View allAll Photos Tagged ionic
Ionic temple dedicated to Athena, Poseidon, Erechtheus, and other chthonic deities of Attica, 421-406 B.C.
Ionic temple dedicated to Athena, Poseidon, Erechtheus, and other chthonic deities of Attica, 421-406 B.C.
St Mary's Church, rebuilt by Act of Parliament in the 1790s and replacing an even larger medieval building, is Banbury's only grade I listed building and its most conspicuous landmark. It was the largest parish church built in England in the 18th century, and remains among the top 1% in terms of size. It has been identified as a 'major parish church' by the Church Buildings Council.
The main body of the church was built in 1790-97 to a design by S.P. Cockerell, the tower and portico being finally completed in 1822. The interior was remodelled in the 1860s and
70s by Arthur Blomfield, with stained glass windows and wallpaintings by Heaton, Butler and Bayne, including major artwork by the highly talented pre-Raphaelite artist Alfred Hassam (1842-69).
Built to seat 2,500 worshippers, the church comprises a 90 ft (27.5m) square auditorium, originally galleried on all four sides, a substantial forebuilding that embraces the tower and contains a circular vestibule and the principal staircases, and a small chancel with attached vestries. It was transformed internally in 1874 when the chancel was raised to the full height of the church, an apse was introduced within it and it was integrated with the rest of the church by the addition of giant ionic pilasters replicating the columns that support the central saucer dome. The functional chancel was extended out into the main body of the church, originally defined by low walls (cancelli) modelled on those in San Clemente in Rome. Like the cancelli, the associated decorative scheme was entirely Early Christian in inspiration, and is dominated by a faux-mosaic in the apse of the twelve apostles, surmounted by Christ in Majestyin the semi-dome above.
The Chancel Paintings
Above the High Altar - in the dome of the apse, is depicted the Vision of the Throne of God from Revelation chapter 4; the rainbow, the four and twenty elders, the four living creatures, and the seven lamps symbolic of the Holy Spirit.
Behind the High Altar are the figures of the Twelve Apostles with appropriate symbols of their calling or martyrdom. From left to right they are 1) St James the Less, 2) St James the Great, 3) St Jude, 4) St Simon, 5) St Peter, 6) St Philip, 7) St John, 8) St Matthias, 9) St Bartholomew, 10) St Thomas, 11) St Andrew, 12) St Matthew.
The Windows
The stained glass is also of Blomfield's time, the most striking windows being those at the eastern end of the nave above the galleries - by an unknown artist. The upper windows in the gallery represent scenes from the life of Jesus 30 in all, while the lower windows illustrate 10 of his parables.
The organ was built by Byfield, Wilcox and Knight in 1765 for the old church. Since then it has been heavily modified several times.
In 2002 the chancel was extended forward to create a stage, facilities for those with disabilities were added, emergency lighting and toilets were installed and the church was redecorated.
The inscription, carved in the Ionic alphabet, contains a decree concerning an alliance between Athens and Kios, a city on the Asian coast of the Propontis (Sea of Marmara). It was passed in 406/5 BC when the Eponymous Archon was Kallias whose name and official rank we read in the second line.
[Ἐρ]ωτίων ἐγραμμάτευεν Ἐλ[ευ]-
[σί]νιος·
[Κ]αλλίας Ἀγγελῆθεν ἦρχεν
[IG I³ 124]
Erotion from (the deme) Eleusis was secretary.
Kallias from (the deme) Angele was the Archon.
The decree most likely relates to particular aid that Kios provided to Athens that year: several Athenian ambassadors had been taken hostage by the Persians and Kios assisted in bringing them home safely. The figural relief on the stele’s upper part portrays the goddess Athena shaking hands with Kios, the eponymous hero of the city of Kios who was Herakles' companion.
Surce: Museum WEB notice
Marble stele
Height: 3.0 cm; Length 26.0 cm.
406/5 BC
From Athens, Propylaia.
Athens, Acropolis Museum, Inv. EM 6928
Either end of Devonshire House, Mayfair Place, off Piccadilly, with the coat of arms of the Cavendish family (Dukes of Devonshire). This is an office building built on the site of the demolished original.
The grand Ionic portico of the much molested General Post Office, a monumental Regency structure in Central Dublin
I passed the back of this house, Ionic Villa, on a walk along the Regent's Canal this morning and I felt compelled to take a look (and a photo) round the front, which is also here on Flickr www.flickr.com/photos/kevertonphoto/46422545684/in/photos... It is one of six villa houses in Regent's Park by Quinlan Terry. Designed in a range of classical styles, they look as though they have been there for many, many years. However they are relative new builds, having been constructed between 1988 and 2002.
I understand that Ionic Villa may be owned by Dr Apurv Bagri, who combines commanding interests in metal trading with a directorship of the Hong Kong Stock Exchange and academic roles at City University and London Business School (a short stroll from Ionic Villa through Regent’s Park).
His late father, Baron Bagri was the former owner of Hanover Lodge, a larger house, next door and over the fence, which was sold to Russian oligarch Andrey Goncharenko for £120 million in 2012.
Ein Adler, das Wappentier der Freien Reichsstadt, schlägt dazu mit den Flügeln.
Die Uhr im Alten Rathaus zu Esslingen ist eine astronomische Uhr und die älteste funktionierende schmiedeeiserne Turmuhr Deutschlands.
Sie wurde von der Denkmalstiftung Baden-Württemberg zum „Denkmal des Monats März 2007“ ernannt.
Das Alte Rathaus wurde um 1420 als städtisches Kauf- und Steuerhaus errichtet und gilt mit seinem prächtigen Fachwerk-Südgiebel als Hauptwerk des alemannischen Fachwerkbaus. 1586 bis 1589 wurde vor der Nordseite durch Heinrich Schickhardt eine Giebelfront mit zierlichem Uhrentürmchen im Renaissancestil errichtet.
----------------------------- Giebel Gesamt-sicht
more of the gable: View On Black
-
A volute is a spiral scroll-like ornament that forms the basis of the Ionic order, found in the capital of the Ionic column
1592 kam eine astronomische Uhr mit den allegorischen Figuren Justitia und Temperantia dazu, die sich bei jedem Stundenschlag bewegen.
Anlässlich einer Renovierung 1926 wurde von den Esslinger Bürgern ein Glockenspiel mit 24 Glocken gespendet. Durch eine weitere Bürgerinitiative 1976 wurde das Glockenspiel noch einmal erneuert und um 5 Glocken erweitert.
Damit verfügt es über einen Tonumfang von mehr als zwei Oktaven. Zur Verfügung stehen mehr als 200 Lieder, die mit Lochbändern gesteuert werden. Das Glockenspiel ist jeden Tag um 8:00, 12:00, 15:00, 18:00 und 19.30 Uhr zu hören.
----------------
"city hall" "town hall" "Rathaus"
-The Old Town Hall was built around 1420 as an urban and purchase tax house and is built with its magnificent half-timbered south gable of the main plant as Alemannic "Fachwerkbau".
[alemanic timber frame construction ]
1586 to 1589 was off the north side by Heinrich Schickhardt (famous architect) gabled front with a dainty watch towers in the Renaissance style.
1592 was an astronomical clock with the allegorical figures Justitia and Temperantia about the hours at each shock move.
An eagle, the heraldic animal of the Free Imperial City,
proposes its wings.
The clock in the Old Town Hall to Esslingen is an astronomical clock and the oldest functioning wrought iron clock tower in Germany.
During a renovation of 1926, citizens of the Esslinger a carillon with 24 bells donated. Another citizens' initiative in 1976, the chimes once again renewed and extended by 5 bells.
Thus, it has a range of more than two octaves. Available to more than 200 songs, with the hole bands can be controlled.
The carillon is open every day at 8:00, 12:00, 15:00, 18:00 to 19:30 clock to hear.
-Colossal marble statue of a recumbent lion; carved with inlaid eyes originally probably of glass, but now missing.
-Lion of Knidos, an enormous marble sculpture, originally part of a funerary monument on the Ionian coast of Turkey.
Nikon D90
On a downtown Calgary building. The architect and builders of this modern building were clearly paying tribute to ancient Greece.
C. J.R. Devaney
www.shapeways.com/shops/3dpictureshop
3D Print for standard picture frame
10x15 cm, for individual backgrounds.
Bella Beaded Bead de Bead Infinitum,
Cristales swarovski, seed beads, gotas!!
me encanta este colgante!
Temple Newsam (historically Temple Newsham), (grid reference SE357322) is a Tudor-Jacobean house in Leeds, West Yorkshire, England, with grounds landscaped by Capability Brown.
The estate lends its name to the Temple Newsam ward of Leeds City Council, in which it is situated, and lies to the east of the city, just south of Halton Moor, Halton, Whitkirk and Colton. It is one of nine sites in the Leeds Museums & Galleries group.
The house is a Grade I listed building, defined as a "building of outstanding or national architectural or historic interest". The stables are Grade II* listed ("particularly significant buildings of more than local interest"), and ten separate features of the estate are Grade II listed ("buildings of special architectural or historic interest"), including the Sphinx Gates and the Barn.[1] Temple Newsam House is one of Leeds Museums and Galleries sites.[2] It is also part of the research group, Yorkshire Country House Partnership.[3]
History
1066 to 1520
In the Domesday Book of 1086 the manor is listed as Neuhusam (meaning new houses) and was held by Ilbert de Lacy and his sons.[4] Before the Norman Conquest of 1066 it had been held by Dunstan and Glunier, Anglo-Saxon thanes.[4] In about 1155, Henry de Lacy gave it to the Knights Templar, who built Temple Newsam Preceptory on a site near the present house.[5] The Templars farmed the estate very efficiently, with 1100 animals.[6] In 1307 the Templars were suppressed, and Edward II granted the manor to Sir Robert Holland who held it until 1323 when he was deprived of his estates.[6] The Templars tried to retake the estate but they were forced to surrender and in 1327 it was granted to Mary de St Pol, the Countess of Pembroke, who held the manor for 50 years.[6] In 1377 by royal decree the estate reverted to Philip Darcy, 4th Baron Darcy de Knayth (1341–1398).[6] It then passed through several members of the Darcy family, until it was inherited by the 21-year old Thomas, Lord Darcy in 1488.[7] Between 1500 and 1520 a Tudor manor house, known as Temple Newsam House, was built on the site.[8] It has also been spelled "Newsham" in the past.[9]
An oil on panel painting by Hans Eworth of Henry Stuart and his brother Charles Stuart in a grand interior based on a print by Hans Vreedman de Vries
An oil on panel painting from 1563 by Hans Eworth of Henry Stuart and his brother Charles Stuart in a grand interior based on a print by Hans Vreedman de Vries which may reflect Temple Newsam's Great Chamber
1500 to 1650
In 1537 Thomas, Lord Darcy was executed for the part he played in the Pilgrimage of Grace and the property was seized by the Crown.[7] In 1544 Henry VIII gave it to his niece Lady Margaret Douglas (Countess of Lennox), and she lived there with her husband Matthew Stewart, 4th Earl of Lennox.[7] Their son Henry Stuart, Lord Darnley, who was born in the house in 1545 and educated there, married Mary, Queen of Scots, by whom he was the father of King James VI of Scotland and I of England.[10] A portrait of Henry and his brother was probably intended to represent the interior of Temple Newsam despite being based on a print of an ideal interior.[11] Following the marriage in 1565, Temple Newsam was seized by Queen Elizabeth I and was managed by an agent.[12]
In 1609 King James I, successor to Elizabeth, granted the estate to his Franco-Scottish second cousin Ludovic Stewart, 2nd Duke of Lennox (1574–1624), who was a favourite of the King and given many titles and estates, including farmland and coalmines in the local area.[13] Despite his opportunities, Ludovic was in constant debt and he mortgaged the estate in 1614 for the sum of £9,000 (around £860,000 in today's money).[14] In 1622 Lennox began the sale of the estate to Sir Arthur Ingram (c. 1565 – 1642), a Yorkshire-born London merchant, civil servant, investor in colonial ventures and arms dealer, for £12,000, which he paid in two instalments, the last in July 1624, after Lennox's death.[14] During the next 20 years the mansion was rebuilt, incorporating some of the previous house in the west wing.[8] The north and south wings were rebuilt and the east wing was demolished after a bad fire in 1635.[15] Arthur's son, also called Arthur, inherited the estate with its debts and continued the building and renovation work.[16] Six months after Charles I was beheaded in 1649, Arthur Ingram the younger was declared delinquent and he compounded his estates and retired to Temple Newsam.[17]
1650 to 1900
After the death of Arthur the younger's eldest son, Thomas, in 1660, Temple Newsam was inherited by Arthur's second son, Henry Ingram, 1st Viscount of Irvine (created a peer of Scotland as Baron Ingram and Viscount of Irvine in 1661 - although the family used the English form "Irwin").[18] In 1661, Henry married Lady Essex Montagu, daughter of Edward Montagu, 2nd Earl of Manchester, a favourite of Charles II.[18] The estate then passed through Henry's two sons and five grandsons, the last being Henry Ingram, 7th Viscount of Irvine.[18] The 4th Viscount brought back paintings from his Grand Tour of 1704-7.[19] Extant receipts from 1692 show women as well as men were employed to work the estate in haymaking.[20] In 1712, William Etty designed a new approach to the house, with a bridge and ponds.[21][22] In 1714, Temple Newsam was inherited by Rich Ingram, the 5th Viscount, and his wife Ann who spent a vast fortune furnishing the house and creating the East Avenue.[19] Between 1738 and 1746, Henry Ingram, 7th Viscount of Irvine remodelled the west and north wings of the house, creating new bedrooms and dressing rooms and the picture gallery.[23] A painting in Leeds City Art Gallery by Philippe Mercier of c. 1745 shows Henry and his wife standing in front of Temple Newsam House.[24]
A coloured engraving made in 1699 by J Kip after a drawing by Leonard Knyff showing an aerial view of the house and estate at Temple Newsam
1699 Engraving by J Kip after a drawing by Leonard Knyff
In the 1760s, Charles Ingram, 9th Viscount of Irvine, employed Capability Brown to re-landscape the park on the insistence of his wife, Frances Shepheard, daughter of Samuel Shepheard.[25] Reflecting her interest in pastoral landscape design, Frances is depicted as a shepherdess in a portrait by Benjamin Wilson at Temple Newsam.[25] Both Frances and Charles were actively involved in the design and implementation.[26] Some aspects of Brown's plan depicted in paintings by James Chapman and Michael Angelo Rooker were never completed such as a large lake near the house.[26] Extant financial records show that in 1759 women as well as men were employed as garden labourers.[20] After Charles died in 1778, Frances rebuilt the south wing in 1796; she lived at Temple Newsam until her death in 1807.[27] Charles and Frances's eldest daughter Isabella Ingram, (Marchioness of Hertford) (d.1834) who inherited Temple Newsam, was the mistress of the Prince of Wales (later King George IV) from 1806 to 1819. In 1806, George visited Temple Newsam and presented Isabella with Chinese wallpaper, which she hung in the small Drawing Room next to the Great Hall in around 1820, embellished with cut out birds from Audubon's The Birds of America (now worth £7.5 million).[28] Lady Hertford inherited the house in 1807; after her husband died in 1822 she spent the season in London, and the rest of the time at Temple Newsam where she involved herself in charitable works including distributing food and clothing to the local people.[29] She allowed the servants to hold an annual supper and ball at Temple Newsam.[29] Reports of poachers were made during 1826 and 1827.[30] During the last years of Isabella's life, the canal, railway and roads encroached on the estate as well as coal mining; and she dealt with the companies setting these up.[29] In 1820 the novelist Sir Walter Scott published Ivanhoe featuring a Templar preceptory named Temple Stowe, believed to have been modelled on Temple Newsam; the name is preserved in local road names such as Templestowe Crescent.[31] At her death in 1834, Isabella left Temple Newsam to her widowed sister, Frances Ingram Shepheard, wife of Lord William Gordon, who died in 1841.[32]
Temple Newsam House from Morris's Country Seats (1880)
In 1841 the estate was inherited by Hugo Charles Meynell Ingram (d. 1869), son of Elizabeth Ingram, sister of Frances Ingram (Lady Gordon), who made no alterations to the estate.[33] In 1868, the Prince of Wales stayed at Temple Newsam during his visit to Leeds to open the Fine Art Exhibition in the New Infirmary; temporary triumphal arches were erected on the estate.[34] Following Hugo Charles's death, his son Hugo Meynell-Ingram (d.1871) inherited Temple Newsam; two years later, at his death, his wife Emily Meynell Ingram (d.1904) inherited the estate.[33] Emily spent a large part of her widowhood at Temple Newsam; she developed it considerably by replacing the sash windows and remodelling the dining room, great staircase and Lord Darnley's room.[33] Emily bequeathed Temple Newsam to her nephew Edward Wood, 1st Earl of Halifax.[8]
20th century
In 1909, 610 acres (2.5 km2) of the estate at Knostrop were compulsorily purchased by Leeds Corporation to build a sewage plant.[35] During the First World War (1914–17) the south wing of the house was turned into a hospital by Edward Wood and his wife Dorothy. Edward Wood fought in France as part of the Yorkshire Hussars, whilst Dorothy oversaw the running of the hospital as part of the Mayors War Committee.[36] In 1922 Edward Wood sold the park and house to Leeds Corporation for a nominal sum, placing covenants over them to ensure their preservation for the future.[35]
On 19 October 1923, Temple Newsam was opened to the public along with a golf course.[37] In the Derby Daily Telegraph newspaper, Temple Newsam was compared to Hampton Court.[37] Despite many people visiting the house and using the golf course, the Corporation lost money during the first decade mostly due to poor farming practices.[37] In July 1932, the Great Yorkshire Show was held at Temple Newsam and was a great success.[37] Preparations for war were made as early as April 1939, and in August, small items were being packed up for storage.[37] In September 1939, Temple Newsam was closed to the public and items were moved there for storage from Leeds City Art Gallery.[37] It was decided that objects would be displayed, and the house was officially reopened in November 1939, when it was again likened to Hampton Court in the press.[37]
Architecture
Photograph of entrance porch of Temple Newsam House, Leeds, showing at top the word 'FATHER', below a mullioned window, below a raised portico with coat of arms above a doorway flanked by two Ionic columns on each side.
Entrance Porch 17th century
Photograph of the west front of Temple Newsam
Centre of Temple Newsam west front
Remains of the early 16th century house were retained in the new building, including the brickwork and bay windows in the centre of the west front.[38] The plan of the new house was a conservative E-shape.[38] The Long Gallery and entrance hall in the south wing followed Elizabethan and early Jacobean styles.[38] The entrance porch has Classical columns but they are of Flemish design, rather than following correct Italian design.[38] There are Tudor doorways and timberwork in the cellars, which are largely Tudor in date.[39] Tudor features have also been discovered beneath later layers of decoration, including Lord Darcy's crest scratched into the plaster in the Blue Damask room.[40] An inventory of 1565 indicates that the hall, great chamber (later the dining room), gallery and chapel (later the kitchen) were probably where they are now.[40] There is a Tudor doorway in the north wing which was probably the entrance to the original chapel.[41]
In the 17th century, the south and north wings were rebuilt and the east wing demolished, replaced by a low wall with an arched gateway, giving the house a fashionable 'half-H' appearance.[39] It is possible that the man who made plans for the alteration was Bernard Dinninghof of York.[41] There is also some resemblance to designs by Inigo Jones.[42] Round the top of the house, letters appear in a balustrade, declaring the piety and loyalty of Sir Arthur Ingram: 'ALL GLORY AND PRAISE BE GIVEN TO GOD THE FATHER THE SON AND HOLY GHOST ON HIGH PEACE ON EARTH GOOD WILL TOWARDS MEN HONOUR AND TRUE ALLEGIANCE TO OUR GRACIOUS KING LOVING AFFECTION AMONGST HIS SUBJECTS HEALTH AND PLENTY BE WITHIN THIS HOUSE.'[38] The chapel in the north wing retains some 17th century features, such as armorial stained glass, probably by Henry Gyles and a carved wooden pulpit by Thomas Ventris, made around 1636, with geometric patterns, pilasters and friezes.[38] The walls had panels of Old Testament figures, painted by John Carleton.[38] An inventory dated 1667 records that the House had 66 rooms and 11 outhouses.[39] An engraving by Kip and Knyff dated 1699 is an accurate representation of the house, showing the varying height of the house and some buildings that were later demolished, including the arched gateway flanked by two small lodges and a detached garden building dating from the mid 1670s.[23]
Photograph of stone and brick Sphinx gate piers at Temple Newsam, c. 1760 by Lancelot Brown based on designs published by Lord Burlington in 1738 and used at Chiswick
Sphinx gate piers, c. 1760
Photograph of the mid-18th century stable block at Temple Newsam showing the pediment
Stable Block at Temple Newsam, added by Henry, 7th Lord Irwin
In 1718, the steward of Temple Newsam suggested an underground service passage to link the north and south wings to the 5th Viscount, who agreed.[43] This tunnel linked the original kitchens in the south wing to the rest of the house.[44] In 1738, Henry, 7th Viscount Irwin wrote to his mother describing the neglected state of the house with windows coming away and cracked brickwork.[23] The house was almost entirely remodelled by Henry.[38] He wanted to follow Palladian design and used craftsmen from York to do so.[45] He widened the gallery, improved the ceiling and windows and created additional rooms.[23] The gallery, completed around 1746, has fine Rococo carvings with overmantle paintings of classical scenes by Antonio Joli.[19] There are also elaborate gilded Rococo ornamental candle holders.[19] The gallery ceiling has detailed stucco work including a medallion of King George I.[19] The ceilings in the new Saloon and Library, made from the old Long Gallery, were decorated by Thomas Perritt and Joseph Rose.[45] The doorcases are elaborately carved, probably by Richard Fisher.[45] Two chimney pieces in the Saloon were based on designs by William Kent.[45] The distinctive sphinx gate piers by Lancelot Brown constructed in 1768 were based on designs published by Lord Burlington in 1738 and used at Chiswick.[45][1] The main rooms in the west wing were redecorated and the windows were replaced with sliding sash windows.[45] A large pedimented stable block was built to the north of the house, in 1742 and probably designed by Daniel Garratt, also in the Palladian style.[45][46] A painting by Mercier of around 1749, also shows a planned block to the south and a low wall connecting the north and south wings which were never completed.[23][21]
In 1796, Frances Shepheard employed a Mr Johnson to alter and reface the south wing in a style which tried to copy that of Sir Arthur Ingram's original house.[45] Her approach was a departure from the designs for the wing commissioned by her dead husband from John Carr and Robert Adam, as well as the landscaping by Capability Brown who was also consulted about rebuilding the south wing.[45] The wing was made two storeys high throughout with a suite of reception rooms on the ground floor with state bedchambers above.[27] In the 1790s, the kitchens were moved to the north wing and the original kitchen became a brushing room where servants brushed down nobles returning from hunting parties.[44]
At the end of the 19th century, Emily Meynell Ingram replaced the sash windows with stone mullions and leaded lights and rebuilt the north porch adding the Meynell Ingram coat of arms over the doorway.[27] She redecorated several rooms and had the great oak staircase installed.[27] The dining room, great staircase and Lord Darnley's room were remodelled in Elizabethan style.[33] In 1877, Emily converted the library at the east end of the gallery into a chapel.[47]
Coalmining on the estate
Estate records show the existence of coal pits in and around the park in the seventeenth century and Bell Wood to the south of the house would have had bell pits for coal extraction. A colliery at Halton village was leased to a number of different individuals from 1660 through to at least the 1790s. The leases generally required the leaseholder to supply coals to Temple Newsam house.[48]
In 1815, William Fenton, one of the 'Coal Kings' of Yorkshire,[49] began the sinking of a mine shaft on the estate at Thorpe Stapleton. The colliery was named Waterloo to commemorate the famous battle of that year.[50] Waterloo Colliery was operated as a royalty concession with contracted 'rents' for coal extracted going to the Temple Newsam landowner. Fenton also had a village built for his workers on land between the River Aire and the Aire and Calder navigation. The village was initially called Newmarket but then became Irwin Square on ordnance survey maps[51] and Ingram Place on census lists, but it was commonly simply known as Waterloo. The Yorkshire, Lancashire and England cricketer Albert Ward was born here in 1865. The village had two rows of cottages and a school building. It was connected to the colliery by a wooden footbridge over the river.[52] Deep coal mining on the estate ended with the closure of the Temple Pit of Waterloo Main Colliery in 1968.
Temple Newsam House
Opencast mining on the estate began in May 1942. Seven sites were exploited to the south of the house almost entirely destroying Capability Brown's landscape. One site reached within 330 feet (100 m) of the South Terrace. It continued at the Gamblethorpe site as far as Dawson's Wood, in full view of the house, until 1987.[53] No trace of the opencast remains now as the parkland was re-landscaped.
In 2019 there was a temporary exhibition about coal mining at Temple Newsam which was called 'Blot on the Landscape'.[54]
House and estate today
The house and estate are owned by Leeds City Council and open to the public. The house has undergone substantial restoration to its exterior. There is an established programme of restoring rooms back to known previous configurations, reversing the numerous intrusive installations and modifications that took place during the building's "art museum" phase.
The wider estate is made up of woods (the second largest part of the Forest of Leeds).[55] There are sporting facilities for football, golf, running, cycling, horse-riding and orienteering. There is an innovative children's playground opened in 2011 which caters for both disabled and able-bodied children.[56] Pegasus Wood, to the south of the house, commemorates veterans of the Normandy Landing at Pegasus Bridge in 1944.[57]
Photograph of brick barn at the Home Farm, Temple Newsam
Great Barn, Home Farm, Temple Newsam
The Home Farm, open to the public, has a barn built in 1694 and is the largest working rare breeds farm in Europe, and only one of 16 nationally approved by the Rare Breeds Survival Trust. Breeds include Gloucester, Kerry, Irish Moiled, Red Poll, White Park, British White, Beef Shorthorn, Vaynol and Belted Galloway cattle; Kerry Hill; Whitefaced Woodland and Portland sheep, and Golden Guernsey goats.[58] The farm was targeted by arsonists twice in 2011 with damage caused to buildings, and some animals killed.[59]
There are extensive gardens, with a celebrated rhododendron walk and six national plant collections: Aster novi-belgii (Michaelmas daisies), Phlox paniculata, Delphinium elatum (Cultivars), Solenostemon scutellarioides (sys. Coleus blumei), Primula auricula and Chrysanthemum (Charm and Cascade cultivars).[60] Within the Walled Garden there are 800 yards of herbaceous borders.[61]
Collections
There are substantial holdings of fine and decorative art which are designated by the Department of Culture, Media and Sport (DCMS) as being of national significance.[62]
Of most significant historical and cultural interest is the Chippendale Society collection of Chippendale works that are on permanent loan.[63] In his book "Britain's Best Museums and Galleries", Mark Fisher (a former DCMS minister) gave the museum an excellent review. When interviewed on Front Row, Radio 4, November 2004 Fisher placed Temple Newsam House in the top three non-national museums in the country, along with Birmingham's Barber Institute and the Dulwich Picture Gallery.[64]
Scanned silver gelatin print, from 1990. Limited edition prints for sale, image approximately 4x6" on 8x10" paper. Please inquire for pricing. None of these prints can be printed again since the Agfa Paper is no longer available. Signed on rear.
The Halland Collection, 381.
---
Daphni or Dafni (Modern Greek: Δαφνί; Katharevousa: Δαφνίον, Daphnion) is an eleventh-century Byzantine monastery eleven kilometers (6.8 miles) northwest of central Athens in the suburb of Chaidari, south of Athinon Avenue (GR-8A). It is situated near the forest of the same name, on the Sacred Way that led to Eleusis. The forest covers about 18 km2 (7 sq mi), and surrounds a laurel grove. "Daphni" is the modern Greek name that means "laurel grove", derived from Daphneion (Lauretum).
The Daphni Monastery was founded towards the end of the sixth century A.D. on the site of the Sanctuary of Apollo which had been desecrated by the Goths in 395. The Sanctuary of Apollo was built in the Ionic style using the thinnest and smallest columns. The columns stand on a base with an ornamental scroll at the top. A few of the columns of the temple have been preserved. One of the four Ionic columns of the ancient Sanctuary of Apollo remains at the site, as it was re-used in the Daphni Monastery. The other columns were removed and taken to London by Thomas Bruce, Earl of Elgin (of Elgin Marbles fame). The columns, column bass, and column tops from the Sanctuary of Apollo are currently in the possession of the British Museum; they are currently not on display but can be seen on the museum’s website .
The first monastery on the site was constructed in the style of a castle with a basilica in the middle. It was fortified with enclosing walls and small cells that were usually just inside the walls and used by monks or nuns. The walls were attached to the church rather than standing free around the perimeter of the property and one of the columns from Apollo was built into the southern wall of the church.[1] Some of the rectangular blocks of porous stone were also salvaged and used in the western outer wall of the church. This first monastery fell into decline when Greece was severely damaged following invasions of barbarians from the North and the sea in the ninth and tenth Centuries A.D.
During a period of renewed prosperity In the eleventh and twelfth centuries, the Daphni Monastery was restored. A new octagonal church, a refectory and a chapel for the cemetery were built.[2] The old basilica was completely demolished except for the enclosing walls and cells from the former church which were incorporated into the new church. Traces of old frescoes found on the walls show a person with bands, perhaps Emperor Basil II, holding a scroll. The craftsmanship used in the church construction suggests Basil II brought in workers from Constantinople.
The Daphni Monastery fell into decline after it was sacked by Frankish crusaders in 1205. The region became part of the Duchy of Athens under Othon de la Roche. Othon gave the Daphni Monastery to the Cistercian Abbey of Bellevaux, who added their own cloister and twin pointed arches in the Gothic style to the façade of the church. The Daphni Monastery became a popular burial place for Knights. In 1458, immediately after the coming of the Turks and the visit of Sultan Mehmed II to Athens, the Cistercians abandoned the Daphni Monastery and the Duchy of Athens was abolished.
The Daphni Monastery, along with the famous monasteries of Hosios Loukas near Delphi and Nea Moni on the island of Chios, are designated UNESCO World Heritage Sites for their significant historical and architectural value. These monasteries are famed as masterpieces of middle Byzantine architecture, and are especially noted for their sumptuous interior gold mosaics.
Architecture
The exterior of the church has a cloisonné style, which is very common for middle Byzantine churches in Greece. The cloisonné style of masonry consists of rectangular blocks of stone separated or framed on all four sides by bricks. The windows are set off from the cloisonné work by arched frames made of brick. The contrast between the light color of the stone blocks of the cloisonné and the red bricks around the windows, and the orange roof create a sophisticated and understated elegance.
The floor plan for the Church of Daphni is a simple Greek cross-octagon arranged with various levels of light and illumination. The upper church, particularly the dome symbolizes the Heavens while the lower area symbolizes the earth. A square bay in the center of the church is covered by a broad dome. Squinches, small half-domes that span the corner of a square are connected by tall L-shaped piers to form the transition from the square to the circle of the dome. The four squinches in the square bay transform it into an octagon. The wall surfaces fan out at the top above the squinches and join together to form the circular base of the dome.
A Greek cross is formed by four barrel-vaulted arms of the same length that project from the center bay. Small bays covered with groin vaults (ceilings made up of two barrel vaults) that intersect at right angles give the building its rectangular shape. The bays that fill in the cross are only one-story high and with a low-level of illumination to subordinate them from the Greek cross.
The interior of The Daphni Monastery has an elegant interplay of spaces and light with the windows at the base of the dome illuminating the vertical space above; as the space becomes taller, it also become brighter. This graduated light enhances the radiant gold-ground tesserae used to create the remarkable quality of the mosaics. The unknown artist was from the early Komnenian period (c. 1100). The wide assortment of colored shades of glass tesserae further enhances the mosaics. Several important studies have been conducted on the composition of the glass used in the tesserae for these mosaics as the unusually bright color of the gold-ground tesserae and the deep brilliance of the colors combine with important stylistic qualities to make these mosaics unique. One of the factors that identifies mosaics from different areas is the variance in glass used. The glass can be crafted locally or imported from other areas; in the case of Daphni, it is believed the glass was created on site. This group of mosaics is considered one of the most important and best-preserved mosaic cycles from this period. They are evidence of the iconographic and stylistic conceptions formulated at the end of the iconoclastic crisis (AD 843) by the Church of Constantinople. The decoration shows a rigid consistency in the distribution of subject characteristic of Constantinopolitan art.
In Byzantine theology, the church building was a symbol of the Christian universe, intended to reflect the splendor of heaven. A standardized program in Byzantine churches established the order in which the representations were arranged. The most sacred characters were depicted in the dome and the apse, while below, the dome scenes were arranged from higher to lower levels relating to their level of religious importance.
Visitors to the church are immediately drawn to the most important and famous of the mosaics: Christ Pantocrator (Lord of the Universe) watching over all from the crown of the dome. He is depicted with a stern face and a threatening gaze with only his head and shoulders shown. This medallion is recognized as representing high artistic quality and as “one of the greatest creations in art”
Christ is wearing a purple robe and a blue mantle, he is the King of Kings and shows strength, austerity and power. The artist created a bold and realistic drawing, executed with very simple means. The eyebrows are shown with a strong arch to accentuate the vertical lines and the long nose that intersects with the horizontal lines of the halo to create a symbolic cross. Several studies have been conducted in an attempt to determine whether significant changes have been made during restorations to the appearance of the Christ Pantocrator mosaic, but there is general agreement that changes have not been significant. Christ is surrounded by sixteen Prophets at the base of the dome, between the windows that illuminate Christ as the dominant figure in the church. The prophets are wearing ancient garments and hold a parchment containing text proclaiming the glory of Christ or the Second Coming.
On the pendentives there are four scenes from the life of Christ. The Crucifixion scene shows three figures: Christ on the cross, with Mary and Saint John are at the foot of the cross, one on each side. The figures are arranged in the shape of a triangle against the empty golden background. Each figure is separate and unified with the other figures. This balanced arrangement is similar to the way Greek sculptors placed their figures in the pediments of temples. The figure of St. John is depicted in a bending position, with his weight on one leg – a pose used by Greek sculptors. The body of Christ is depicted in a classic, athletic style, but unlike Greek sculpture, the anatomy is not true to life. The faces of Saint John and the Madonna have the flatness and heavy lines of the Byzantine style, but they express the calm of Greek statues.
According to the Encyclopædia Britannica, "the ensemble represents a visualization of the Christian cosmos, its effect created by an intricately conceived interplay of pictures and architecture. Space in fact fuses the decoration into one giant image, in which the ruler, hailed by the prophets surrounding him, presides in his sphere above the host of saints that people the lower part of the room."
Other important mosaics include: Prayers of Joachim and Anna, Annunciation of Joachim, The Virgin with Anna, Annunciation of the Mother of God, The Baptism of Christ, The Washing of the Disciples, Entering Jerusalem, Christ at the Last Supper, The Crucifixion, The Resurrection, Dormition of the Mother of God, Angel to Receive the Mother of God, Prophet Sophonia, St. Bacchus.
Byzantine art often survives as an ecclesiastical art. The Daphni Monastery was built during a period of renaissance in culture and art and a return to classical traditions. The figures in the mosaics are more naturalistically represented, and they blend more smoothly into their surroundings. The decoration of the monastery is inspired by the spirit of the times. Faces are dematerialized, austere and depicted with unemotional expressions. The bodies are heavy and rigid, common characteristics in depicting the icons of the Bishops, Monks and the Martyrs. The pictorial perspective, the figure styles and gestures, the modeling of the figures along with simplicity of design, and the dazzling splendor of color reflecting from the gold and silver tesserae distinguish the Daphni mosaics among the mosaics of the eleventh and twelfth centuries as particularly grand specimens of Byzantine art in general (Wikipedia).
Roman-period (mid second century) Ionic portico re-erected at the Sanctuary of Asklepios at Pergamon. These elements decorated the north side of the portico (here towards the northeast corner) that extended around the rectangular forecourt of the enclosure.
RBU2013.2853
Blue sky, the moon and ionic columns
The Four Columns are four Ionic columns originally created by Josep Puig i Cadafalch in Barcelona, Spain. They were erected in 1919, where the Magic Fountain of Montjuïc now stands.
In Ionic architecture, female figures are sometimes used as architectural supports in place of columns. The Greek term "karyatides" literally means "maidens of Karyae" for the strong women of a southern Greek town who were forced to carry objects during and after the Persian Wars. (Acropolis, Athens, Greece)
(Photo by Doug Herbst, reduced from original)
Sant'Anna dei Bresciani
Sant'Anna dei Bresciani o Chiesa di Santa Ana dei Bresciani , già nota come Santi Faustino e Giovita o Chiesa dei Santi Faustino e Giovita , era una chiesa di Roma , in Italia , situata a Ponte rione , alla fine di via di Bresciani , un vicolo da Via Giulia , e demolito intorno al 1888 durante i lavori per l'apertura del Lungotevere dei Sangallo . Era dedicato a Sant'Anna e ai martiri Faustino e Jovita , patroni di Brescia .
Storia
Questa chiesa ha le sue origini nei progetti di papa Giulio II per la sua nuova via Giulia . Sul lato ovest della strada, a nord della moderna via del Gonfalone , volle costruire un grande "Palazzo dei Tribunali" per riunire tutte le corti giudiziarie di Roma, ma purtroppo, alla sua morte, i suoi successori non conservarono il progetto e le opere Le opere incomplete del Bramante furono abbandonate.
Confraternita di bresciani , la "Società dei Bresciani" ( Società dei Bresciani ) acquistò parte del terreno per edificarvi una chiesa nel 1575, oltre ad un piccolo ospedale per i pellegrini del loro paese natale. L'architetto originario fu ancora Bramante. Nonostante la chiesa sia stata demolita, l'ospedale è ancora sul posto, sul lato sinistro della strada in direzione di Via Giulia .
La chiesa era originariamente dedicata ai Santi Faustino e Giovita , ma l'edificio fu modificato da Carlo Fontana tra il 1669 e il 1709, cosa che gli valse l'opportunità di riconsacrarla a Santa Ana .
Aspetto
La chiesa era a navata unica , senza navate laterali, con due cappelle per lato e un transetto quadrato sormontato da una cupola . Su ciascun lato della croce vi erano anche due cappelle laterali, che conferiscono alla pianta la forma di una croce latina . La canonica era in un'abside semicircolare che costeggiava il fiume dall'altra parte del muro.
La facciata, nota da vecchie fotografie, aveva due piani e un solo ingresso. La prima era piuttosto semplice, con quattro lesene doriche a coppie che sorreggevano una trabeazione con l'iscrizione dedicatoria sul fregio . Tra le coppie c'era l'ingresso, che aveva due semicolonne ioniche su plinti che sostenevano un frontone triangolare . Il timpano era decorato con due palme incrociate, un'allusione ai due martiri della dedica originaria.
Il secondo era più complesso. C'erano tre zone di uguale larghezza e quella centrale era incassata. Le due esterne avevano una coppia di colonne corinzie ciascuna su alti plinti sopra la trabeazione del primo piano e piegate agli angoli. Sostenevano una trabeazione divisa dall'incavo della zona centrale e, sopra di essa, vi era un piccolo frontone triangolare privo di cornice e che era sorretto solo dalle due lesene interne per lato. La grondaia aveva cinque pinnacoli a forma di torce fiammeggianti.
L'area centrale aveva una grande finestra rotonda, che iniziava in corrispondenza del cornicione della trabeazione del primo piano e da lì attraversava il plinto su cui si basavano le lesene del secondo. In essa vi era una coppia di strette semicolonne corinzie che fiancheggiavano la finestra, elevandosi a una coppia di piccoli zoccoli che tenevano l' architrave a livello delle basi dei capitelli dei pilastri principali. Al di sopra di questo architrave, fino al timpano del frontone, c'era un grande pannello con una cornice curva come se fossero due volute logaritmiche fuse. Questo pannello (o tondo ) era sorretto da una coppia di putti . Prima della demolizione conteneva solo la scritta "Deo sacrum"("Sacro a Dio"), ma il suo scopo era quello di recare un affresco .
All'interno, la pala di Santa Ana sull'altare maggiore era della scuola di Federico Barocci mentre le altre erano di Francesco Cozza , Luigi Gentile e Girolamo Muziano .
Fonte: Wikipedia, l'enciclopedia libera.
Raccolta Foto De Alvariis
Ruins of the Sanctuary of Athena in the ancient Hellenistic city of Priene, spectacularly located against a rocky outcrop.
Of the Temple the terrace with five (re-erected) Ionic columns remain, surrounded by a fascinating collection of related architectural debris. It was originally built in the 4th century BC by the architect Pythios, also responsible for the (lost) great Mausoleum of Halicarnassus, one of the Seven Ancient Wonder of the World, situated some 100km south of here.