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A small wooden image of San Vicente Ferrer, for home devotion. About a foot tall. From the Francisco Vecin Workshop in Makati City.
Leticia Ferrer is a renown embroidery artist from the Mazahua village of San Felipe Santiago in the state of Mexico. She poses here in front of her work at the Expo-Venta sponsored by the Museo Textil de Oaxaca.
German postcard by Kunst und Film Verlag H. Lukow, Hannover, no. L2/1042. Caption: Filmschauspieler aus aller Welt (Film actors from around the world).
From top left to down right: Linda Darnell, Tyrone Power, Elizabeth Taylor, Robert Taylor and his wife Ursula Thiess, Gina Lollobrigida and her husband Milko Skofic, Audrey Hepburn and Mel Ferrer, Mona Baptiste, Mara Lane and Gloria DeHaven.
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French postcard by Publistar / Riviera, no. 1426. Photo: Gérard Bousquet.
French-Italian singer, jazz musician and actor Nino Ferrer (1934-1998) was an immensely popular pop star during the second half of the 1960s. 'L'homme a tout faire' (The Jack of all Trades) also appeared in seven films.
Nino Ferrer was born Nino Agostino Arturo Maria Ferrari in Genoa, Italy, in 1934. He had an Italian father and a French mother. A considerable part of his preteen years was spent under the stress of World War II, but Nino himself later declared having had a pleasant childhood in a bourgeois, art-loving family. His father worked as an engineer in a nickel mine in New Caledonia. On holiday in France in 1939, Nino and his mother were unable to leave Europe because of the World War II. While his father carried on working in New Caledonia, they spent difficult years stuck and penniless in Italy, where Nino’s mother was considered the wife of an enemy. In 1947, the family, re-united and moved to France. Nino was sent to the best colleges in Paris and earned a degree in ethnology and prehistoric archaeology. As a student, much of his free time was spent on archaeological digs and his first job was at the Musée de l'Homme with André Leroi-Gourhan. Alongside his passion for history, he developed numerous other interests. He became a keen painter, and remained so until his death. Above all, he learned to play several instruments (piano, guitar, clarinet, trombone and trumpet) and composed, wrote lyrics and became a fervent jazz lover. When he finished his studies, his grandmother offered him a trip to New Caledonia, a gift he took advantage of by going around the world on a cargo ship. On his return to Paris, he tried several jobs. Starting out as a hired hand in the capital's jazz circles, he was employed by bandleader Richard Bennett and later worked for American singer Nancy Holloway. He also continued to write gospel-inspired songs which received only refusals from most of the record companies. Hearing Otis Redding and Sam Cooke for the first time was a musical revelation and transformed his writing style. Although already spotted by the Barclay record label, he had to wait until 1963 to record his first release, Pour oublier qu’on s’est aimé. He was 29, whereas most of the young stars of the time were hardly 20. It was a four-track EP, written in a fairly classical vein, and did not sell well in France. However, one of the tracks, C'est Irréparable, was a hit in some European countries, in Japan and even in the Middle East. The song was picked up by Italian Mina as Un anno d'amore, hitting #1 of the Italian singles chart. Having left Barclay for a small label, Bel Air, Nino Ferrer was still unknown in France. In 1964, he started a gospel group, Reverend Nino and the Jubilees, but it broke up before recording anything worth being released. He had small parts in two policiers starring hard-boiled Eddie Constantine, Laissez tirer les tireurs/Let the Marksman Fire (1964, Guy Lefranc) and Ces dames s'en mêlent/These ladies get involved in it (1965, Raoul André), and he also went on to bring out several solo singles, but all without any success.
After so many lean years, Nino Ferrer’s big break came unexpectedly in 1965 when he returned to Barclay, who gave him the chance to record his new material. After a few unsuccessful trials, a new artistic director, Richard Bennett, gave Nino free rein to record his compositions as he wanted. And so Nino Ferrer recorded Mirza, an effective cocktail of rhythm ‘n’ blues and caustic lyrics. The song was immediately a huge hit. His record company called for more songs in the same vein. His records sold very well and overnight the he became an idol. Now the zany singer in vogue, he followed Mirza up with Les Cornichons and Oh! Hé! Hein! Bon. Although he was now very popular, his success was founded on material with which he never felt really comfortable. Nevertheless, hit followed hit and he lived his new life as a star at breakneck rhythm. In 1966, he gave 195 live performances and made nearly thirty TV appearances. As an actor he appeared in the TV film Palpitations (1966, Marcel Moussy). He soon grew tired of his deliberately blasé and provocative seducer image of which people compared to Jacques Dutronc. In 1966 he released Le Téléfon, another hit to which people are still dancing years later. He left Paris for Italy where, at the same time, his song Je veux être noir, was a success of an entirely different kind. Smothered by his own success, Nino stayed about three years in Italy, from 1967 to 1970. In France, his releases continued to sell well. His lyrics became increasingly iconoclastic, even politicized, while remaining just as sarcastic or even cynical. In 1967, he brought out Mao et Moa and Mon copain Bismarck and in 1968, le Roi d’Angleterre, with biting lyrics echoing his irritation with show business and society in general. Around this time, Nino hired a young organist from Cameroon, Manu Dibango, later to become famous as a saxophonist. In Italy, Nino became notorious in 1969 as the presenter of the satirical TV variety show, Io, Agata e tu with Raffaella Carrà (famed for the disco smash A Far l'Amore Comincia Tu (1977)). He also played in three films: the Canadian TV film L'homme qui venait du Cher (1969, Maurice Dumay) with Eddy Mitchell, the French production Delphine (1969, Eric Le Hung) starring Dany Carrel, and the French-Italian drama Un été sauvage/A Savage Summer (1970, Marcel Camus) with Juliet Berto, and he also composed the soundtrack of the Belgian-French film Il pleut dans ma maison/It Rains in my House (1969, Pierre Laroche). Then, after a brief love affair with Brigitte Bardot, he decided to return to France in 1970.
Determined now to conduct his career as he alone saw fit, Nino Ferrer took up residence in the South West of France and began breeding horses. But music remained his first love and his meeting with Englishman Mickey Finn, a guitarist who had played with T.Rex, Eric Clapton and the Rolling Stones, changed his attitude towards his work. With Finn, Nino launched into rock music and began to write darker, more personal lyrics. 1972 saw the release of the Métronomie album, considered by Ferrer to be his first ‘real’ album. Very much in the style of the time, the album was conceived as an ‘experience’, with the music accompanied by sound effects, but included a new version of his very first release, Pour oublier qu’on s’est aimé. However, it was not the album which sold but one of its tracks, La Maison près de la fontaine. Very different from the rest of the album, the single sold more than 500,000 copies. Yet again, the red carpet was unrolled for Nino which only redoubled his contempt for show business. In 1973 he found an ally in guitarist Mickey Finn. Together they started the group Leggs, who would accompany Ferrer on several albums from this point onward. On these he would switch directions many times: from rock & roll to gospel and from prog rock to laid-back funk. The latter style made up most of Nino and Radiah (1974), which included another fruitful Estardy collaboration in the song Ferrer is best remembered for in France: Le Sud. It became one of Ferrer’s biggest hits, selling over a million copies. However, once again, the success of one track had overshadowed all the hard work on the rest of the album. The following year, he brought out Suite en œuf, a commercial flop. The same was true of Véritables vérités verdâtres, (1977) and which marked his departure from CBS. The success of Le Sud nevertheless enabled Ferrer to buy a 15th century fortress at Lataillade, where he installed a recording studio and continued raising horses and painting. In 1978, he married Jacqueline Monestier, known as Kinou. Now without a record company, Ferrer released each new album on a different label. In 1979, he brought out Blanat on a small independent label, Free Bird. This gospel inspired, even jazz orientated album had again both English and French lyrics. The same year, Ferrer met Jacques Higelin, and went on tour with him. The rock singer’s crazy imagination and powerful personality seduced Ferrer and encouraged him to perform live again, a practice he had abandoned a long time before.
1981 was a year both of return and departure for Nino Ferrer. He brought out another rock and roll album in the Leggs vein, Rock ‘n’ roll cowboy, and sang at l’Olympia, the most prestigious of the Paris music venues. Yet, that same year, Ferrer slammed the door on show business definitively. Nevertheless, he appeared the following year in a stage musical for children, L’Arche de Noé, at the Théâtre de l’Unité in Paris. Composer of the music, he also played God in this moderately successful show. He both composed the soundtrack and co-starred in the surreal, dreamlike horror film Litan (1982, Jean-Pierre Mocky) with Marie-José Nat, but it was to be his last film appearance. From the end of 1984 until 1986, Ferrer totally disappeared from the cultural scene. He retired to his castle where he painted, had several exhibitions and brought up his two sons, Pierre and Arthur. Nevertheless, he recorded an album in 1986, soberly entitled, 13ème album, and whose release went almost unnoticed. It was on the new FNAC label that Ferrer made his come-back in 1993. That year, he released an album of entirely original material, recorded for the most part at Lataillade. The sleeve and the lyrics were illustrated by the singer’s own paintings. Co-written with Mickey Finn, the album, as its title La Désabusion (a play on the words désabuser and illusion) suggests, marked only a half-hearted, morose return. For around two years after La Désabusion, Ferrer popped up in the news here and there. In 1994, he had an exhibition in Paris, published a collection of his writings and continued to promote the album. Then, from April to June 1995, he went on tour for the first time in years, with his faithful group, the Leggs. He was a guest at the Francofolies festival in la Rochelle in July. Also that year, he released a small ten-track album of original material recorded at home. A genuine family effort, recorded between 1987 and 1992, it includes versions of old hits such as Mirza and Le Sud, traditional folk songs, all of them sung by his wife Kinou, his son Arthur, Mickey Finn and other musicians. There followed another period of silence spent in the company of family and friends and helping Arthur, now a student like his brother, to prepare a début album. In 1998, his mother Mounette’s death left a vacuum in his life. A month later, Ferrer shot himself in the heart in the middle of a cornfield a few kilometers from his home, two days before his 64th birthday. The anonymous biographer at English Wikipedia concludes: “An unpredictable, moody character, Ferrer refused artistic compromise and therefore compromised his career. Nevertheless, with songs as different as Les Cornichons and Le Sud, he left behind several indelible traces in French musical heritage, not forgetting numerous songs now hardly known.” But his songs can be heard on the soundtracks of some popular films. His song C'est irreparable can be heard in Pedro Almodovar’s comedy-drama Tacones lejanos/High Heels (1991) and in Bernardo Bertolucci’s The Dreamers (2003) while Les Cornichons is featured on the soundtrack of the romantic comedy J'me sens pas belle/Tell Me I’m Pretty (2004, Bernard Jeanjean).
Sources: Nino Ferrer.com, Quint Kik (AllMusic), Wikipedia and IMDb.
David Ferrer Ern (born April 2, 1982 in Xàbia, Alicante, Spain) is a Spanish professional tennis player who lives in Valencia, Spain who is currently #6 in the ATP Rankings and the second-highest ranked Spaniard behind World No. 1 Rafael Nadal. He turned professional in 2000. Ferrer is known as a clay court specialist, although he has had success on hard courts as well, as evidenced by his semi-final appearances at the 2007 US Open and 2011 Australian Open. He was part of the Spain Davis Cup team that won the finals in 2008 and 2009. He was also runner-up at the Tennis Masters Cup in 2007.[1] He first achieved a top–10 ranking in 2006 and reached a career high ranking of No. 4
2011
Ferrer began his 2011 ATP World Tour season at the 2011 Heineken Open, where he was the No. 1 seed. Due to his seeding, he received a bye into the second round and defeated Tobias Kamke 3–6, 7–6(1), 6–4 and then defeated Philipp Kohlschreiber 6–3, 6–7(4), 6–3 to advance to the semifinals and then defeated Santiago Giraldo 6–3, 7–5 for a berth in the finals where he played David Nalbandian. In the finals, Ferrer defeated Nalbandian 6–3, 6–2 for his first title of the year and the tenth in his career.
Ferrer then traveled to Melbourne to play in the 2011 Australian Open, where he was seeded No. 7. In the first round, he defeated Jarkko Nieminen 6–4, 6–3, 1–6, 6–2 and next defeated Michael Russell 6–0, 6–1. 7–5 in the second round. He then defeated Richard Berankis 6–2, 6–2, 6–1 for a spot in the Round of 16 where he then defeated Milos Raonic 4–6, 6–2, 6–3, 6–4 for a spot in his second Australian Open quarter-final. He beat a slightly injured World No. 1 Rafael Nadal for a spot in the semi-finals, winning in three sets: 6–4, 6–2, 6–3. This notably ended Nadal's quest to win four straight majors. He lost to fifth seed Andy Murray 6–4, 6–7(2), 1–6, 6–7(2) in the semi-final. With his run to the semifinals of the Australian Open, his ranking rose to world no. 6.
Ferrer then traveled to Rotterdam to play in the 2011 ABN AMRO World Tennis Tournament, where he was seeded no. 3, but lost in the first round to Jarkko Nieminen 3–6, 4–6. Next, Ferrer traveled to Acapulco for the 2011 Abierto Mexicano Telcel, where he was the top seed and defending champion. In the first round, he defeated Adrian Ungur 6–1, 6–3 and then defeated Santiago González 6–2, 6–2 in the second round. In the quarterfinals, he then defeated Juan Monaco 2–6, 7–5, 6–2 and then defeated Alexandr Dolgopolov 5–7, 6–1, 6–1 in the semifinals to advance to his second consecutive final at the Abierto Mexicano Telcel. He defeated compatriot Nicolas Almagro 7–6(4), 6–7(2), 6–2 for his second consecutive title in Acapulco and his eleventh career title overall.
Ferrer then traveled to Indian Wells to play in the 2011 BNP Paribas Open, where he was seeded no. 6. Due to his seeding, he received a bye into the second, where he lost to the big serving Ivo Karlovic 6–7(3), 3–6. Ferrer then travelled to Miami to play in the 2011 Sony Ericsson Open where he will be seeded no. 6. Due to his seeding, he received a bye into the second round, where he defeated qualifier Igor Kunitsyn 6–2, 6–1 for a spot in the third round. In the third round, he defeated Somdev Devvarman 6–4, 6–2, and then defeated Marcel Granollers for a spot in the quarterfinals. However in the quarterfinals, he fell to Mardy Fish 5–7, 2–6, and later said it was due to indigestion problems.
Ferrer then traveled to Europe to begin the clay court season. His first tournament was the 2011 Monte-Carlo Rolex Masters, where he was seeded No. 4. Due to his seeding, he received a bye into the second round, where he defeated fellow Spaniard Feliciano Lopez 6–2, 6–0. In the third round, he defeated Milos Raonic 6–1, 6–3 and then defeated Viktor Troicki for a spot in his second consecutive Monte Carlo semifinal. He dominated Jurgen Melzer in the semi finals 6–3, 6–2 to advance to his second Masters 1000 final, where he ultimately fell to Rafael Nadal 4-6, 5-7.
Ferrer then traveled back to Spain to play in the 2011 Barcelona Open Banco Sabadell, where he was seeded no. 4. Due to his seeding, he received a by into the second round, where he beat Carlos Berlocq 6-2 6-2 and Victor Hanescu 6-3 6-2 in the third round to reach the quarter finals. In the quarterfinals, he defeated Jurgen Melzer 6-3, 6-3 and then defeated Nicolas Almagro 6-3, 6-4 for a spot in is third Barcelona Final. He will now play Rafa Nadal in the final.
A wooden image of Saint Vincent Ferrer with ivory head and hands. Photographed in a Manila antique shop.
San Vicente Ferrer / St. Vincent Ferrer
Late 18th or early 19th Century
FILIPINO
Solid Ivory with parcel gold gilding and polychromy.
Dimensions: 8 in X 3.5 in W X 2 in D (20 cm X 8.75 cm X 5 cm).
Provenance: Collection of Dr. Porfirio J. and Mrs. Socorro Rodriguez Callo
A solid ivory image of St. Vincent Ferrer. Excellently detailed and beautifully carved. The body is of solid ivory. Head and hands are carved separately and doweled in. Eyes painted. Original bronze wings and halo extant. In excellent state or preservation. The parcel gilding is exquisite. Miraculously, all the digits of the hands survive and are intact.
The saint is carved wearing the traditional habit of the Dominicans. He is wearing a tunic edged with gold gilding in foliate and floral forms. Over the tunic, one can observe the presence of both the cincture (belt) and the rosary. Attached to and dangling from the rosary is the scapular. Over the tunic, the image is dressed in a cappa or cape with a capuce or hood. Interestingly, the hood is stylistically carved to fold dramatically on the sides to frame the saint's face. The saint's left hand is shown pointing to heaven while the left gathers and holds his cape at the waist which is typical of 18th century images of San Vicente. Latter 19th century versions show the saint holding a book on the right hand while the left still points heaven-ward.
On verso, the hood is more interestingly delineated. Further, the saint is wearing a shawl also edged with gilded rococo foliate forms. Most interesting of all, the saint is shown with a faint shadow of hair on the nape simulating fresh growth. The saint's gilded shoe-clad feet peep under his voluminous gown.
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Note 1: San Vicente is shown with wings -- not because he is an angel or that he ever flew during his lifetime. Rather, he is shown wings because he was called "the angel of the last judgement" by one of his biographers. He was also known for his powers of"levitation" and "bilocation" hence the wings.
Note 2: Initially attributed to the mid-19th century based on the realistically carved facial features and the almost too-bright state of the parcel gilding. However, the carved eyes lead one to believe that the image was carved in a earlier period. More probably late 18th or early 19th century. By the middle of the 19th century, very few solid ivory pieces were being carved as there was already a shortage of supply. Also, most images carved in the mid 19th century had inset glass eyes to create an effect of greater realism.
Note 3: The 18th century attribution is strengthened by a strikingly similar treatment of the cowl found on a image of the San Vicente in the Que collection and displayed at the Ayala Museum as part of the Power Faith Image exhibition in 2004-2005.
It is my opinion that this piece is far superior in carving and execution to the Que San Vicente.
Looking east down the late 14c / early 15c north aisle across the nave divided from the aisles by five arches, the capitals of the piers have good carving; one at the west end is carved with mythological animals, and one at the east end bears the arms of the Yarde family.
The late six-sided pulpit is late 17c
The church was restored in 1865 /66 at a cost of £1,800, by E Ashworth of Exeter , with an added vestry to the east end of north chancel chapel behind the organ. At about the same time a fine rood screen with paintings was taken down. ( ! ! ) . parts of which have, with a good deal of added modern work, been made into a belfry screen. www.flickr.com/gp/52219527@N00/MZvwAEeerb . The nave portion of the old screen consisted of three divisions of unusual size, each division about 5 feet wide and containing six tracery lights. Some idea of the original screen can be obtained from the doors in this screen in the tower which formed the doors of the original screen;
Picture with thanks - copyright www.facebook.com/photo/?fbid=262659494573342&set=a.17...
flickriver.com/photos/javier1949/popular-interesting/
Nave 16 (espacio de exposiciones)
Arquitectos: Alejandro Vírseda, José Ignacio Carnicero e Ignacio Vila Almazán, 2011
Un versátil espacio expositivo de más de cuatro mil metros cuadrados, capaz de acoger grandes proyectos multidisciplinares, cuya rehabilitación ha sido finalista de los premios FAD de arquitectura 2012. El espacio puede ser fácilmente dividido en módulos independientes separados por grandes paneles de acero y permitir así la programación de contenidos de forma simultánea: proyecciones, grandes exposiciones, conciertos, talleres de producción de obra, charlas, propuestas escénicas o actividades sociales. El proyecto transforma la nave en un gran espacio expositivo versátil y polivalente, que puede funcionar como la mayor sala de exposiciones, instalaciones o actividades de artes vivas de Madrid o como un conjunto de espacios independientes de menor tamaño (hasta 5 salas). Esta flexibilidad se logra mediante la introducción en los dos espacios de doble altura de unos recintos de puertas de dos alturas, concebidos como una gran instalación efímera que contrasta con el carácter tectónico e imperecedero de la envolvente arquitectónica de la nave. Estas puertas, que garantizan mediante sencillos giros la total polivalencia del espacio interior de la nave, dotan igualmente a los mismos de la versatilidad lumínica y ambiental requerida en cada uno de los espacios según las características de la actividad realizada (Las instalaciones del edificio también han sido sectorizadas para colaborar con esta versatilidad espacial). El material utilizado para realizar estas cajas de puertas es el acero, cuyo cromatismo contrasta con la superficie interior de los paramentos de la envolvente, caracterizándose así, de modo particular los dos espacios en doble altura de la nave. Cuando las puertas se abran los paramentos puros y herméticos de la caja oscura desaparecen, apareciendo la envolvente actual con su característica estructura de finos perfiles metálicos. El estrecho cuerpo adosado a la nave en su fachada hacia el río Manzanares alberga las dotaciones de servicio.
MATADERO MADRID - CENTRO DE CREACIÓN CONTEMPORÁNEA Antiguos Matadero y Mercado Municipal de Ganados
Pº de la Chopera, 2 a 14 C/V a Pza. de Legazpi 8, Vado de Santa Catalina y Av. del Manzanares. Madrid.
Actuación inicial: Luis Bellido González, arquitecto y José Eugenio Ribera Autaste, ingeniero. 1910 (Proyecto) 1910-1925 (Obras).
Matadero de aves y gallinas: Luis Bellido González y Francisco Javier Ferrero Llusiá: 1926 (Proyecto) 1932-1933 (Obras).
Acondicionamiento de la Casa del Reloj, Nave de Terneras y pabellones de acceso para Junta Municipal del Distrito de Arganzuela y salas culturales y deportivas: Rafael Fernández-Rañada Gándara: 1983 (Proyecto) 1983-1984 (Obras).
Rehabilitación de la “nave de patatas” para Invernadero-Palacio de Cristal, antiguo parque del matadero y consolidación estructural de naves del recinto sur: Guillermo Costa Pérez-Herrero: 1990 (Proyecto) 1990-1992 (Obras).
Adaptación de naves para sedes del Ballet Nacional y Compañía Nacional de Danza: Antonio Fernández-Alba y José Luis Castillo-Puche Figueira 1990 (Proyecto) 1993-1999 (Obras)
Vestíbulo y Espacio Intermediae. (nave 17c) Arquitectos Arturo Franco y Fabrice Van Teslaar en colaboración con el arquitecto de interiores Diego Castellanos 2006-07
Naves del Español (naves 10, 11 y 12) Arquitectos Emilio Esteras 2007-10 y Justo Benito 2009-10
Central de Diseño (nave 17) Arquitecto José Antonio García Roldán 2007
Taller y Oficina de Coordinación (parte de la nave 8) Arquitecto Arturo Franco 2010
Calle y Plaza Matadero Arquitectos Ginés Garrido, Carlos Rubio y Fernando Porras 2011
ESCARAVOX Andrés Jaque Arquitectos 2012
Depósito de especies y nuevo acceso por Legazpi. BCP Ingenieros -Luis Benito Olmeda y Francisco Calderón- con María Langarita y Víctor Navarro arquitectos. 2011
Nave 16 Arquitectos: Alejandro Vírseda, José Ignacio Carnicero e Ignacio Vila Almazán, 2011
Nave de Música (Nave 15) Arquitectos: María Langarita y Víctor Navarro, en colaboración con el diseñador mexicano Jerónimo Hagerman, 2011
Cineteca y Cantina Archivo Documenta (nave 17 c, d, e y f) Arquitectos: José María Churtichaga y Cayetana de la Quadra Salcedo 2011
Casa del Lector. Centro Internacional para la Investigación, el Desarrollo y la Difusión de la Lectura de la Fundación Germán Sánchez Ruipérez. (naves 13 y 14, 17b y tres crujías de la nave 17. Arquitecto Antón García Abril. Diseño gráfico y señalización: Alberto Corazón. Interiorismo Jesús Moreno y Asociados 2012
El arquitecto Joaquín Saldaña resulta ganador del concurso convocado por el Ayuntamiento de Madrid el año 1899 para la realización de los nuevos matadero y mercado municipal de ganados en la Dehesa de La Arganzuela, junto al Manzanares, si bien, finalmente las obras se realizan de acuerdo con el proyecto redactado en 1910 por Luis Bellido, arquitecto de propiedades del Ayuntamiento, con la colaboración de J. Eugenio Ribera, ingeniero de reconocido prestigio. El conjunto arquitectónico se compone de 48 edificios agrupados en cinco sectores de producción: dirección y administración, matadero, mercado de abastos, mercado de trabajo y sección sanitaria, cuenta además con viviendas para el personal y capilla; también de sistema de circulaciones y ferrocarril propios... una autentica ciudad laboral.
Sigue el sistema alemán de pabellones aislados, relacionados por medio de viales y presididos por un edificio administrativo, la "Casa del Reloj" situado sobre el eje principal de la composición. Por sus características arquitectónicas y por su escala es uno de los conjuntos edificados más significativos de Madrid. Se advierte en él una unidad estilística y constructiva derivada del uso racional en sus fábricas de tres materiales esenciales ladrillo, mampostería y cerámica, y una cuidadosa introducción de elementos metálicos en la estructura; además de otros aspectos significativos como el empleo de un lenguaje de inspiración neomudéjar muy atenuado, habitual en la arquitectura industrial de la época. El matadero de Madrid sirve de modelo para la construcción en España de este tipo de edificios.
Para el crítico González Amezqueta "Es un ejemplo de gran calidad de arquitectura industrial perfectamente insertado en los procedimientos del ladrillo, con derivaciones hacia el neomudéjar. La mecánica funcional de los procesos laborales no impide discretas acentuaciones ornamentales, ya que todo el proceso constructivo es estrictamente artesanal, con predominio de las técnicas fabricadas del ladrillo en las partes más acertadas".
En 1926, en zona próxima al Vado de Santa Catalina, proyecta Bellido el matadero de gallinas y aves, siendo realizadas las obras, entre 1932 y 1933, bajo la dirección de Francisco Javier Ferrero con la introducción de una clara y cuidada estructura de hormigón pionera en la ciudad y en la que reside uno de sus valores principales.
A partir de 1940 se llevan a cabo diferentes remodelaciones y ampliaciones, entre ellas la de la nave de patatas, el pabellón de autopsias y los abrevaderos.
En la década de 1980, perdida su función original, el Departamento de Conservación de Edificios del Ayuntamiento comienza la rehabilitación sistemática de los edificios del conjunto para su uso como contenedores de actividades culturales, sociales, deportivas y administrativas propias del Ayuntamiento; primero bajo la dirección de Rafael Fernández-Rañada, que acondiciona la Casa del Reloj para Junta Municipal del Distrito de Arganzuela y la nave de terneras para sala cultural y deportiva, y después, de Guillermo Costa que realiza el Palacio de Cristal (rehabilitación de la nave de patatas para invernadero) y el parque del matadero, con la colaboración del ingeniero, también municipal, M. Ángel Martínez Lucio.
Desde 1996 Costa continúa la consolidación estructural de fachadas y cubiertas de 7 naves del recinto sur, sin un uso predeterminado y en distintas fases, a la espera de la realización del proyecto para su adecuación a nuevas actividades de carácter cultural, comercial o de ocio. Finalmente, el conjunto edificado se incluye en el catálogo de bienes a conservar dentro del Plan General de Ordenación Urbana de 1997.
En el extremo norte parte de las antiguas naves de estabulación son cedidas al Instituto Nacional de Artes Escénicas y de la Música (INAEM) para establecer en ellas las sedes del Ballet Nacional de España y de la Compañía Nacional de Danza, según proyecto de Fernández Alba y Castillo-Puche, concluyéndose las obras de adaptación en 1999.
En 2005 se aprueba la modificación del Plan Especial de Intervención, Adecuación Arquitectónica y Control Urbanístico-Ambiental de Usos del recinto del antiguo matadero municipal, que incrementa el uso cultural hasta el 75% del total.
A partir de 2006 el Ayuntamiento se plantea rehabilitar en distintas fases, mediante proyectos derivados de concursos de arquitectura, este inmenso contenedor de casi 150.000 m2, para albergar multitud de eventos y encuentros, fomentando la creatividad de artistas de múltiples especialidades. El conjunto se convierte en un núcleo de actividad cultural que alberga las más importantes citas de la ciudad. Así, se inician actuaciones para convertir el recinto en centro de apoyo a la creación, en campo de experimentación de la nueva arquitectura, pero siguiendo los criterios de intervención del Plan Especial, que establece la preservación de la envolvente de las naves. La línea maestra que ha guiado las intervenciones es la reversibilidad, de modo que los edificios pueden ser fácilmente devueltos a su estado original. Las actuaciones mantienen expresamente las huellas del pasado para reforzar el carácter experimental de las nuevas instituciones que alojan. Se ha buscado el equilibrio entre el respeto máximo al espacio, y una dotación específica, que lo distinga, a través del uso limitado de materiales industriales directos y que, al mismo tiempo, dé servicio a los diferentes usos que pueda albergar.
En 2012, tras la visita del jurado de los premios FAD a Matadero Madrid, decidió reconocer la labor en conjunto de todos los arquitectos que han participado en el proceso de reforma. El fallo valora “tanto la actitud global de la propuesta, que apuesta de una forma valiente por la experimentación y el respeto a los espacios de libertad gestionados desde la sociedad civil, como la conceptualización del proyecto, desde su inicio en el 2007 con la rehabilitación del vestíbulo y el espacio Intermediae, hasta las recientes intervenciones de la Nave 16 y la Nave de Música finalistas en la presente edición de los Premios FAD”. Así mismo, el jurado destacó de Matadero Madrid “la inteligencia colectiva, la unidad que le viene inferida por la arquitectura industrial preexistente, y que con un mínimo de protagonismo exterior de las nuevas intervenciones, en el interior resuelve con rigor y autenticidad las diversas necesidades del extenso programa del centro, buscando no sólo mantener los espacios arquitectónicos y formas estructurales, sino también el carácter, la atmósfera y sobre todo el irrepetible paso del tiempo”.
Ese mismo año el Colegio Oficial de Arquitectos de Madrid otorgó uno de sus premios a las intervenciones en la Cineteca y Archivo Documenta, y en la Nave 16. Por último, destaca la interconexión de Matadero Madrid y Madrid Río mediante la urbanización de los espacios públicos -Calle y Plaza Matadero- por el mismo equipo de arquitectos -Ginés Garrido, Carlos Rubio y Fernando Porras- que proyectó Madrid Río. Está previsto además que dicha conexión, gracias a dos nuevos accesos, se amplíe entre diciembre de 2012 y julio de 2013. Madrid Río ha recibido, entre otros premios, el International Architecture Award 2012 del Chicago Athenaeum of Architecture and Design y el European Centre for Architecture Art Design and Urban Studies, el Premio de Diseño Urbano y Paisajismo Internacional otorgado por el Comité de Críticos de Arquitectura CICA, en el marco de la XIII Bienal de Buenos Aires; o el Premio FAD de Ciudad y Paisaje 2012, entre otros galardones.
Only a short section of the former LSWR main line to Plymouth remains and here we see 153353 at Bere Ferrers on the 1130 Plymouth - Gunnislake on 21 June 2001. The station is in good condition.
Detail: Chancel east window, with 14c stained glass that is "reputedly the oldest in Devon except for a few of the windows in Exeter Cathedral" www.flickr.com/gp/52219527@N00/X52Q8i3JJx
In the left panel Sir William de Ferrers c1290 - c 1337 holds a model of the church and a latin inscription says "Wills Fereys me fecit". (William Ferrers made me) www.flickr.com/gp/52219527@N00/3Dzrzoxk50
On the right kneels his wife Matilda Carminow www.flickr.com/gp/52219527@N00/6zrqT2sGk1
Between them Christ in Majesty stands in the centre panel
Below is a likeness of a pilgrim, www.flickr.com/gp/52219527@N00/JcN1E2y54z
Above are roundels with the dead rising from their graves on the day of judgement. www.flickr.com/gp/52219527@N00/9479z3u0f9
William was the son of Reginald de Ferrers c1305 www.flickr.com/gp/52219527@N00/B5huo1D8ia & Margaret daughter of Isabel & Henry Dennys / Dennis
He was the grandson of Sir William de Ferrers 1280 & 1st wife Matilda Champernon www.flickr.com/gp/52219527@N00/6406be1197
He m Matilda daughter if Sir Roger Carminow & Joan daughter of Sir Geoffrey de Dinham
Children
1. John 1315 - 1372 m Matilda daughter of Sir John Chiverston
& Matilda daughter of Sir William Pipard
2. Robert
3. Stephen
4. Martin
5. Andrew
c 1332 William extended the church, in part with money from a successful silver mine nearby . However the success of the mine came to the attention of Edward I who annexed it for the Crown, ordering the Ferrers send the silver to London.
c 1332 William extended the church, in part with money from a successful silver mine nearby . However the success of the mine came to the attention of Edward I who annexed it for the Crown, ordering the Ferrers send the silver to London.
His grandparents had rebuilt the church c 1243
(Dr. Oliver says, in Monasticon Dioecesis Exoniensis, p. 289:- "Sir William de Ferrariis having rebuilt the parish church was desirous of making it collegiate. For this purpose he assigned a sufficient endowment for an arch-priest, and four other clergymen in priest's orders who were to live in common under the same roof. Provision was also made for an assistant deacon, a sub-deacon or at least a clerk. The community were to perform the daily and nightly office (at the 5 altars) in the church and to offer up perpetual prayers for the prosperity of the founder and his lady, Matilda, during their lives, and for their souls after their death, as also for the souls of (his parents) Reginald de Ferrers and Margery / Margaret , and the souls of (wife Matilda's parents) )Sir Roger de Carminow, Knt., and his lady Joan; and the bishops of Exeter were to be remembered, both living and dead.
Bishop Grandisson and the Dean and Chapter of his cathedral approved and confirmed this foundation in 1333-4, but secured the yearly payment therefrom of 20s. for the chorister boys of the cathedral. The founder did not long survive his charitable work, for we find in Bishop Grandisson's Register, Vol. 2, folio 219, that his relict and executrix Matilda obtained from the Bishop, on December 15th, 1338, an acknowledgement of having well and faithfully administered to her late husband's property, and that only the sum of £20 in arrear ad comletionem cantarie de Biry.")
The presbytery was dissolved by Henry VIII in 1533, but even today the rector of Bere Ferrers bears the title of Arch Priest.
- Church of St Andrew, Bere Ferrers Devon
Picture with thanks - copyright Derek Harper CCL www.geograph.org.uk/photo/6316702
Detail: Chancel east window, with 14c stained glass that is "reputedly the oldest in Devon except for a few of the windows in Exeter Cathedral" www.flickr.com/gp/52219527@N00/X52Q8i3JJx
In the left panel Sir William de Ferrers c1290 - c 1337 holds a model of the church and a latin inscription says "Wills Fereys me fecit". (William Ferrers made me) www.flickr.com/gp/52219527@N00/3Dzrzoxk50
His shield of arms - four horseshoes. (. The Ferrers family originated from Ferrières-Saint-Hilaire in Normandy, an ironworking site making Horse shoes, farriers "capable of shoeing all types of equine feet")
On the right kneels his wife Matilda Carminow www.flickr.com/gp/52219527@N00/6zrqT2sGk1
Between them Christ in Majesty stands in the centre panel
Below is a likeness of a pilgrim
Above are roundels with the dead rising from their graves on the day of judgement. www.flickr.com/gp/52219527@N00/q9m82Q9x00
William was the son of Reginald de Ferrers c1305 www.flickr.com/gp/52219527@N00/B5huo1D8ia & Margaret daughter of Isabel & Henry Dennys / Dennis
He was the grandson of Sir William de Ferrers 1280 & 1st wife Matilda Champernon www.flickr.com/gp/52219527@N00/6406be1197
He m Matilda daughter if Sir Roger Carminow & Joan daughter of Sir Geoffrey de Dinham
Children
1. John 1315 - 1372 m Matilda daughter of Sir John Chiverston
& Matilda daughter of Sir William Pipard
2. Robert
3. Stephen
4. Martin
5. Andrew
c 1332 William extended the church, in part with money from a successful silver mine nearby . However the success of the mine came to the attention of Edward I who annexed it for the Crown, ordering the Ferrers send the silver to London.
His grandparents had rebuilt the church c 1243 when an Arch Presbytery was founded, with 4 priests and a deacon under an Arch Priest. The clergymen lived across the road from the church, with their quarters joined by an underground passage. The clergy supported by choirboys, said daily prayers for the souls of Sir William and his wife from one of 5 altars throughout the day & night.
- Church of St Andrew, Bere Ferrers Devon
Picture with thanks - Copyright Tim britishlistedbuildings.co.uk/101163103-church-of-st-andre...
Looking through the late 14c / early 15c two storey porch
Picture with thanks - copyright www.facebook.com/photo/?fbid=262659494573342&set=a.17...
el Ferrer del meu Poble.
Oficis. Fotolliga 2012-2013.
Un ferrer prepara una eina,
l'arroenta a la fornal,
la treballa amb el mall,
picant amb el seu braç vigorós...
2008 Santissimo Rosario Procession.
Diocesan Shrine of Our Lady of the Abandoned, Marikina City.
Encargado: Mr. Cecilio & Mrs. Irminia Cruz.
©2008 Rodel Enriquez
18th century
Ivory and baticuling wood
68 cm
Lot 61 of the Leon Gallery's December 7, 2013 auction. Please see www.leon-gallery.com/auction/
Photograph from the auction catalogue: issuu.com/leongallery/docs/december__2013/3?e=7020863/565...
c. 1350 – 1419
Vincent was born at Valencia, Spain in 1350 to William Ferrer and Constancia Miguel, both nobles. He was educated in Valencia and at the age of 17 received the habit of the Order of Preachers. He was sent to Barcelona for further studies. Later, he taught philosophy at Lerida and in three years returned to Barcelona. He proceeded to continue his studies at Toulouse. In the troubled times in which he lived, he was an Angel of Peace.
After recovering from a serious illness in 1398, during which he had a vision of Christ accompanied by Saint Dominic of Guzmán and Saint Francis of Assisi directing him to teach penance, he devoted himself to preaching. He traveled throughout Spain, France, and Italy, preaching the Word of God with special stress on penance for sin and preparations for the Last Judgment. Although he preached in his own native tongue to people who spoke different languages, he was clearly understood by all because of his extraordinary Gift of Tongues. He was also outstanding for the Gift of Prophecy, worked astonishing miracles and brought back thousands, including Jews and Moors, to the Faith. His authority helped to bring the Great Schism to an end. Vincent spent the last three years of his life in France and died at Vannes, Brittany on 5 April 1419.
A small ivory image of San Vicente Ferrer. Photographed inside its glass virina. For sale by an antique dealer in San Juan, Metro Manila.
Sir William de Ferrers 1280 and one of his wives lie on a tomb chest within an ornate canopy north of the chancel altar. www.flickr.com/gp/52219527@N00/bg2ur102xA The arch above is cusped under a crocketted gable, the cusps end in fine heads. www.flickr.com/gp/52219527@N00/0Lf0HxN6oY In the gable are 2 censing angels. It separates the chancel from the north chapel. and may once have served as an Easter Sepulchre. Stylistic elements of this tomb appear in the St James' Chapel of c 1320 in Exeter Cathedral.
The male figure is in chain armour, with a coiffe de maille drawn tightly over the head, The legs are crossed, but are very much mutilated; there is a shield on the left arm suspended by a belt across the right shoulder, both hands rest on the sword, the scabbard of which is missing.
The lady has a coverchief on the head and hanging down the back of the neck, it is confined by a fillet round the forehead; the throat, chin, and sides of the face are covered with a wimple, the body of the dress is tight-fitting with a long flowing skirt. The hands, which rest on the breast, and the feet, have been broken off. www.flickr.com/gp/52219527@N00/591As2JT8B
William was the son of Reginald de Ferrers 1247 & Agnes de Meschines, daughter of Hugh Gernon of Cyfeiliog & Bertrade Montfort
He m1 pre 1254 Matilda dpre 1269 daughter of Oliver de Champernon / Champernown 1210
Children
1. Reginald bc 1258 -1315 www.flickr.com/gp/52219527@N00/B5huo1D8ia m Margaret daughter of Isabel & Henry Dennys / Dennis
2. Joan 1309 m Sir William 1304 son of Sir Henry de Champernon and Dionisia English
3. Matilda
William & 1st wife Matilda are thought to have rebuilt the church c 1243 The first rector was William's younger brother Reginald de Ferrers who was installed in 1258.
He m2 Isolda 1235 - 1301 daughter of Andrew de Cardinham and Isolda Soligny; & Widow of Thomas de Tracy
Children
1. Hugh c1277 - c 1308 m Alice 1295 daughter of Sir Robert de Boson and Jane daughter of Henry St. George by Alice de Bretville
In the east chancel window is some old stained glass with figures of a knight & lady. The knight holds a church in his hands, and over his head is the inscription:- Wills Fereys me fecit. (William Ferrers made me) The clothing of the tomb figures is older than that in the window possibly making the glass figures those of his grandson another William who extended the church c 1332. www.flickr.com/gp/52219527@N00/0yE884RZ2C kneeling with his wife Matilda Carminow www.flickr.com/gp/52219527@N00/NM809eg29K
(Dr. Oliver says, in Monasticon Dioecesis Exoniensis, p. 289:- "Sir William de Ferrariis (the grandson) having rebuilt (extended) the parish church was desirous of making it collegiate. For this purpose he assigned a sufficient endowment for an arch-priest, and four other clergymen in priest's orders who were to live in common under the same roof. Provision was also made for an assistant deacon, a sub-deacon or at least a clerk. The community were to perform the daily and nightly office in the church and to offer up perpetual prayers for the prosperity of the founder and his lady, Matilda, during their lives, and for their souls after their death, as also for the souls of (his parents) Reginald de Ferrers and Margery / Margaret , and the souls of (wife Matilda's parents) )Sir Roger de Carminow, Knt., and his lady Joan; and the bishops of Exeter were to be remembered, both living and dead.
Bishop Grandisson and the Dean and Chapter of his cathedral approved and confirmed this foundation in 1333-4, but secured the yearly payment therefrom of 20s. for the chorister boys of the cathedral. The founder did not long survive his charitable work, for we find in Bishop Grandisson's Register, Vol. 2, folio 219, that his relict and executrix Matilda obtained from the Bishop, on December 15th, 1338, an acknowledgement of having well and faithfully administered to her late husband's property, and that only the sum of £20 in arrear ad comletionem cantarie de Biry.")
The presbytery was dissolved by Henry VIII in 1533, but even today the rector of Bere Ferrers bears the title of Arch Priest.
- Church of St Andrew, Bere Ferrers Devon