Tradesmen & Craftsmen
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In the mid 1700s, when Chinoiserie vied with Rococo and Gothic as the fashionable style of the day, British designers and craftsmen created their own fanciful imitations of Chinese designs.
Chinoiserie was the style adopted by William Halfpenny for the wooden bridge he designed for the 6th Earl of Coventry in the garden at Croome. The designs were published in 1749 in his pattern book Developments in Architecture and Carpentry.
When Lancelot ‘Capability’ Brown arrived in 1751 to redesigned both the house and the garden, the bridge was one of the few features that he kept.
As Brown’s first commission, Croome marked a key moment in the development of the English Landscape style that was to become Britain’s most significant contribution to garden design, adopted the world over. It also helped establish Brown as the most famous landscape designer of his age and his friendship with the Earl endured for the rest of his life.
The Chinese bridge appears in a 1758 painting by Richard Wilson of Croome Court and garden but by the early nineteenth century it had disappeared under the murky depths of the artificial river it once spanned.
Information by The National Trust.
Texture's & Effect's by William Walton & Topaz.
Norymberga, jedna z uliczek rzemieślniczych. W nocy też ładna. /
Nuremberg, one of the streets craftsmen. Beautiful in the night.
There are craftsmen to repair whatever needs to be repaired in George Town.
©This photo is the property of Helga Bruchmann. Please do not use my photos for sharing, printing or for any other purpose without my written permission. Thank you!
The real landmark of Macau is the Ruins of St. Paul,
the remains of the Church of the Mother of God - part of the College of Saint Paul founded in 1594 and lasting until 1762. Missionaries to spread Christianity in China and Japan were also trained here.
It was considered the first Western-style university here in the "Far East". St. Paul's Church, built in 1580, was destroyed twice (1595 and 1601). From 1602 to 1640 it was rebuilt by Chinese and Japanese craftsmen.
From 1762 the building was abandoned after the Jesuits withdrew.
From 1800 the church was used by the military.
It fell completely victim to a fire in 1835.
Only the facade, foundations and the front entrance steps are left.
Together with the historic center they were included in the UNESCO World Heritage in 2005.
Craftsmen George, a carpenter/ guitar maker and Charlie, a sheet metal worker ... outside their workshop in Inverclyde
A fragment of the famous Baroque three-tiered iconostasis with its 39 unique images of the faces of saints (1754-1761), which was made according to a drawing by B. F. Rastrelli by St. Petersburg craftsmen from linden covered with gold leaf. Assembled on site in parts. The notable color of the iconostasis is bright red.
It is the only completely authentic iconostasis designed by Rastrelli in the world that has survived to this day.
Gilded pilasters with molded gilded capitals. Golden Imperial cartouches on a red background, into which picturesque icons are inserted, inform about who exactly should have been a parishioner of this church.
Фрагмент знаменитого барочного триярусного іконостаса із його 39 унікальними зображеннями ликів святих (1754-1761), який був виготовлений за малюнком Б. Ф. Растреллі петербурзькими майстрами з липи з покриттям сусальним золотом. Зібраний на місці частинами. Примітний колір іконостасу – яскраво-червоний.
Це єдиний у світі, повністю автентичний цілісний іконостас за проектом Растреллі, який зберігся незмінним до наших часів.
Рами іконостасу переважно завжди виготовляли з липи. Ця порода дерева м'яка та пластична. Рідше використовували дуб. З цією породою дерева важко працювати. Наприклад, дубовий іконостас є лише у церкві Різдва Пресвятої Богородиці біля далеких печер Києво-Печерської лаври.
Покриті золотом пілястри коринфського ордера з ліпними позолоченими капітелями, особливістю яких є те, що вони відтворюють мотив кошика - калафа, чашки квітки, прикрашеної стилізованим листям аканта. Такі капітелі, прикрашені натуралістичним ліпним рослинним орнаментом, відрізняють Андріївську церкву від інших храмів України першої половини XVIII століття.
Золоті Імператорські картуші на червоному фоні, в які вставлені мальовничі ікони, однозначно сповіщають про те, хто саме мали бути парафіянами цього храму.
Інтер'єр Андріївської церкви відрізняється пишністю та різноманітністю: чудовий живопис, декоративне ліплення та різьблення по дереву створюють досконалий ансамбль. Квіткові гірлянди, пальмові гілки, головки херувимів та інший ліпний декор органічно поєднуються з архітектурою, прикрашаючи купол, двері та вікна.
Внутрішнє оздоблення Андріївської церкви неможливо уявити без хитромудрого різьблення, яке вражає не лише масштабами, а й вдалим поєднанням пласких та рельєфних візерунків, золоченої та поліхромної скульптури.
The bishopric of the Lord Jesus Christ consists in the mysterious combination by Him in His Person of two titles at once - He is a Priest and a King at the same time. The Lord God announced about Him through the psalmist David: “Thou art a priest forever, according to the order of Melchizedek” (Ps. 109:4). King and priest, as was customary in pre-legal times, the Old Testament Melchizedek was a prototype of Christ and His sacred kingdom. Such a merging of two aspects of dominion - spiritual and civil, apparently gave reason for the icon of the “Savior of the Great Bishop” to also be called the “King of Kings”.
Архієрейство Господа Ісуса Христа полягає у таємничому з'єднанні Ним у Своїй Особі одразу двох звань – Він Священик і Цар одночасно. Господь Бог сповістив про Нього через псалмоспівця Давида: «Ти єш ієрей на віки, за чином Мелхиседека» (Пс. 109, 4). Цар і священик, як це було прийнято в дозаконні часи, старозавітний Мелхиседек став прообразом Христа і Його священноцарства. Таке злиття двох аспектів панування - духовного і громадянського, мабуть, дало підставу ікону "Спасителя Великого Архієрея" називати також "Царем царів".
Sighișoara (Romanian: [siɡiˈʃo̯ara]; Hungarian: Segesvár [ˈʃɛɡɛʃvaːr]; German: Schäßburg [ˈʃɛsbʊʁk]; Transylvanian Saxon: Schäsbrich, Šesburχ, or Scheeßprich; Yiddish: שעסבורג, romanized: Shesburg; Latin: Castrum Sex or Saxoburgum) is a city on the Târnava Mare River in Mureș County, central Romania. Located in the historic region of Transylvania, Sighișoara had a population of 23,927 according to the 2021 census. It is a popular tourist destination for its well-preserved old town, which is listed by UNESCO as a World Heritage Site since 1999. The town administers seven villages: Angofa, Aurel Vlaicu, Hetiur, Rora, Șoromiclea, Venchi, and Viilor.
Starting with the mid 12th century, German craftsmen and merchants known as the Transylvanian Saxons (German: Siebenbürger Sachsen) were invited to Transylvania by the then King of Hungary, Géza II, to settle and defend the frontier of his realm and improve the region's economy. The chronicler Krauss lists a Saxon settlement in present-day Sighișoara by 1191.[citation needed] A document of 1280 records a town built on the site of a Roman fort as Castrum Sex or "six-sided camp", referring to the fort's shape of an irregular hexagon. Other names recorded include Schaäsburg (1282), Schespurg (1298) and Segusvar (1300).
By 1337 Sighișoara had become a royal center for the kings, who awarded the settlement urban status in 1367 as the Civitas de Segusvar. The town played an important strategic and commercial role at the edges of Central Europe for several centuries. Sighișoara became one of the most important urban centres of Transylvania, with artisans from throughout the Holy Roman Empire visiting the settlement. The German artisans and craftsmen dominated the urban economy, as well as building the fortifications protecting it. It is estimated that during the 16th and 17th centuries Sighișoara had as many as 15 guilds and 20 handicraft branches. The Baroque sculptor Elias Nicolai lived in the town.
The Wallachian voivode Vlad Dracul (father of Vlad the Impaler), who lived in exile in the town, had coins minted in the town (otherwise coinage was the monopoly of the Hungarian kings in the Kingdom of Hungary) and issued the first document listing the city's Romanian name, Sighișoara.[citation needed] The Romanian name is first attested in 1435, and derives from the Hungarian Segesvár, where vár is "fort".
Found in the archives: Architectural detail on one of the older buildings in downtown Bridgeport, Connecticut. Some craftsmen spent a lot of time on this building.
more Black and White
more New England
more Connecticut
Others in this series posted in 2014:
From the Historic Buildings of Connecticut site:
The Court Exchange Building, at 211 State Street in Bridgeport, is a grandiose commercial structure, built in 1896. It was built by C. Barnum Seeley, the grandson of P.T. Barnum. The great showman, who had no sons, wanted the family name to continue and so he had provided that C. H. Seeley would receive the sum of $25,000, in addition to his portion of his grandfather’s estate, if he added Barnum to his name. For the Court Exchange Building, Seeley hired architect George Longstaff, whose extravagant plans caused building costs to skyrocket.
Pentax K-3 - SMC Pentax DA 55-300mm F4-5.8ED
(IMG35184ec2b3)
Orthodox congregation in Valmiera was established in the 1920s, when many Russian merchants, craftsmen and soldiers settled in the city. In Vidzeme in general, the conversion of Latvian farmers to Orthodoxy is widespread, both under the general policy of Russification and hoping to acquire land in this way.
The construction of the new Valmiera Orthodox church began in 1877 and was completed in December 1878. Its author is the first academically educated Latvian architect Jānis Frīdrihs Baumanis (1834–1891). The church was consecrated on May 16, 1879. The church was built of torn gray boulders. Eaves, corners and cornices are made of red locally made bricks. Next to the church is the Mengden family chapel - a mausoleum (built in 1903). A new iron fence was built around the chapel, on stone poles and on a stone foundation. The money, 2000 rubles, was given for the construction of the fence by Count George Mengden's son Georgy Mengden. On November 9th, 1903, in the presence of Dmitry Muraveisk, a clergyman of the Church of St. Sergey of Radonezh, took the coffin of Count George Mengden's father with ashes from the Lutheran chapel to the chapel of the Orthodox church. Inside it, on the east wall, a marble slab with an inscription was fastened and the symbol "Resurrection" was placed in a special niche.
In der Weißgerbergasse findet sich das größte Nürnberger Ensemble alter Handwerkerhäuser. Überwiegend mit Fachwerk versehen, zeugen die historischen Bürgerhäuser, oft mit eigenem Brunnen und einem Garten, vom Wohlstand, den das Lederhandwerk mit sich brachte - The largest ensemble of old craftsmen's houses in Nuremberg is located on White Tanners' Alley. Mostly half-timbered, these historic town houses, often with their own wells and gardens, bear witness to the prosperity that the leather trade brought with it (Nuremberg, Germany)
Stropkov is an economical, social and cultural centre of north Zemplín. It was established on left bank of river Ondava in beautiful scenery of central part in Ondava uplands. For its origins as an ancient Slovak settlement we have to look back (and many archaeologists and historians agree in this case) before the 13th century. The character of the main square is a proof that Stropkov used to belong to the royal lands and there are also some similarities with the development of another town, called Bardejov.
The first authentic written data about the town is from 1404 (Stropko), when Stropkov was already labeled as oppidum—townlet. German guests and soltys too were obtained with the same privileges as their fellows in Bardejov and other towns. The first owner of the town after the king was Ladislav Svatojursky. The other landlords in order were Balickovci, Perinskovci, Peteovci. In 1408 town's toll and castle—castellum—were mentioned for the first time. The development of the town and its whole economic expansion was supported by the law of thirty and market in 1698 which was strengthened by Leopold I with six annual fairs. Stropkov's manor owned about 51 villages in that time. The existence of a big department, which articles dated back in 1575 was an extraordinary event in the history of Slovakia. In this department many different people were united, for example: jewelers, tailors, butchers, cabinetmakers, saddlers, swordfishes, surgeons (shavers) and shopkeepers. Craftsmen from Stropkov were known not only in their hometown, they were selling their products in markets of towns in regions like Zemplin and Šariš as well.
Welcome to Sleggveien, Slag road. Day workers/labourers, craftsmen, poor peoples, gypsies and others who had no permanent work for the Copper Works and no land to farm lived here. These timber houses were clad with planks and painted as the Swiss style became popular throughout the 17th and 18th centuries. Houses was occupied until 1950s.
Imaging what it was like living in these small houses. Winters here are super cold. Often with temperatures down to -20°C to -30°C in January and February.
During the summer months some of the houses are open to the public.
Since 1999 the museum’s craftsmen have worked on the restoration of the houses in accordance with the principles of antique preservation.
Photo taken with my "poor mans Xpan", Minolta P's. This simple point and shoot is a shitty camera, but I REALLY enjoy using it.
Røros, Norway
Minolta P's
Ilford Delta 100
Dev; Adox Rodinal
Developed and scanned at home
The Bahia Palace, set in extensive gardens, was built in the late 19th century by the Grand Vizier of Marrakesh, Si Ahmed ben Musa (Bou-Ahmed). Bou Ahmed resided here with his four wives, 24 concubines and many children. With a name meaning "brilliance", it was intended to be the greatest palace of its time, designed to capture the essence of Islamic and Moroccan architectural styles. Bou-Ahmed paid special attention to the privacy of the palace in its construction and employed architectural features such as multiple doors which prevented passers-by from seeing into the interior. The palace took seven years to build, with hundreds of craftsmen from Fes working on its wood, carved stucco and zellij.The palace is set in a two-acre (8,000 m²) garden with rooms opening onto courtyards. The palace acquired a reputation as one of the finest in Morocco and was the envy of other wealthy citizens. Upon the death of Bou-Ahmed in 1900, the palace was raided by Sultan Abd al-Aziz.
Painted Gourds made into Folk Art bird houses by local craftsmen in North Carolina, colorful and very cheerful.
The STV St. Lawrence II (Sail Training Vessel) is a 72-foot (22 m) brigantine designed for youth sail training and is operated by a crew of 14- to 19-year-olds. It was designed in 1952 by Francis MacLachlan and Mike Eames, designed for the sole purpose of youth sail training. The hull was built in 1953 in the Kingston, Ontario shipyards, with the rest of the ship finished by local craftsmen, Kingston sea cadets and enthusiastic amateurs. When the St. Lawrence II first started out she was affiliated with the Royal Canadian Sea Cadets Corps St. Lawrence, but eventually her program was opened to any participants ages 12–18 for a summer training cruises. (Wikipedia)
These three men are craftsmen after completing their apprenticeship. In Germany, it has been the custom since the Middle Ages for journeymen to go on a “traveling” journey for 2-3 years after completing their apprenticeship. Today this custom is voluntary; previously, the journeymen were only fully trained after completing this journey. All “Tippel brothers” wear the same outfit, which also includes the wide-brimmed black hat. The photo was taken in Wismar in northern Germany; There was probably a big meeting of journeymen on that day, as hundreds could be seen in Wismar.
Silverware making. Thai craftman are making silverware. The original of the silver craftsmen on Wua Lai road, Chiang Mai. Thailand
When the day has come to change your life and you are finally ready to join the Light Side of the Force - and you can't get the key for your Snowspeeder, because the craftsman has installed the new key rack beyond your reach. Inspired by the current situation at home: craftsmen and renovation work. Makes me want to join the Dark Side of the Force.
Yes. I did it, I went to the toy shop and bought Star Wars Lego. Just for MMs. The Stormtrooper figure is really tiny, just 4,5 cm (1,77165 inches), and the key, a pendant (a present from my brother), is even tinier, 1,5 cm (0,590551 inches).
Size of what you see in the frame: 7,5 x 7,5 cm (2,95276 x 2,95276 inches).
Thank you for your comments and faves, they are highly appreciated!
A Happy Macro Monday, Everyone!
Wenn der Tag gekommen ist, an dem Du Dein Leben ändern und Du Dich endlich der hellen Seite der Macht anschließen möchtest. Und nicht an den Schlüssel für den Snowspeeder kommst, weil der Handwerker das neue Schlüsselbrett zu hoch angebracht hat. Zur Zeit in der Wohnung: Handwerker. Und nein, es läuft nicht direkt nach Plan. Zeit, mich der dunklen Seite der Macht anzuschließen.
Vielen Dank für Eure lieben Kommentare und Faves, über die ich mich stets freue, und einen schönen, sonnigen Montag!
The building was constructed by local craftsmen of handhewn blue granite sourced on the property. The antique pews came from the Royal London Society for the Blind. The chandeliers are hand-crafted wrought iron. A very peaceful place. Carved into one of the granite blocks at the right of the entryway is this:
"BEHOLD, HEAVEN AND THE HEAVEN OF HEAVENS CANNOT CONTAIN THEE; HOW MUCH LESS THIS HOUSE WHICH I HAVE BUILT (2 Chronicles 6:18 KJV)"
The 12th century wooden muqarnas ceiling of the Palatine Chapel in Palermo, Italy, was the work of Muslim craftsmen working under Norman rule.
Uliczka rzemieślników w Norymberdze. Można tu kupić wyroby rzemieślnicze tradycyjne i charakterystyczne dla Norymbergi. /
You can buy there traditional craftsmanship and products typical of Nuremberg
Terrazza Brunelleschiana (third floor).
The dome was built between 1420 and 1436. Filippo Brunelleschi, taking inspiration from the Pantheon in Rome, came up with an innovative engineering solution with the different octagonal shape of concentric inner and outer domes supported by the circular tower instead of the roof itself , which allowed craftsmen to build it from the ground up, without needing a wooden support structure. Over 4 million bricks were used in the construction, all placed in consecutive rings using a vertical zigzag pattern. The final product is 91 m high and 45.5 m wide.
C&C Drum-Kits werden von Bill Cardwell und seinem Team aus Handwerkern und Musikern in Gladstone, Missouri, USA von Hand gefertigt. Dort hat man sich auf die Herstellung von Schlagzeugen mit authentischem Vintage-Sound spezialisiert. Sie stellen ihre Trommeln im eigenen Haus her, von den Rohholzplatten bis hin zu den endgültigen Oberflächen und Kanten. C&C-Schlagzeuge sind aufgrund ihrer handgefertigten Qualität, der Verwendung hauseigener "Gladstone Shells" und des Fokus auf einen hochwertigen Vintage-Sound im oberen Preissegment angesiedelt.😎👌
C&C Drum Kits are handcrafted by Bill Cardwell and his team of craftsmen and musicians in Gladstone, Missouri, USA. They specialize in producing drum kits with an authentic vintage sound, crafting them entirely in-house, from the raw wood shells to the final finishes and edges. Due to their handcrafted quality, the use of their own "Gladstone Shells," and their focus on a premium vintage sound, C&C drum kits are positioned in the higher price range. 😎👌
Built by indigenous craftsmen.
The estate features about 20 single-story rooms, an enclosed plaza and a large enclosed kiva. The entire great house contains 90 ground-floor rooms, 40 second-story rooms, and 5 third-story rooms.
That should accommodate plenty of guests, a real party house.
The church is renowned for its 12th century mosaics executed by craftsmen working in the Byzantine style. The mosaics show many iconographic and formal similarities to the roughly contemporary programs in the Cappella Palatina, in Monreale Cathedral, and in Cefalù Cathedral, although they were probably executed by a distinct atelier.[16]
The walls display two mosaics taken from the original Norman façade, depicting King Roger II, George of Antioch's lord, receiving the crown of Sicily from Jesus, and, on the northern side of the aisle, George himself, at the feet of the Virgin. The depiction of Roger was highly significant in terms of its iconography. In Western Christian tradition, kings were customarily crowned by the Pope or his representatives; however, Roger is shown in Byzantine dress being crowned by Jesus in the Byzantine fashion. Roger was renowned for presenting himself as an emperor during his reign, being addressed as basileus ("king" in koine Greek). The mosaic of the crowning of Roger carries a Latin inscription written in koine Greek characters (Rogerios Rex ΡΟΓΕΡΙΟΣ ΡΗΞ "king Roger").
The nave dome is occupied by the traditional byzantine image of Christ Pantokrator surrounded by the archangel saints: Michael, Gabriel, Raphael, and Uriel. The register below depicts the eight prophets of the Old Testament and, in the pendentives, the four evangelists of the New Testament. The nave vault depicts the Nativity and the Death of the Virgin.
c/o Wikipedia
This splendid parade vessel is extremely impressive to look at and was built by Venetian craftsmen in the Arsenale, probably between the first half and middle of the 18th century during the period of Hapsburg rule. The vessel was used in St. Mark's Basin for festivities, historical and social events in the city. The semicircular stern forms a small platform for a wooden group of sculptures, decorated with gold leaf depicting "the Coronation of Italy by the Venetian Republic"; this was completed after King Vittorio Emanuele II's visit to Venice on 7 November 1866. This historic event is documented by Girolamo Induna's painting, which is preserved in the Museo del Risorgimento in Milan.
The painting depicts the Scalé Reale sailing through St. Mark's Basin; a crowd standing in the Piazzetta and in front of the Doge's Palace is watching the luxurious vessel with its tricolored flags go past. Wearing the Doge's ducal hat, the statue of Venice is standing up and placing a laurel crown on Italy's head (the seated figure), surrounded by a crenellated crown. A small angel is walking in front of the two statues with its arms upwards. Below the stern is an elegant crimson red velvet train that reaches down into the water. The canopy that protects the illustrious guests is completely glazed and support by four Doric columns; a frieze decorated of gold leaf with mock- classical racemes and lions' heads runs down the entire length of the boat. The side of the hull is painted red while the lower part is white. Placed at the bow, the statue of St. Mark's Lion was also made when the King visited Venice. The Savoy coats of arms have been replaced by those of the Italian Navy and can be seen on the bow hull.
The last time this magnificent vessel sailed was in 1959 for the funeral of Pope Pius X, who had been patriarch of Venice and whose funeral was held in the Basilica of St. Mark. He was buried in St. Peter's Basilica in Rome. The Scalé Reale was a source of inspiration for the shape of the eighteen-oar bissona Serenissima, built by the local shipwright Giovanni Giuponi between 1958 and 1965 that we can admire each year during the Regata Storica procession in Venice.
Worpswede, Germany
Worpswede is a municipality in the district of Osterholz, in Lower Saxony, Germany. It is situated in the Teufelsmoor, northeast of Bremen. The small town itself is located near the Weyerberg hill. It has been the home to an artistic community since the end of the 19th century.
The origins of Worpswede date back to the Bronze Age. The first time it was mentioned however was in 1218. Then it belonged to the Prince-Archbishopric of Bremen.
In 1630 it was occupied by Sweden for a short period of time. In 1648 the Prince-Archbishopric was transformed into the Duchy of Bremen, which was first ruled in personal union by the Swedish and from 1715 on by the Hanoverian Crown. However, it took another 120 years (1750) until the colonization of the Teufelsmoor was started by Jürgen Christian Findorff by drainage of the bog. In 1823 the Duchy was abolished and its territory became part of the Stade Region.
Worpswede is famous for its artists' colony, which dates to the last decades of the 19th century.
Today, about 130 artists and craftsmen and women live there permanently; though one should really include most of the inhabitants of Worpswede, since many are artists or have at least to do with any kind of arts. As an example, the owner of the small "Café Vernissage" also displays her paintings in the Café. There are a number of museums on life, art and crafts in Worpswede, such as the Barkenhoff, the Grosse Kunstschau, the Haus im Schluh, Worpsweder Kunsthalle, the Museum am Modersohn-Haus and the Torfschiffswerft Schlussdorf in Worpswede's outskirts
Sighisoara: The Outstanding Citadel of Saxon Transylvania
- During the 12th century, German craftsmen and merchants known as the Transylvanian Saxons were invited to Transylvania by the King of Hungary to settle and defend the frontier of his realm. The chronicler Krauss lists a Saxon settlement in present-day Sighișoara by 1191.The city played an important strategic and commercial role at the edges of Central Europe for several centuries. Sighișoara became one of the most important cities of Transylvania, with artisans from throughout the Holy Roman Empire visiting the settlement. The German artisans and craftsmen dominated the urban economy, as well as building the fortifications protecting it. It is estimated that during the 16th and 17th centuries Sighișoara had as many as 15 guilds and 20 handicraft branches. The Baroque sculptor Elias Nicolai lived in the city. The Wallachian voivode Vlad Dracul (father of Vlad the Impaler (Dracula)), who lived in exile in the town, had coins minted in the city (otherwise coinage was the monopoly of the Hungarian kings in the Kingdom of Hungary) and issued the first document listing the city's Romanian name, Sighișoara.
Thanks for your visit and comments, I appreciate that very much!
Whenever you are down and trouble...
Wake up and fight on...
Whenever you are lost and lonely....
I will be there to help you carry on :-)...
Have a great day and sweet dream tonight :-)..
I will always send you nice sunshine, sweet smile and warm love from Thailand, my Dearest :-)..
Ich liebe dich..I LOVE YOU now and forever...
J-A-S-M-I-N-E..
A little pretty girl in Thailand..
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DATA: www.ancientcity.com/?q=en
The Lan Chang Styled Scripture Repository and Wihan...
The northeastern community, established since the early Buddhist era, has created its own unique artistic style that is different from other types of indigenous architecture. The art became known as the art of Lan Chang.
Muang Boran has constructed this particular scripture repository and wihan in Lan Chang style in order to demonstrate the unique artistic features of Lan Chang art. The extraordinary architectural style and design of the buildings are worth studying. The local architecture is ordinarily made of wood, the material often used by northeastern craftsmen. These architectures can hardly be seen today.
For more information, please visit : www.ancientcity.com/?q=en
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The ancient city (Muang Boran), Samutprakan, Thailand..
***NO INVITES PLEASE***...Thanks so much for your visits and also for any comments and faves. I am so appreciated for all. All your words are nice awards for me. Thank you..thank you :-)..
Norymberga, jedna z uliczek rzemieślniczych. Podoba mi się i w dzień i w nocy :-)) /
Nuremberg, one of the streets craftsmen. I like it during the day and at night
Sony CyberShot DSC-RX 100
Carl Zeiss Vario-Sonnar T* 1.8-4.9/10.4-37.1
The wandering of a journeyman craftsman after completing his journeyman examination is known as the "Walz" or the "Tippelei". The apprentice is "cleared" by the master and goes on the roll. Young craftsmen have been roaming the country since the 12th century to get to know other regions, cultures, but above all new skills in their field.
Modellfiguren von drei Handwerkern
Ägypten, Mittleres Reich, 2150-2050 v.Chr.
Model figures of three craftsmen
Egypt, Middle Kingdom, 2150-2050 BC
This splendid parade vessel is extremely impressive to look at and was built by Venetian craftsmen in the Arsenale, probably between the first half and middle of the 18th century during the period of Hapsburg rule. The vessel was used in St. Mark's Basin for festivities, historical and social events in the city. The semicircular stern forms a small platform for a wooden group of sculptures, decorated with gold leaf depicting "the Coronation of Italy by the Venetian Republic"; this was completed after King Vittorio Emanuele II's visit to Venice on 7 November 1866. This historic event is documented by Girolamo Induna's painting, which is preserved in the Museo del Risorgimento in Milan.
The painting depicts the Scalé Reale sailing through St. Mark's Basin; a crowd standing in the Piazzetta and in front of the Doge's Palace is watching the luxurious vessel with its tricolored flags go past. Wearing the Doge's ducal hat, the statue of Venice is standing up and placing a laurel crown on Italy's head (the seated figure), surrounded by a crenellated crown. A small angel is walking in front of the two statues with its arms upwards. Below the stern is an elegant crimson red velvet train that reaches down into the water. The canopy that protects the illustrious guests is completely glazed and support by four Doric columns; a frieze decorated of gold leaf with mock- classical racemes and lions' heads runs down the entire length of the boat. The side of the hull is painted red while the lower part is white. Placed at the bow, the statue of St. Mark's Lion was also made when the King visited Venice. The Savoy coats of arms have been replaced by those of the Italian Navy and can be seen on the bow hull.
The last time this magnificent vessel sailed was in 1959 for the funeral of Pope Pius X, who had been patriarch of Venice and whose funeral was held in the Basilica of St. Mark. He was buried in St. Peter's Basilica in Rome. The Scalé Reale was a source of inspiration for the shape of the eighteen-oar bissona Serenissima, built by the local shipwright Giovanni Giuponi between 1958 and 1965 that we can admire each year during the Regata Storica procession in Venice.
The Cathedral in Sorrento.
In Romanesque style, it dates back to the fifteenth century. From the same period dates the side portal (1474), in Renaissance style.
The church, among the other works of art, like paintings by artists of the eighteenth century Neapolitan School, keeps the baptistery where Torquato Tasso was christened, restored in 1933. On the ceiling it is possible to admire the paintings by Oronzo Malinconico and Giacomo del Po. The marble archiepiscopal throne dates back to the year 1573. The wooden inlaid choir is a work by craftsmen from Sorrento dating back to the beginning of the twentieth century, to which more recently have been added the 14 inlaid Stations of the Cross by Giovanni Patirzo, the lectern by Giuseppe Centro and Mario d’Alesio and, finally, the tambours of the entrance door by Giuseppe Rocco after a drawing by Vincenzo Stinga.
The Annunciation Cathedral was built by Russian craftsmen in the traditions of Pskov and Moscow architecture on the old basement, preserved from the previous temple. The modern appearance of the cathedral with covered galleries and four aisles at their corners, with a pyramidal silhouette crowned with nine gilded domes, took shape in the 60s of the 16th century.
The walls of the cathedral are dissected by shoulder blades and completed with keel-shaped zakomars, which is typical of early Moscow architecture;
The eastern wall was originally covered by a gallery, so only a modest belt of balusters was placed high on the apses. At first it was terracotta, as on the Church of the Deposition of the Robe, built simultaneously with the Annunciation Cathedral and by the same masters, but in the 19th century it was replaced with a stone one.
The chapels added in the 1560s successfully complement the main volume: their walls are dissected by square flyers and completed with small kokoshniks echoing the zakomaras of the cathedral. The construction of aisles in the Annunciation Cathedral in 1564-1566 fundamentally changed the artistic appearance of the monument, made it sound in a new way in the Cathedral Square ensemble. The Cathedral of the Annunciation has four chapels - small single-domed pillarless churches with thin walls one brick thick. They are erected over the corners of the galleries. Researchers associate the creation of side chapels with the largest events of the Grozny time in the middle of the 16th century - the wedding of Ivan the Terrible, the capture of Kazan, the capture of Polotsk in 1563 (one of the victories in the Livonian War).
Cathedral of the Annunciation.
The well-preserved interiors of the aisles with carved white stone floors and the iconostasis complexes of the 60s of the 16th century make it possible to restore the interiors of these interesting cultural monuments of Rus' during the time of Ivan the Terrible.
Having surrounded the central volume of the building with small detached aisles-churches, the architects of the middle of the 16th century fundamentally changed the original ideological and artistic design of the monument. Having lost the slender silhouette and harmonious balance of the interior and exterior of a small Moscow church of the end of the 15th century, the Annunciation Cathedral acquired the picturesque splendor characteristic of the architectural monuments of the Grozny time, became a kind of monument, representing on Cathedral Square from the Grand Duke's house, emphasizing the significance of the new position of the Moscow sovereign - "Tsar of all Rus'." The nine-domed pyramidal composition brings the Cathedral of the Annunciation closer to the monument to the Kazan victory - the Cathedral of the Intercession on Red Square.
The building of the cathedral stands on a high basement. The basement is an architectural monument of the late 14th century. This is a square room under the central part of the cathedral, built of large white stone blocks. In the center of it is a massive pillar with low arches thrown from it to the walls. An apse adjoins it from the east. Probably, initially the grand ducal treasury was kept in the basement. Since 1989, an archaeological exhibition has been opened in it, the exhibits of which are related to the history of settlement and development of Borovitsky Hill, with unique treasures that were found in the 19th - 20th centuries. on the territory of the Kremlin.
The cathedral is surrounded by galleries on three sides. The architecture of the northern and western front galleries clearly shows the features of the Italian Renaissance. They are covered with cross vaults of beautiful outlines, the pillars bearing them are decorated with panels and crowned with carved white stone capitals, similar capitals adorn the shoulder blades of the walls. The northern and western galleries were used in solemn processions, for the passage of royal processions, the Orthodox guests of the tsar for a reception at the Palace of Facets.
The southern and now lost eastern galleries were erected simultaneously in 1489. The southern porch already then was a separate enclosed space. Probably in the middle of the 16th century. the chapel of Basil of Caesarea was moved here from the deacon. In 1562-1564, the chapel located in the gallery was renovated.
The plan and the northern facade of the Annunciation Cathedral and the Armory (designed by D.V. Ukhtomsky). Section of the Annunciation Cathedral (along the southern gallery and St. George's chapel) and the Armory (designed by D.V. Ukhtomsky). Annunciation Cathedral.
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Благовещенский собор построен русскими мастерами в традициях псковской и московской архитектуры на старом подклете, сохраненном от предшествовавшего храма. Современный облик собора с крытыми галереями и четырьмя приделами на их углах, с пирамидальным силуэтом, увенчанным девятью золочеными куполами, сложился в 60-е годы XVI века.
Стены собора расчленены лопатками и завершены килевидными закомарами, что свойственно раннемосковской архитектуре, ритм закомар повторяют кокошники в основании центральной главы, в аркатурный фриз вписаны узкие щелевидные окна.
Восточную стену первоначально закрывала галерея, поэтому только высоко на апсидах помещен скромный поясок балясин. Сначала он был терракотовым, как на построенной одновременно с Благовещенским собором и теми же мастерами церкви Ризположения, но в XIX веке его заменили на каменный.
Пристроенные в 1560-х годах приделы удачно дополняют основной объем: их стены расчленены квадратными ширинками и завершены небольшими кокошниками перекликающимися с закомарами собора. Строительство приделов в Благовещенском соборе в 1564—1566 годах принципиально изменило художественный облик памятника, заставило его по-новому звучать в ансамбле Соборной площади. Благовещенский собор имеет четыре придела - небольшие одноглавые бесстолпные церковки с тонкими стенами толщиной в один кирпич. Они возведены над углами галерей. Создание приделов исследователи связывают с крупнейшими событиями грозненского времени середины XVI века – венчанием на царство Ивана Грозного, взятием Казани, взятием Полоцка 1563 года (одной из побед в Ливонской войне).
Благовещенский собор.
Хорошо сохранившиеся внутренние помещения приделов с резными белокаменными полами и комплексы иконостасов 60-х годов XVI века позволяют восстановить интерьеры этих интересных памятников культуры Руси времени Иоанна Грозного.
Окружив центральный объем здания небольшими отдельно стоящими приделами-церковками, зодчие середины XVI века принципиально изменили первоначальный идейно-художественный замысел памятника. Утратив стройный силуэт и гармоничное равновесие интерьера и внешнего облика небольшого московского храма конца XV века, Благовещенский собор приобрел живописную парадность, свойственную памятникам архитектуры грозненского времени, стал своеобразным монументом, представительствующим на Соборной площади от великокняжеского дома, подчеркивающим значимость нового положения московского государя — «царя всея Руси». Девятиглавая пирамидальная композиция сближает Благовещенский собор с памятником Казанской победы – Покровским собором на Красной площади.
Здание собора стоит на высоком подклете. Подклет представляет собою памятник архитектуры конца XIV в. Это квадратное в плане помещение под центральной частью собора, выложенное из крупных белокаменных блоков. В центре его массивный столп с перекинутыми от него на стены низкими арками. С востока к нему примыкает апсида. Вероятно, изначально в подклете хранилась великокняжеская казна. С 1989 года в нем открыта археологическая выставка, экспонаты которой связаны с историей заселения и освоения Боровицкого холма, с уникальными кладами, которые были найдены в XIX – XX вв. на территории Кремля.
Собор с трех сторон окружен галереями. В архитектуре северной и западной парадных галерей явно видны черты итальянского Возрождения. Они перекрыты красивыми по очертаниям крестовыми сводами, несущие их столпы украшены филенками и увенчаны резными белокаменными капителями, подобные капители украшают и лопатки стен. Северная и западная галереи использовались в торжественных процессиях, для прохода царских шествий, православных гостей царя на прием в Грановитую палату.
Южная и ныне утраченная восточная галереи были возведены одновременно в 1489 году. Южная паперть уже тогда представляла собой отдельное закрытое помещение. Вероятно, в середине XVI в. сюда из дьяконника был перенесен придел Василия Кесарийского. В 1562-1564 годах придел, расположенный в галерее, был обновлен.
"Corn Hill / Third Ward: Established 1977. The "stuffed shirt" neighborhood just outside downtown where merchants in the early days of the Erie Canal built their homes. The oldest residential area in the city, the Third Ward was for over half a century Rochester's choice residential district. Millers, merchants, craftsmen and professionals built homes soon after the Erie Canal was completed nearby. The district includes examples of most of the residential styles popular during the early and mid 19th century, ranging from worker's cottages and carriage houses to elegant Greek Revival and Italianate mansions." Rochester Historic Preservation