Tradesmen & Craftsmen
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The Roycroft Campus, the Roycroft way of life and its story began in 1897 with Elbert Hubbard a legendary man of vision who founded the American Arts and Crafts Movement in East Aurora NY. For more than 20 years, the Roycroft Campus was a center of entrepreneurship, creativity and learning. It was a hub of activity with over five hundred working artisans and craftsmen and drew visitors from faraway places.
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!
Norymberga, jedna z uliczek rzemieślniczych. W nocy też ładna. /
Nuremberg, one of the streets craftsmen. Beautiful in the night.
Rodemack, one of The Most Beautiful Villages of France, owes its fame to its impressive 15th-century medieval ramparts. What many people don’t know is that much of these fortifications survived thanks to… human neglect!
After the French Revolution, as in many other fortified villages, the inhabitants of Rodemack began dismantling the walls to reuse the stones for their houses. But since the fortress was so vast, they never managed to take it all down. As a result, large sections of the ramparts — nearly 700 meters — remained standing by chance, offering today a rare glimpse into medieval military architecture in Lorraine.
Every year, this story comes back to life during the Rodemack Medieval Festival, when the entire village immerses itself in its past: knights, craftsmen, jugglers, and the scent of mead fill the cobbled streets, beneath the very same stones spared by time.
Please see here another amazing view of this stunning french village :
www.flickr.com/photos/michaelnominat/54895719436/in/datep...
and then they want to be good craftsmen. Then there are people who do it as a passion. They really care about it., and it shows in their photographs :-)
Mike Morse
HGGT! Truth Matters!
Campbell Creek Estuary Natural Area, Anchorage Coastal Wildlife Refuge, Alaska
Garden Tomb, Humayunn's Tomb site, Delhi
Humayun’s Tomb, Delhi, was built in 1570. IT is the first of the grand dynastic mausoleums that were to become synonyms of Mughal architecture with the architectural style reaching its zenith 80 years later with the construction of the Taj Mahal.
Humayun’s Tomb stands within a complex of 21.60 ha. That includes other contemporary, 16th century Mughal garden-tombs such as Nila Gumbad, Isa Khan, Bu Halima, Afsarwala, Barber’s Tomb and the complex where the craftsmen employed for the Building of Humayun’s Tomb stayed, the Arab Serai.
If you like thid picture from my India trip, you can see more at www.flickr.com/photos/chizuka/albums/72157673735932443
❖ Thank you kindly for your visits and comments.
❖ Merci de vos visites et commentaires.
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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".
Craftsmen George, a carpenter/ guitar maker and Charlie, a sheet metal worker ... outside their workshop in Inverclyde
Painted Gourds made into Folk Art bird houses by local craftsmen in North Carolina, colorful and very cheerful.
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)
Arbat Street is a pedestrian street about one kilometer long in the historical centre of Moscow, Russia. The Arbat has existed since at least the 15th century, which makes it one of the oldest surviving streets of the Russian capital; it forms the heart of the Arbat District of Moscow. Originally the street formed part of an important trade-route and was home to a large number of craftsmen.
In the 18th century, the Russian nobility came to regard the Arbat as the most prestigious living area in Moscow. Almost completely destroyed in 1812 by the great fire associated with Napoleon's occupation of Moscow, the street required rebuilding. In the 19th and early 20th centuries it became known as the a place where petty nobility, artists, and academics lived. In the Soviet period, it housed many high-ranking government officials.
In recent times the street and its surroundings have been gentrified and it is considered a desirable place to live. Because of the many historic buildings, and due to the numerous artists who have live and work in the street, the Arbat has also become an important tourist attraction.
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)
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.
Rishton is one of the most famous and oldest centers of ceramics in Uzbekistan. Legend claims that the art is over 800 years old, passed down from generation to generation.
A fine quality reddish-yellow clay deposit 1-1.5 meters deep and 0.5-1.5 meters thick underlies almost the whole Rishton area. The clay can be used without refinement or addition of other types of clay from other regions. Besides clay, the potters of Rishton extracted various dyes, quartz sand, and fire clay from the surrounding the mountains.
The history of producing ceramics here goes back to the seventh century. In the late 19th – early 20th centuries, almost all the population of Rishton were potters. Its clay is suitable for making the whole variety of ceramic goods and the repertoire of ornamental patterns in the Rishton ceramics is one of the richest. Today, over 2000 craftsmen use both traditional techniques and modern machinery to produce over 5 million items per year. The traditional design has a blue-green glaze, called “iskor”. In the 1960s, this technique had almost died out, but has now recovered, thanks to the efforts of the artisans themselves.
Main languages spoken in this area are Tajik and Uzbek.
Claustro de San Fernando, Siglo XIII.
Detalle de un fragmento bien conservado de las yeserías mudéjares que adornan las bóvedas, conocido como de los pavos reales.
Aunque se han perdido en buena parte, los restos conservados son de gran importancia pues presentan formas muy variadas de derivación almohade combinando lacerías mixtilíneas, ataurique (ornamento vegetal característico del arte islámico), y epigrafía en caracteres cúficos (considerada primera caligrafía árabe).
Todo ello se talló sobre material aún blando, según la técnica almohade anterior al empleo de moldes, tan frecuente en las yeserías nazaríes posteriores.
Son obra de artífices traídos de Sevilla por Fernando III el Santo, después de la conquista de esa ciudad, y se terminaron con anterioridad al año 1260.
La riqueza y calidad de estas decoraciones, las hacen destacar entre las obras de yeso hispano-musulmanas.
Cloister of San Fernando, 13th century.
Detail of a well-preserved fragment of the Mudejar plasterwork that adorns the vaults, known as peacocks.
Although they have been largely lost, the preserved remains are of great importance as they present very varied forms of Almohad derivation combining mixtilinear lacework, ataurique (vegetable ornament characteristic of Islamic art), and epigraphy in Kufic characters (considered the first Arabic calligraphy).
All of this was carved on still soft material, according to the Almohad technique prior to the use of molds, so common in later Nasrid plasterwork.
They are the work of craftsmen brought from Seville by Ferdinand III the Saint, after the conquest of that city, and were completed before the year 1260.
The richness and quality of these decorations make them stand out among the Hispanic-Muslim plaster works.
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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.
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
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
The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome.
The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna. This may be the only substantial passage of secular Byzantine mosaic extant today.
c/o Wikipedia
A view of the city of Ulm’s old quarter Fischerviertel (in English: "Fishermen’s Quarter") with the Blau Stream, Swabia, Baden-Württemberg
Some background information:
The Fischerviertel is a historic craftsmen’s district along the Blau Stream in the city of Ulm. In the past, fishermen, tanners, boatmen, and leather workers both worked and lived here. Most of the picturesque half-timbered houses date from the 15th to the 17th century. The Blau Stream flows through the quarter and joins the River Danube at its edge.
Ulm is the sixth-largest city of the southwestern German state of Baden-Württemberg. It has more than 130,000 inhabitants. Ulm is located on the eastern edges of the Swabian Jura mountain range, on the upper course of the River Danube, at its confluence with the small Blau Stream. The mouth of the Iller river also falls within Ulm's city limits. The Danube forms the border with Bavaria, where Ulm's twin city Neu-Ulm lies.
In 854, Ulm was first mentioned in a document, which was signed by King Louis the German in the King's palace of "Hulma" in the Duchy of Swabia. The extinction of the Salian dynasty led to conflicts over the imperial estates inherited from them, as a result of which the area surrounding Ulm was burned down in 1131. In 1134, the entire city was also destroyed by fire. But from 1140 onward, the city was rebuilt under the Hohenstaufen dynasty.
In 1181, Um was declared an Imperial City by Emperor Friedrich Barbarossa. At first, Ulm was mainly significant due to the privilege of being a so-called "Königspfalz", a place of accommodation for the medieval German kings and emperors on their frequent travels. With the end of Hohenstaufen rule, Ulm managed to retain its status as a royal city and subsequently, it also became a city of traders and craftsmen.
In the 14th century, the city’s area quadrupled to 66.5 hectares, a size it would retain until the 19th century. This expansion was accompanied by the reconstruction and strengthening of the city’s fortifications, which may have been connected to an unsuccessful attack by Louis the Bavarian in 1316. Under the leadership of Ulm, the Swabian League of Cities was founded in 1376 as an alliance of 14 Swabian imperial cities.
In 1377, construction of the Ulm Minster began because the old church was located outside the city walls, preventing residents from attending church during a siege by Emperor Charles IV shortly beforehand. In the mid-15th century, Ulm developed into one of the most important centers of art in southern Germany. Works of art produced in Ulm – particularly elaborately crafted sculptures and winged altarpieces – became highly successful exports far beyond the city’s borders and were traded as far afield as Vienna and the Netherlands.
In 1480, a new city wall was built right in the middle of the "raging river". In 1527, the medieval wall was then remodeled according to Albrecht Dürer’s treatise on fortifications by the Nuremberg master builder Hans Beham the Elder. In 1530, during the Reformation, Ulm became Protestant. With the establishment of new trade routes following the discovery of the New World and the outbreak and consequences of the Thirty Years' War, the city began to decline gradually. During the War of the Spanish Succession (1701 to 1714), it was alternately invaded several times by French and Bavarian soldiers.
In the wars following the French Revolution, the city was occupied by French and Austrian forces, with the former ones destroying the city fortifications. In 1803, it lost the status of Imperial City and was absorbed into Bavaria. During the campaign of 1805, Napoleon managed to trap the invading Austrian army of General Mack and forced it to surrender in the Battle of Ulm. In 1810, Ulm was incorporated into the Kingdom of Württemberg, but at the same time lost its districts on the other bank of the Danube, which came to be known as Neu-Ulm.
In the mid-19th century, the city was designated a fortress of the German Confederation with huge military construction works directed primarily against the threat of a French invasion. In the second hlaf of the 19th century, the city became an important centre of industrialisation in southern Germany. The construction of the huge minster, which had been interrupted in the 16th century for economic reasons, was resumed and eventually finished in 1891 in a wave of German national enthusiasm for the Middle Ages.
During the Nazi era, a concentration camp primarily for political opponents of the regime was established on the Kuhberg, one of the hills surrounding Ulm. In December 1944, an RAF bombing raid against Ulm hit the two large lorry factories of the companes Magirus-Deutz and Kässbohrer, as well as other industries, barracks, and depots in Ulm. The Gallwitz Barracks and several military hospitals were among 14 Wehrmacht establishments destroyed. However, the raid also killed 707 Ulm inhabitants and left 25,000 homeless. After all the bombings, over 80% of the medieval city centre lay in ruins.
In the following decades, most parts of the historic old town have been restored. Particularly since the 1980s, the transition from classical industry towards the high-tech sector has accelerated, with the establishment of research centres of companies like Daimler, Siemens and Nokia and a number of small applied research institutes near the university campus. Today, the city is still growing and seems to benefit from its central position between the much larger cities of Stuttgart and Munich.
Its main sights are the Fischerviertel and the Gothic Ulm Minster. The latter is still the second-tallest church building in the world and was the tallest for 135 years. Only in 2025, its tower was surpassed by the then still unfinished Tower of Jesus Christ of the Sagrada Família in Barcelona. However, the Tower of Jesus Christ has no bells, meaning that the tower of Ulm Minster remains the tallest bell tower in the world.
The First document about the settlement from Fagaras dates back to year 1291. Traces of human life materials found in these parts are much older. The document of 1291, the first attestation of Fagaras was a record in which Ugrinus as a magistrate asked the king to return these lands to the Romanians, recognizing that the Romanians themselves had been in possession of the great feud. The document itself and the archaeological finds can certainly support the existence of the feudal settlement of Fagaras before 1291.
Along with land cultivation, animal husbandry and handicrafts prevalent throughout the peasant household, in the borough Fagaras developed specialized crafts and commerce. Craftsmen come to organize in guilds. The earliest document of a guild in Fagaras is dated as being from around 1590, when Mary Christierna gave privileges to the shoemaker’s guild. The Tanners Guild experienced the strongest growth, its products reaching fame and a large sale. The Tanners" Street still preserves the memory of this craft.
Brighton Pavilion
4/5 Pavilion Buildings, Brighton and Hove, BRIGHTON BN1 1EE
Brighton Pavilion is a Grade 1 listed building and a former Royal residence in Brighton, East Sussex.
The building heavily influenced by Indian architecture of the 19th century was designed and built by the famous architect John Nash. The work started in 1787 and was the brainchild of the future King to be George IV. The building was eventually completed in 1823 but had many additions to the original domicile and other master architects and craftsmen.
It fell out favour after George IV’s death in 1830 and went through some very lean years. However in the1950’s Queen Elizabeth permanently loaned the City Council well over 100 items of furniture and other antiquities. The Council then kick started a long period of restoration. For example restoring rooms and walls and making replicas of furniture etc., to bring the building back to life as it is now.
A fantastic experience for those who visit.
The Royal Ontario Museum describes this as part of its full-scale reconstruction of an imperial Chinese palace hall: a Qing Dynasty–style section with bright, symbolic colours (red-painted architectural elements and yellow glazed roof tiles), including painted bracket clusters (dougong) and ornamental roof decoration such as dragon figures—built using traditional wooden-architecture methods so the columns carry the roof without load-bearing walls. Wikipedia
en.wikipedia.org/wiki/Royal_Ontario_Museum
The Royal Ontario Museum (ROM) is a museum of art, world culture and natural history in Toronto, Ontario, Canada. It is one of the largest museums in North America and the largest museum[2] in Canada. It attracts more than one million visitors every year, making it the most-visited museum in Canada.[3] The 74,000-square-metre (800,000-square-foot) [4] museum building is located north of Queen's Park, in the University district, with its main entrance on Bloor Street West. Museum subway station is named after it and, since a 2008 renovation, is decorated to resemble the ROM's collection at the platform level; Museum station's northwestern entrance directly serves the museum.
en.wikipedia.org/wiki/Imperial_Palace_Hall_Reconstruction
The Imperial Palace Hall Reconstruction in the Royal Ontario Museum is a full-scale model of a section of a 17th-century Chinese Imperial Palace building in Beijing’s Forbidden City. The hall was built in 2005 at the Beijing Ancient Architecture Museum in Beijing and transported in pieces to the museum in Toronto where it was reconstructed in the Gallery. This object is a center piece to the Chinese Galleries and is used by many to illustrate to the detailed work of craftsmen during the Qing Dynasty (1644-1912).
The bright colors, carvings and terra cotta tiles are all reflective of the Qing Dynasty. The architecture of this time period is filled with symbolism, as with most eras in Chinese architecture. Traditionally, wooden buildings were a place for the living to use while stone construction was used to house the dead (see ROM's Ming Tomb). The hall was built using the traditional methods and materials of Ancient Chinese wooden architecture.[1] The original palace is 5 bays wide and 4 bays deep. A "bay" is the space between each large support column. This unique construction allows for the columns to support the weight of the roof without the need for any load bearing walls.
Architectural features of note are the dougong, which are the brightly painted bracket clusters supporting the tile roof, which were carved using traditional methods. The glazed roof tiles and dragon figures are representative of temple decoration.
Toronto 2026
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
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.
Kyiv. A view from the Starokyivska Hill.
Gonchary-Kozhemyaki - a tract in the Shevchenkovsky and Podolsky districts of the center of Kyiv, on the territory of which there is a microdistrict with new low-rise buildings.
Pottery is a historical area. Located along Goncharnaya street. It has been known since the time of Kievan Rus as a settlement of artisan potters (their workshops existed here until the beginning of the 19th century). On Kozhemyaki, between Starokievskaya and Zamkova Gora, lived tanners who were part of the Brotherhood of Craftsmen in their entire shop.
Immortalized in an ancient legend about Cyril (Nikita) Kozhemyaku, who saved the people of Kiev from death in a duel with a cannibal snake.
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.
Cette église est dédiée à saint Maur (patron des charbonniers) et fut édifiée entre le XIVe et le XVIe siècle.
Sa construction, sur les ruines d’une 1re église, débuta en 1301, par les habitants qui louent les services d’architectes et de maîtres artisans de tous métiers. Tous mettent la main à la pâte y compris les enfants. Des impôts spéciaux avec dons d’argent, en biens immobiliers, en rentes ont aidé à financer les travaux. On compte 88 gros legs sans compter la multitude de prestations et de journées de travail fournies par les petits gens tant la Foi était grande à cette époque. L’église fut ouverte au culte 43 ans après le début de sa construction et subira de nombreuses transformations.
A l’entrée se situe un tympan remarquable qui lui date de l’église primitive ; tympan sculpté qui date de la seconde moitié du XIIe. Il représente la seconde Parousie du Christ (apparition du Christ) juste avant le Jugement Dernier dont l’imminence relève de la présence de 2 anges sonnant de la trompette et par les ressuscités qui soulèvent le couvercle de leur tombeau.
Une fois le tympan franchi, s’ouvre la nef centrale gothique avec une distribution de 4 chapelles dédiées à gauche et à droite ; cet ensemble très coloré entièrement rénové à l’identique.
This church is dedicated to Saint Maur (patron saint of charcoal burners) and was built between the 14th and 16th centuries.
Its construction, on the ruins of a first church, began in 1301, by the inhabitants who hired the services of architects and master craftsmen of all trades. Everyone pitches in, including the children. Special taxes with donations of money, real estate, annuities helped finance the work. There are 88 large legacies without counting the multitude of services and days of work provided by the little people so great was the Faith at that time. The church was opened for worship 43 years after the start of its construction and will undergo many transformations.
At the entrance is a remarkable tympanum which dates from the primitive church; sculpted tympanum dating from the second half of the 12th century. It represents the second Parousia of Christ (appearance of Christ) just before the Last Judgment, the imminence of which is due to the presence of 2 angels sounding the trumpet and by the resurrected who lift the lid of their tomb.
Once the tympanum is crossed, the Gothic central nave opens with a distribution of 4 dedicated chapels on the left and on the right; this very colorful set completely renovated identically.
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
Giotto's Campanile is a free-standing campanile (bell tower) that is part of the complex of buildings that make up Florence Cathedral on the Piazza del Duomo in Florence, Italy.
Standing adjacent to the Basilica of Santa Maria del Fiore and the Baptistry of St. John, the tower is one of the showpieces of Florentine Gothic architecture with its design by Giotto, its rich sculptural decorations and its polychrome marble encrustations.
The slender structure is square in plan with 14.45 metre sides. It is 84.7 metres tall and has polygonal buttresses at each corner. The tower is divided horizontally into five stages.
On the death of Arnolfo di Cambio in 1302, the first Master of the Works of the Cathedral, and after an interruption of more than thirty years, the celebrated painter Giotto di Bondone was nominated as his successor in 1334. At that time he was 67 years old. Giotto concentrated his energy on the design and construction of a campanile for the cathedral. He had become an eminent architect, thanks to the growing autonomy of the architect-designer in relation to the craftsmen since the first half of the 13th century. The first stone was laid on 19 July 1334. His design was in harmony with the polychromy of the cathedral, as applied by Arnolfo di Cambio, giving the tower a view as if it were painted. In his design, he also applied chiaroscuro and some form of perspective instead of a strict linear drawing of the campanile. And instead of a filigree skeleton of a gothic building, he applied a surface of coloured marble in geometric patterns.
When he died in 1337, he had only finished the lower floor with its marble external revetment: geometric patterns of white marble from Carrara, green marble from Prato and red marble from Siena. This lower floor is decorated on three sides with bas-reliefs in hexagonal panels, seven on each side. When the entrance door was enlarged in 1348, two panels were moved to the empty northern side and only much later, five more panels were commissioned from Luca della Robbia in 1437. The number "seven" has a special meaning in Biblical sense: it symbolizes human perfectibility.
It is difficult to attribute artistic paternity to these panels. Some may be by Giotto himself, the others by Andrea Pisano (or their workshops).
Through this work, Giotto has become, together with Brunelleschi (dome of the cathedral of Florence) and Alberti (with his treatise De re aedificatoria, 1450), one of the founding fathers of Italian Renaissance architecture.
Giotto was succeeded as Master of the Works in 1343 by Andrea Pisano, famous already for the South Doors of the Baptistery. He continued the construction of the bell tower, scrupulously following Giotto's design. He added, above the lower level of Giotto, a second fascia, this time decorated with lozenge-shaped panels (1347–1341). He built two more levels, with four niches on each side and each level, but the second row of niches are empty. Construction came to a halt in 1348, year of the disastrous Black Death.
Pisano was replaced in his turn by Francesco Talenti who built the top three levels, with the large windows, completing the bell tower in 1359. He did not build the spire designed by Giotto, thus lowering the designed height of 122 metres to 84.7 metres. The top, with its scenic panorama of Florence and the surrounding hills, can be reached by climbing 414 steps.
This intrigued me...not much protection in battle...Today, repurposed for jewelry and some costumes seen at Renaissance Faires...I liked the scarred face "model" which seemed realistic for those times...
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 Taj Mahl "crown of palaces",is a white marble mausoleum located in Agra, Uttar Pradesh, India. It was built by Mughal emperor Shah Jahan in memory of his third wife, Mumtaz Mahal. The Taj Mahal is widely recognized as "the jewel of Muslim art in India and one of the universally admired masterpieces of the world's heritage".
Taj Mahal is regarded by many as the finest example of Mughal architecture, a style that combines elements from Persian and Indian architectural styles.
In 1983, the Taj Mahal became a UNESCO World Heritage Site. While the white domed marble mausoleum is the most familiar component of the Taj Mahal, it is actually an integrated complex of structures. The construction began around 1632 and was completed around 1653, employing thousands of artisans and craftsmen. The construction of the Taj Mahal was entrusted to a board of architects under imperial supervision, including Abd ul-Karim Ma'mur Khan, Makramat Khan, and Ustad Ahmad Lahauri. Lahauri is generally considered to be the principal designer.
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 :-)..
The Royal Ontario Museum describes this as part of its full-scale reconstruction of an imperial Chinese palace hall: a Qing Dynasty–style section with bright, symbolic colours (red-painted architectural elements and yellow glazed roof tiles), including painted bracket clusters (dougong) and ornamental roof decoration such as dragon figures—built using traditional wooden-architecture methods so the columns carry the roof without load-bearing walls. Wikipedia
en.wikipedia.org/wiki/Royal_Ontario_Museum
The Royal Ontario Museum (ROM) is a museum of art, world culture and natural history in Toronto, Ontario, Canada. It is one of the largest museums in North America and the largest museum[2] in Canada. It attracts more than one million visitors every year, making it the most-visited museum in Canada.[3] The 74,000-square-metre (800,000-square-foot) [4] museum building is located north of Queen's Park, in the University district, with its main entrance on Bloor Street West. Museum subway station is named after it and, since a 2008 renovation, is decorated to resemble the ROM's collection at the platform level; Museum station's northwestern entrance directly serves the museum.
en.wikipedia.org/wiki/Imperial_Palace_Hall_Reconstruction
The Imperial Palace Hall Reconstruction in the Royal Ontario Museum is a full-scale model of a section of a 17th-century Chinese Imperial Palace building in Beijing’s Forbidden City. The hall was built in 2005 at the Beijing Ancient Architecture Museum in Beijing and transported in pieces to the museum in Toronto where it was reconstructed in the Gallery. This object is a center piece to the Chinese Galleries and is used by many to illustrate to the detailed work of craftsmen during the Qing Dynasty (1644-1912).
The bright colors, carvings and terra cotta tiles are all reflective of the Qing Dynasty. The architecture of this time period is filled with symbolism, as with most eras in Chinese architecture. Traditionally, wooden buildings were a place for the living to use while stone construction was used to house the dead (see ROM's Ming Tomb). The hall was built using the traditional methods and materials of Ancient Chinese wooden architecture.[1] The original palace is 5 bays wide and 4 bays deep. A "bay" is the space between each large support column. This unique construction allows for the columns to support the weight of the roof without the need for any load bearing walls.
Architectural features of note are the dougong, which are the brightly painted bracket clusters supporting the tile roof, which were carved using traditional methods. The glazed roof tiles and dragon figures are representative of temple decoration.
Toronto 2026