway station acted as a catalyst for the development of the northern part of Lydiard Street throughout the Nineteenth Century. As Ballarat was founded on the wealth produced by gold mining activity, it played a crucial part in the city’s development.
The Ballarat railway station is a stuccoed brick complex comprising the initial platform shed built in 1862 which served as the original station, and the entrance building built some twenty-six years later between 1877 and 1889. The platform shed features broken pedimented gables with Tuscan pilasters about the elliptical arched train entrance. The railways station tower makes it one of the grandest buildings in Ballarat and features gabled pavilions, an arcaded main facade, faced Tuscan pilasters and entablature. It has a beautiful domed roof which still features its original slate tiles, and the tower still has a working clock.
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.
Construction on the Ballarat Mechanics' Institute on Sturt Street began in 1859. As a Gold Rush city with a growing population of miners, a number of eminent philanthropic citizens of Ballarat were anxious to provide working men with a chance to improve their work skills and their general education. It took the dedication of locals another decade to complete the Sturt Street facade, and a further decade for the billard room to be completed.
Built in the Classical style, the three storey Mechanics' Institute has a very restrained facade with minimal decoration. It features a beautiful bull nosed verandah edged with ornate cast iron lacework along the street to keep out the heat of the afternoon sun. Over the arched entrance, the letters of the Mechanic’s Institute are spelt in delicate, florid gilt letters. It also has a balcony extending from a scalloped niche on the first floor and a balconette on the upper floor. Crowning the building is the figure of Pallas Athena, the Greek Goddess of wisdom, courage, inspiration civilization, law and justice, just warfare, mathematics, strength, strategy, the arts, crafts, and skill.
Historically, Mechanics' Institutes were educational establishments formed to provide adult education, particularly in technical subjects, to working men. As such, they were often funded by local industrialists on the grounds that they would ultimately benefit from having more knowledgeable and skilled employees. The Mechanics' Institutes were used as 'libraries' for the adult working class, and provided them with an alternative pastime to gambling and drinking in pubs.
Used by thousands of commuters between the provincial city of Ballarat and Victoria’s capital city, Melbourne, the Ballarat railway station on Lydiard Street, is of great historical and architectural value. A notable design in the conservative Classical manner, the building is distinguished by its elevated pedimented portico, clock tower and arcade, and by the enclosed platform shed, which is very uncommon and is distinctively detailed. This wonderful example of Ballarat’s early great architecture is a prime example of late Nineteenth Century railway systems built to the best of British design, standards and construction.
The station was constructed when the railway line first began servicing the city in 1862. The railway station acted as a catalyst for the development of the northern part of Lydiard Street throughout the Nineteenth Century. As Ballarat was founded on the wealth produced by gold mining activity, it played a crucial part in the city’s development.
The Ballarat railway station is a stuccoed brick complex comprising the initial platform shed built in 1862 which served as the original station, and the entrance building built some twenty-six years later between 1877 and 1889. The platform shed features broken pedimented gables with Tuscan pilasters about the elliptical arched train entrance. The railways station tower makes it one of the grandest buildings in Ballarat and features gabled pavilions, an arcaded main facade, faced Tuscan pilasters and entablature. It has a beautiful domed roof which still features its original slate tiles, and the tower still has a working clock.
The Secretariat Building or Central Secretariat is where the Cabinet Secretariat is housed, which administers the Government of India. Built in the 1910s,home to some of the most important ministries.
The 1931 series celebrated the inauguration of New Delhi as the seat of government. The one rupee stamp shows George V with the "asking Alexandria" and Dominion Columns.
The planning of New Delhi began in earnest after Delhi was made capital of the British Indian Empire in 1911. Lutyens was assigned responsibility for town planning and the construction of Viceroy's House (now Rashtrapati Bhavan); Herbert Baker, who had practised in South Africa for two decades, 1892–1912, joined in as the second in command. Baker took on the design of the next most important building, the Secretariat, which was the only building other than Viceroy's House to stand on Raisina Hill. As the work progressed relations between Lutyens and Baker deteriorated; the hill placed by Baker in front of Viceroy's House largely obscured Viceroy's House from view on the Rajpath from India Gate, in breach of Lutyens' intentions; instead, only the top of the dome of Viceroy's House is visible from far away. To avoid this, Lutyens wanted the Secretariat to be of lower height than Viceroy's House, but Baker wanted it of the same height, and in the end it was Baker's intentions that were fulfilled.
Many employees were brought into the new capital from distant parts of British India, including the Bengal Presidency and Madras Presidency. Subsequently housing for them was developed around Gole Market area.
The Secretariat Building was designed by the prominent British architect Herbert Baker in Indo-Saracenic Revival architecture. Both the identical building have four levels, each with about 1,000 rooms, in the inner courtyards to make space for future expansions. In continuation with the Viceroy's House, these buildings also used cream and red Dholpur sandstone from Rajasthan, with the red sandstone forming the base. Together the buildings were designed to form two squares. They have broad corridors between different wings and wide stairways to the four floors and each building is topped by a giant dome, while each wings end with colonnaded balcony.
Much of the building is in classical architectural style, yet it incorporated from Mughal and Rajasthani architecture style and motifs in its architecture. These are visible in the use of Jali, perforated screens, to protect from scorching sun and monsoon rains of India. Another feature of the building is a dome-like structure known as the Chatri, a design unique to India, used in ancient times to give relief to travelers by providing shade from the hot Indian sun.
The style of architecture used in Secretariat Building is unique to Raisina Hill. In front of the main gates on buildings are the four "dominion columns", given by Canada, Australia, New Zealand and South Africa. At the time of their unveiling in 1930, India was also supposed to become a British dominion soon. However, India became independent within the next 17 years and the Secretariat became the seat of power of a sovereign India. In the years to follow the building ran out of accommodation
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.
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 detailed description of this structure is given by F.S. Mackenna in the Kist, vol. 22, 1981. with an Appendix in Vol. 24. According to Mackenna Its design is attributed to William Adam c 1747 and the building dates from 1749.
It is built over a large boulder in the hillside from which a natural spring issues. The stream from the rock is collected in an oval rock-cut basin at the foot. A notch in the front rock wall of the basin permits an overflow into a small shallow basin cut into the flagged floor, from which it is conducted by a narrow winding channel in the floor to the outside edge of the pavement. The overflow now falls into a small hole in the channel before it reaches the edge.
It is a beautifully built classical structure. The interior has an arched roof and the floor is paved. The blocks, apart from the keystone, surrounding the arched doorway and above it, are decorated with vermiculation. The roof has stone slabs and is curved at the rear. Carved graffiti are present on some roof blocks and on at least one side wall. The finer graffiti have been suggested by Mackenna to have been the work of the stonemasons.
Visited by David Dorren and Nina Henry on 20 February 2018.
Sony Alpha A6000 with Sigma 19mm f2.8
Albert Kahn designed this as Temple Beth El in 1903. In 1922 the building was recast as a theater. Unfortunately, the grand classical entrance has been lost, but the dome remains. Kahn was clearly inspired by the Pantheon in his design.
The building is double-listed on the National Register of Historic Places: as Temple Beth El and as part of the Midtown Woodward Historic District. It is also a contributing property to the City of Detroit Brush Park Historic District. The Bonstelle Theatre of Wayne State University is the current tenant, and undergraduate productions are staged here.
The next Temple Beth El, also designed by Kahn, is located further north on Woodward Avenue.
.A detailed description of this structure is given by F.S. Mackenna in the Kist, vol. 22, 1981. with an Appendix in Vol. 24. According to Mackenna Its design is attributed to William Adam c 1747 and the building dates from 1749.
It is built over a large boulder in the hillside from which a natural spring issues. The stream from the rock is collected in an oval rock-cut basin at the foot. A notch in the front rock wall of the basin permits an overflow into a small shallow basin cut into the flagged floor, from which it is conducted by a narrow winding channel in the floor to the outside edge of the pavement. The overflow now falls into a small hole in the channel before it reaches the edge.
It is a beautifully built classical structure. The interior has an arched roof and the floor is paved. The blocks, apart from the keystone, surrounding the arched doorway and above it, are decorated with vermiculation. The roof has stone slabs and is curved at the rear. Carved graffiti are present on some roof blocks and on at least one side wall. The finer graffiti have been suggested by Mackenna to have been the work of the stonemasons.
Visited by David Dorren and Nina Henry on 20 February 2018.
Sony Alpha A6000 with Sigma 19mm f2.8
This building in Camp Street in the centre of Ballarat was Ballarat's first Freemason's Hall, and originally featured an elaborate porch. To this day its original purpose can still be identified by the weather-faded masonic symbol in the apex of the hall's gable, and in similar symbols that appear discreetly in the design of the original ornate fence which surrounds the hall.
Erected between 1872 and 1874, the Freemason's Hall has been constructed in Greek Revival style and looks like a Grecian temple. Its restrained textured cement rendering has sadly weathered over time, obscuring some of the building's finer detailing. The imposing building features huge columns on either side of the entrance and an original ornate fence which encircles the building.
The former Freemason's Hall has housed various organisations throughout the years. It was purchased by the State Electricity Commission in the 1920s and became the social club premises for employees. During this period it was renamed "Electra Hall". In more recent times, the building was used as an antiques and gift store.
Today it is part of Ballarat's vibrant art scene and is used as an art space for exhibitions of modern art.
King William's Temple seen throught the Mediterranean Garden at Kew.
King William's Temple was built in 1837 by Sir Jeffry Wyatville. The stone building,w tih Tuscan porticos, was one of many follies built at Kew in the 18th and 19th centuries.
The Royal Botanic Gardens at Kew cover more than 300 acres of land just south of the River Thames, with 33,000 species of plants and trees growing in plantations and glasshouses.
The gardens were created as a pleasure garden by Prince Frederick – eldest son of George II and Queen Caroline – in 1731, but were turned into botanic gardens by his widow Princess Augusta in 1759.
Some of the earliest specimens in the gardens came from the voyages of Captain Cook around the globe and Kew has grown in importance and popularity ever since.
There are a number of large glasshouses recreating environments from all over the world, while the outside gardens are often vast open expanses, broken up by Japanese pagodas, small lakes and walkways high in the trees.
Rione X Campitelli, Roma Italia - © Joel Morin (2012) No reproduction of any kind without prior written permission
The Louvre (French: Musée du Louvre) in Paris, France, is the most visited and one of the oldest, largest, and most famous art galleries and museums in the world.
The Louvre has a long history of artistic and historic conservation, inaugurated in the Capetian dynasty and continuing to this day. The building was previously a royal palace and holds some of the world's most famous works of art, such as Leonardo da Vinci's Mona Lisa, The Virgin and Child with St. Anne, Madonna of the Rocks, Jacques Louis David's Oath of the Horatii, Delacroix's Liberty Leading the People and Alexandros of Antioch's Venus de Milo. Located in the centre of the city of Paris, between the Rive Droite of the Seine and the rue de Rivoli in the Ier arrondissement, it is accessed by the Palais Royal — Musée du Louvre Metro station. The equestrian statue of Louis XIV constitutes the starting point of the "axe historique", but the palace is not aligned on this axis.
With 8.3 million visitors in 2006, the Louvre is the most visited art museum in the world.
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).
Unusual Panoramic of the swimming pool entrance ( I think ) Infra-Red Filter and other strange variables in PhotoShop.... !
To get an idea of where The Coliseum is situated in relation to the rest of the city, here is a full London map. I have circled The Coliseum in red and have also pointed out the engraving of it among the other buildings of note framing the map. In speaking of the socioeconomical geography of cities, we have noted that the wealthier tend to live in the North West regions of the city, whereas the poorer citizens inhabit the South East areas. Regent’s Park is precisely located in the North West area of London, surrounded by upper and upper-middle class residents. Within Regent’s Park, there are five houses, all belonging to very rich men, one the Marquis of Hertford. In addition, there are five terraced houses designed by the famous John Nash, with whom Decimus Burton, architect of The Coliseum, worked closely on a number of projects. As I spoke of with the previous slide, parks are considered salubrious. Note that parks in the East End are few to none, whereas parks in the Mayfair, Belgravia, Marylebone, Bloomsbury, and West End area comprise a sizeable percent of the land. In a note about the architecture seen on this map, most of it, like The Coliseum, is classically inspired with columns and porticos, even to the Greek key pattern around the edge of the map. It is interesting that the classicism permeated not only the building of residences and entertainment facilities, but also the governmental and industrial spheres with the Post Office and the East India House bearing similar visages.
Shury, John. PLAN OF LONDON FROM AN ACTUAL SURVEY 243. Digital image. British Library Online Gallery. British Library. 22 Apr. 2009 . www.bl.uk/onlinegallery/onlineex/crace/p/007000000000007u...
This is just the balcony of the grand staircase in the hermitage ... it is absolutely huge and very grand! One can get a sense of the size by comparing the size of the people standing there.
Continuing on our visit last summer to St. Petersburg, Russia. Another highlight was the Hermitage, formerly known as the Winter Palace of the Russian Czars.
The State Hermitage (Russian: Государственный Эрмитаж) is a museum of art and culture situated in Saint Petersburg, Russia. One of the largest[1] and oldest museums of the world, it was founded in 1764 by Catherine the Great and open to the public since 1852. Its collections, of which only a small part is on permanent display, comprise nearly 3 million items, including the largest collection of paintings in the world. The collections occupy a large complex of six historic buildings along Palace Embankment, including the Winter Palace, a former residence of Russian emperors. Apart from them, the Menshikov Palace, Museum of Porcelain, Storage Facility at Staraya Derevnya and the eastern wing of the General Staff Building also make part of the museum. The museum has several exhibition centers abroad. The Hermitage is a federal state property. Since 1990, the director of the museum has been Mikhail Piotrovsky.
Out of six buildings of the main museum complex, four, namely the Winter Palace, Small Hermitage, Old Hermitage and New Hermitage, are partially open to the public. The other two are Hermitage Theatre and the Reserve House. The entrance ticket for foreign tourists costs several times as much as the fee paid by Russian citizens. However, the entrance is free of charge first Thursday of every month for all visitors and daily for students and children. The museum is closed on Mondays. Entrance is in the Winter Palace from Palace Embankment or the Courtyard.
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).