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Church of All Saints, Eggesford Devon , a former estate church it is sited in an isolated spot near to the manor house
It consists of a nave with narrower and lower chancel, north aisle with narrower and lower Chichester mortuary chapel at the east end with vaults below, north porch and west tower. The two stage tower is 15c , the rest was completely restored and much rebuilt with new windows etc in 1867 although some of 15c rubble fabric at the east end of the chancel and north aisle survives
The north porch is narrow and gable-ended.. The moulded hood has labels carved as male and female heads. Above the arch the gable contains a carved plaque containing the crest of the Earls of Portsmouth with the date 1867. www.flickr.com/gp/52219527@N00/C4147LdshU
The Interior dates mainly from the 1867 restoration, including the tiled floors, altar rails, choir stalls, chandelier and pulpit. . The ceiled wagon roofs are also 19c - the north aisle roof has carved bosses and the wall plate is enriched with carved openwork and painted heraldic devices under each truss. The Beerstone chancel arch dates from this time . The arch between the chancel and chapel is granite and is probably reset 15c work.
The chancel is plain with 19c oak altar rail on twisted iron supports with ivy leaf brackets, the Gothic stalls are of the same age. www.flickr.com/gp/52219527@N00/7314LC7356 Benches include series of 18c box pews in the south nave. The rest are 19c and the north aisle includes a large enclosure, the 17c / 18c family pew of the Earls of Portsmouth which now holds a 20c organ.
The purple mudstone cushion font is Norman but much restored in 1919. www.flickr.com/gp/52219527@N00/rX15J8890U
The nave contains some fragments of medieval & 16c stained glass reset in the tracery. www.flickr.com/gp/52219527@N00/95LF9A8cB6 www.flickr.com/gp/52219527@N00/d3Ksm875W9
There are two very large 17c Chichester monuments attributed by Katherine Sidaile to William Smith of Charing Cross - one to Edward Lord Viscount Chichester 1648 & wife Anne Coplestone 1616 heiress to Eggesford , www.flickr.com/gp/52219527@N00/zpN6EL1F16 on the north aisle wall, the other on the south nave wall to their son Arthur Viscount Chichester, Earl of Donegal 1675 & his first 2 wives www.flickr.com/gp/52219527@N00/wVW3a257E6 who both built their monuments in their lifetime but "erected and finished by the said Arthur". Another massive one is on the east wall of the north aisle to William Fellowes 1723 www.flickr.com/gp/52219527@N00/2xy26Ce1y9 who bought the manor from the Chichester heiress in accordance with a legacy from his uncle. - These were all originally together in a room north of the chancel until 1867 when they were re-erected in their present positions.
en.wikipedia.org/wiki/Eggesford
Roger Cornfoot CCL www.geograph.org.uk/photo/7097142
A few of the many details of the Town Hall - Brussel
The Town Hall of the City of Brussels is a Gothic building from the Middle Ages. It is located on the famous Grand Place in Brussels, Belgium.
The oldest part of the present Town Hall is its east wing (to the left, when facing the front). This wing, together with a small belfry, was built from 1402 to 1420 under direction of Jacob van Thienen, and future additions were not originally foreseen. However, the admission of the craft guilds into the traditionally patrician city government probably spurred interest in expanding the building. A second, shorter wing was completed within five years of Charles the Bold laying its first stone in 1444. The right wing was built by Guillaume (Willem) de Voghel who in 1452 also built the Magna Aula.
The 96 meter (310 ft) high tower in Brabantine Gothic style emerged from the plans of Jan van Ruysbroek, the court architect of Philip the Good. By 1455 this tower had replaced the older belfry. Above the roof of the Town Hall, the square tower body narrows to a lavishly pinnacled octagonal openwork. Atop the spire stands a 5-meter-high gilt metal statue of the archangel Michael, patron saint of Brussels, slaying a dragon or devil. The tower, its front archway and the main building facade are conspicuously off-center relative to one another. According to legend, the architect upon discovering this "error" leapt to his death from the tower. More likely, the asymmetry of the Town Hall was an accepted consequence of the scattered construction history and space constraints.
The Town Hall at night
The facade is decorated with numerous statues representing nobles, saints, and allegorical figures. The present sculptures are reproductions; the older ones are in the city museum in the "King's House" across the Grand Place.
After the bombardment of Brussels in 1695 by a French army under the Duke of Villeroi, the resulting fire completely gutted the Town Hall, destroying the archives and the art collections. The interior was soon rebuilt, and the addition of two rear wings transformed the L-shaped building into its present configuration: a quadrilateral with an inner courtyard completed by Corneille Van Nerven in 1712. The Gothic interior was revised by Victor Jamar in 1868 in the style of his mentor Viollet-le-Duc. The halls have been replenished with tapestries, paintings, and sculptures, largely representing subjects of importance in local and regional history.
The Town Hall accommodated not only the municipal authorities of the city, but until 1795 also the States of Brabant. From 1830, a provisional government assembled here during the Belgian Revolution.
To put up the yurta people start from installing a door casing, bosogo. Then by the circle stretches the openwork wall, kerege, which consists of a few sections, kanat. Each kanat is made of long wooden poles. Usually kerege is made of birch tree trunks and boughs. Then stretched out it form a grid with rhombic clear space-kerege koz. Then installs the supporting dome poles and tyundyuk - the top of the Yurta. The surface of the poles is trimmed and thoroughly polished by the master who renders them the required shape and thickness. The surfaces of the wooden parts of the yurta are covered with a special substance and painted so it keeps the original flexibility . From the outside, the Yuta is covered by Chiy, or mat, with a national ornament and finally, the nearly finished spherical structure is covered with a specially prepared thick felt, - kiyiz. Usually, yurta has several felt layers.
A jailoo is a high mountain pasture. The Sarala Saz jailoo is located about an hour and a half to the north of the village of Kochkor. Besides its landscapes and view on the mountains it is also famous for being home to the yearly exhibition of traditional Kyrgyz horse games every July.
© Eric Lafforgue
A few of the many details of the Town Hall - Brussel
The Town Hall of the City of Brussels is a Gothic building from the Middle Ages. It is located on the famous Grand Place in Brussels, Belgium.
The oldest part of the present Town Hall is its east wing (to the left, when facing the front). This wing, together with a small belfry, was built from 1402 to 1420 under direction of Jacob van Thienen, and future additions were not originally foreseen. However, the admission of the craft guilds into the traditionally patrician city government probably spurred interest in expanding the building. A second, shorter wing was completed within five years of Charles the Bold laying its first stone in 1444. The right wing was built by Guillaume (Willem) de Voghel who in 1452 also built the Magna Aula.
The 96 meter (310 ft) high tower in Brabantine Gothic style emerged from the plans of Jan van Ruysbroek, the court architect of Philip the Good. By 1455 this tower had replaced the older belfry. Above the roof of the Town Hall, the square tower body narrows to a lavishly pinnacled octagonal openwork. Atop the spire stands a 5-meter-high gilt metal statue of the archangel Michael, patron saint of Brussels, slaying a dragon or devil. The tower, its front archway and the main building facade are conspicuously off-center relative to one another. According to legend, the architect upon discovering this "error" leapt to his death from the tower. More likely, the asymmetry of the Town Hall was an accepted consequence of the scattered construction history and space constraints.
The Town Hall at night
The facade is decorated with numerous statues representing nobles, saints, and allegorical figures. The present sculptures are reproductions; the older ones are in the city museum in the "King's House" across the Grand Place.
After the bombardment of Brussels in 1695 by a French army under the Duke of Villeroi, the resulting fire completely gutted the Town Hall, destroying the archives and the art collections. The interior was soon rebuilt, and the addition of two rear wings transformed the L-shaped building into its present configuration: a quadrilateral with an inner courtyard completed by Corneille Van Nerven in 1712. The Gothic interior was revised by Victor Jamar in 1868 in the style of his mentor Viollet-le-Duc. The halls have been replenished with tapestries, paintings, and sculptures, largely representing subjects of importance in local and regional history.
The Town Hall accommodated not only the municipal authorities of the city, but until 1795 also the States of Brabant. From 1830, a provisional government assembled here during the Belgian Revolution
Church of All Saints, Eggesford Devon , a former estate church it is sited in an isolated spot near to the manor house
It consists of a nave with narrower and lower chancel, north aisle with narrower and lower Chichester mortuary chapel at the east end with vaults below, north porch and west tower. The two stage tower is 15c , the rest was completely restored and much rebuilt with new windows etc in 1867 although some of 15c rubble fabric at the east end of the chancel and north aisle survives
The north porch is narrow and gable-ended.. The moulded hood has labels carved as male and female heads. Above the arch the gable contains a carved plaque containing the crest of the Earls of Portsmouth with the date 1867. www.flickr.com/gp/52219527@N00/C4147LdshU
The Interior dates mainly from the 1867 restoration, including the tiled floors, altar rails, choir stalls, chandelier and pulpit. . The ceiled wagon roofs are also 19c - the north aisle roof has carved bosses and the wall plate is enriched with carved openwork and painted heraldic devices under each truss. The Beerstone chancel arch dates from this time . The arch between the chancel and chapel is granite and is probably reset 15c work.
The chancel is plain with 19c oak altar rail on twisted iron supports with ivy leaf brackets, the Gothic stalls are of the same age. www.flickr.com/gp/52219527@N00/7314LC7356 Benches include series of 18c box pews in the south nave. The rest are 19c and the north aisle includes a large enclosure, the 17c / 18c family pew of the Earls of Portsmouth which now holds a 20c organ.
The purple mudstone cushion font is Norman but much restored in 1919. www.flickr.com/gp/52219527@N00/rX15J8890U
The nave contains some fragments of medieval & 16c stained glass reset in the tracery. www.flickr.com/gp/52219527@N00/95LF9A8cB6 www.flickr.com/gp/52219527@N00/d3Ksm875W9
There are two very large 17c Chichester monuments attributed by Katherine Sidaile to William Smith of Charing Cross - one to Edward Lord Viscount Chichester 1648 & wife Anne Coplestone 1616 heiress to Eggesford , www.flickr.com/gp/52219527@N00/zpN6EL1F16 on the north aisle wall, the other on the south nave wall to their son Arthur Viscount Chichester, Earl of Donegal 1675 & his first 2 wives www.flickr.com/gp/52219527@N00/wVW3a257E6 who both built their monuments in their lifetime but "erected and finished by the said Arthur". Another massive one is on the east wall of the north aisle to William Fellowes 1723 www.flickr.com/gp/52219527@N00/2xy26Ce1y9 who bought the manor from the Chichester heiress in accordance with a legacy from his uncle. - These were all originally together in a room north of the chancel until 1867 when they were re-erected in their present positions.
en.wikipedia.org/wiki/Eggesford
Tim britishlistedbuildings.co.uk/101162978-church-of-all-sain...
Interior da Catedral de Milão
A text, in english, from Wikipedia, the free encyclopedia.
Milan Cathedral
Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. It is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.
History:
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies the most central site in Roman Mediolanum, that of the public basilica facing the forum. Saint Ambrose's 'New Basilica' was built on this site at the beginning of the 5th century, with an adjoining basilica added in 836. When a fire damaged both buildings in 1075, they were rebuilt as the Duomo.
Um texto, em português, do Site "Fatos e fotos de viagens", que pode ser visto no endereço interata.squarespace.com/jornal-de-viagem/2006/11/27/duom...
In 1386 archbishop Antonio da Saluzzo began construction in a rayonnant Late Gothic style more typically French than Italian. Construction coincided with the accession to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes which had been suppressed by his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of 'St. Stephen at the Spring', while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Galeazzo gave the Fabbrica exclusive use of the marble from the Candoglia quarry and exempted it from taxes.
In 1389 a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its strong Gothic imprint. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but anyway they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, due to lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
In 1500-1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of fifteen statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
The famous "Madunina" atop the main spire of the cathedral, a baroque gilded bronze artwork.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562 Marco d' Lopez's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
After the accession of the ambitious Carlo Borromeo to the archbishop's throne, all lay monuments were removed from the Duomo. These included the tombs of Giovanni, Barnabò and Filippo Maria Visconti, Francesco and his wife Bianca, Galeazzo Maria and Lodovico Sforza, which were brought to unknown destinations. However, Borromeo's main intervention was the appointment, in 1571, of Pellegrino Pellegrini as chief engineer— a contentious move, since to appoint Pellegrino, who was not a lay brother of the duomo, required a revision of the Fabbrica's statutes.
Borromeo and Pellegrino strove for a new, Renaissance appearance for the cathedral, that would emphasise its Roman / Italian nature, and subdue the Gothic style, which was now seen as foreign. As the façade still was largely incomplete, Pellegrini designed a "Roman" style one, with columns, obelisks and a large tympanum. When Pellegrini's design was revealed, a competition for the design of the facade was announced, and this elicited nearly a dozen entries, including by Antonio Barca [1].
This design was never carried out, but the interior decoration continued: in 1575-1585 the presbytery was rebuilt, while new altars and the baptistry were added in the nave.
Wooden choirstalls were constructed by 1614 for the main altar by Francesco Brambilla.
In 1577 Borromeo finally consecrated the whole edifice as a new church, distinct from the old Santa Maria Maggiore and Santa Tecla (which had been unified in 1549 after heavy disputes).
At the beginning of the 17th century Federico Borromeo had the foundations of the new façade laid by Francesco Maria Richini and Fabio Mangone. Work continued until 1638 with the construction of five portals and two middle windows. In 1649, however, the new chief architect Carlo Buzzi introduced a striking revolution: the façade was to revert to original Gothic style, including the already finished details within big Gothic pilasters and two giant belfries. Other designs were provided by, among others, Filippo Juvarra (1733) and Luigi Vanvitelli (1745), but all remained unapplied. In 1682 the façade of Santa Maria Maggiore was demolished and the cathedral's roof covering completed.
The ultimate facade with its striking rosy marble revetment
In 1762 one of the main features of the cathedral, the Madonnina's spire, was erected at the dizzying height of 108.5 m. The spire was designed by Francesco Croce and sports at the top a famous polychrome Madonnina statue, designed by Giuseppe Perego that befits the original stature of the cathedral.[2] Given Milan's notoriously damp and foggy climate, the Milanese consider it a fair-weather day when the Madonnina is visible from a distance, as it is so often covered by mist.
On May 20, 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished. In his enthusiasm, he assured that all expenses would fall to the French treasurer, who would reimburse the Fabbrica for the real estate it had to sell. Even though this reimbursement was never paid, it still meant that finally, within only seven years, the Cathedral had its façade completed. The new architect, Francesco Soave, largely followed Buzzi's project, adding some neo-Gothic details to the upper windows. As a form of thanksgiving, a statue of Napoleon was placed at the top of one of the spires.
In the following years, most of the missing arches and spires were constructed. The statues on the southern wall were also finished, while in 1829-1858, new stained glass windows replaced the old ones, though with less aesthetically significant results. The last details of the cathedral were finished only in the 20th century: the last gate was inaugurated on January 6, 1965. This date is considered the very end of a process which had proceeded for generations, although even now, some uncarved blocks remain to be completed as statues. The Duomo's main facade is under renovation as of 2007; canvas-covered scaffolding obscures most of the facade.
he cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with 5 aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, sitting upon delicate flying buttresses.
The cathedral's five wide naves, divided by forty pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
The interior of the cathedral includes a huge number of monuments and artworks. These include:
* The Archbishop Alberto da Intimiano's sarcophagus, which is overlooked by a Crucifix in copper laminae (a replica).
* The sarcophagi of the archbishops Ottone Visconti and Giovanni Visconti, created by a Campionese master in the 14th century.
* The sarcophagus of Marco Carelli, who donated 35,000 ducati to accelerate the construction of the cathedral.
* The three magnificent altars by Pellegrino Pellegrini, which include the notable Federico Zuccari's Visit of St. Peter to St. Agatha jailed.
* In the right transept, the monument to Gian Giacomo Medici di Marignano, called "Medeghino", by Leone Leoni, and the adjacent Renaissance marble altar, decorated with gilt bronze statues.
* In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.
* The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant telamones covered in copper and bronze, and two large organs. Around the choir the two sacristies' portals, some frescoes and a fifteenth-century statue of Martin V by Jacopino da Tradate) can be seen.
* The transepts house the Trivulzio Candelabrum, which is in two pieces. The base (attributed to Nicolas of Verdun, 12th century), characterized by a fantastic ensemble of vines, vegetables and imaginary animals; and the stem, of the mid-16th century.
* In the left aisle, the Arcimboldi monument by Alessi and Romanesque figures depicting the Apostles in red marble and the neo-Classic baptistry by Pellegrini.
* A small red light bulb in the dome above the apse marks the spot where one of the nails from the Crucifixion of Christ has been placed.
* In November-December, in the days surrounding the birthdate of the San Carlo Borromeo, a series of large canvases, the Quadroni are exhibited along the nave.
DUOMO - A Catedral de Milão
O Duomo é apenas mais um dos fabulosos exemplos de arquitetura e monumentalidade dirigida ao culto ao divino entre tantas outras catedrais construídas na Europa durante a Idade Média, entre os séculos 9 e 12.
Dizem que o Duomo foi projetado pelo pintor, escultor, arquiteto, engenheiro, cientista e inventor italiano Leonardo da Vinci, nascido em Vinci e falecido em Amboise, na França.
Igrejas como as de Chartres , Amiens e Notre Dame de Paris (França), Sevilha e Santiago de Compostela (Espanha), Colônia (Alemanha) e o Duomo de Milão (Itália) são o exemplo máximo do estilo gótico — caracterizado pelo uso das ogivas (cruzamento de arcos), que possibilitavam a construção de altas estruturas. No apogeu do fervor católico, elas foram projetadas usando medidas que reproduziam as proporções do corpo humano.
Situado no centro da cidade , o Duomo é o marco zero geográfico da cidade e ponto de partida para se conhecer a cidade. Muitas de suas atrações estão nas proximidades ou vizinhanças.
Pode-se visitar internamente a igreja e seu telhado. Todos os dias, de 7 às19h de junho a setembro, e de 9 às 16h, de outubro a maio. Para ingressar na igreja nada se paga, mas para subir ao seu telhado paga-se o preço de 4 Euros, por elevador.
Duomo é uma gigantesca igreja catedral, uma das maiores em estilo gótico em todo o mundo, em dimensões, pois tem cerca de 160 m de comprimento por 92 de largura. Suas dimensões representam aquilo que mais impressiona e provoca admiração a quem a visita, num primeiro olhar.
igreja começou a ser construída no Século 14 mas só foi concluída 500 (!!) anos depois.
Uma das coisas mais interessantes a ser fazer em toda Milão é visitar o telhado do Duomo, todo em placas de mármore, da mesma pedra de sua fachada, suas esculturas (santos, gárgulas e agulhas) e de onde se tem uma bela vista de toda a cidade.
A fachada do Duomo não tem apenas um estilo arquitetônico: eles vão do gótico ao renascentista, com alguns elementos neoclássicos.
Ainda no exterior, antes de entrar na igreja, não deixe de observar o rendilhado que envolve as janelas-vitrais e também as belíssimas e enormes portas de bronze, nas quais estão esculturas em baixos e altos-relevos que mostram cenas da história da cidade.
O que mais impressiona no interior é a altura dos enormes pilares góticos que suportam o telhado de toda a igreja e que delimitam suas naves laterais, secundárias e principal, além do altar-mór. Elas enquadram os vitrais igualmente gigantescos e belíssimos.
O interior não impressiona tanto quanto o exterior, ainda que seja solene, grandioso e tenha cinco naves e 52 gigantescas colunas de pedra.
Também o maravilhoso piso de mármore de três ou quatro tonalidades, que formam belos desenhos, dão, na nave central, a verdadeira impressão das dimensões desta fabulosa igreja. Observe o piso (de preferência ajoelhado nele) posisionando-se de costas para o altar-mór e olhando para o portão principal.
Em Milão quase tudo gira ao redor do Duomo, a Catedral de Milão, a terceira maior igreja da cristandade depois da Basílica de São Pedro, em Roma, e da Catedral de Sevilha.
No telhado as centenas de agulhas altíssimas, de arcos e gárgulas, estátuas e cariátides esculpidos em mármore impressionam tanto quanto sua fachada, vista do nível da rua. A mais magestosa das imagens é a estatua dourada da Madonnina do Perego, situada no topo da agulha maior, onde foi colocada em 1744.
Uma visita ao seu telhado dá-nos a dimensão exata da grandiosidade do trabalho de construção desta monumental escultura e nos leva a imaginar o quão difícil deve ter sido, compreendendo-se porque ela iniciou-se em 1386 e terminou em 1887!
O Duomo di Milano é um monumento símbolo do patrimônio Lombardo, dedicado à Santa Maria Nascente e situado na praça central da cidade de Milão, Itália. É uma das mais célebres e complexas construções em estilo Gótico do mundo.
Leia mais sobre a catedral de Milão no endereço www.maconaria.net/portal/index.php?view=article&catid...
~1500 ; rebuilt in the new church bldg. in 1877 by architect David Walker.
The "flat" panels of the soffit are not original.
An excellent article about this screen can be read @
www.buildingconservation.com/articles/llananno-rood/llana...
Sankt Katharinen ist ein herausragendes Meisterwerk norddeutscher Backsteinbaukunst. Anstelle einer 1395 abgerissenen Feldsteinkirche entstand bis 1401 die Katharinenkirche als die größte Kirche der Stadt.
Beachtlich ihre Ausmaße; die Höhe des Dachfirstes beträgt 38 m und die des Turmes 72,5 m. An den Außenwänden dominieren ein seltener Reichtum an durchbrochenen Maßwerkrosetten und figürlicher Schmuck. Besonders beeindruckend die sogenannte Schöppenkapelle an der Südseite mit ihren reichhaltigen Verzierungen.
St. Catherine's Church is an outstanding masterpiece of North German brick architecture. replacing a fieldstone church demolished in 1395, It is the largest church in the city and was built until 1401. Its dimensions are remarkable; the roof ridge is 38 m high and the tower 72.5 m high. The outer walls are dominated by a rare abundance of openwork tracery rosettes and figural decoration. The so-called Schöppenkapelle on the south side with its rich exterior decorations is particularly impressive.
Brandenburg an der Havel is a town in Brandenburg, Germany, which served as the capital of the Margraviate of Brandenburg until replaced by Berlin in 1417.
With a population of 71,886 (as of 2017), it is located on the banks of the River Havel. The town of Brandenburg provided the name for the medieval Bishopric of Brandenburg, the Margraviate of Brandenburg, and the current state of Brandenburg. In the late 19th century Brandenburg an der Havel became a very important industrial center in the German Empire. Steel industries settled there, and several world-famous bicycle brands were manufactured in the city. A world-famous toy industry was also established. After German reunification the city's population declined from around 100,000 in 1989 to roughly 75,000 in 2005 through emigration. The migration was mainly by young people. (en.Wikipedia)
~1500 ; rebuilt in the new church bldg. in 1877 by architect David Walker.
The statues all date from this period, as do many other expertly reconstructed details.
An excellent article about this screen can be read @
www.buildingconservation.com/articles/llananno-rood/llana...
mémoire2cité - Sols absorbants, formes arrondies et couleurs vives, les aires de jeux standardisées font désormais partie du paysage urbain. Toujours les mêmes toboggans sécurisés, châteaux forts en bois et animaux à ressort. Ces non-lieux qu’on finit par ne plus voir ont une histoire, parallèle à celle des différentes visions portées sur l’enfant et l’éducation. En retournant jouer au xixe siècle, sur les premiers playgrounds des États-Unis, on assiste à la construction d’une nation – et à des jeux de société qui changent notre vision sur les balançoires du capitalisme. Ce texte est paru dans le numéro 4 de la revue Jef Klak « Ch’val de Course », printemps-été 2017. La version ici publiée en ligne est une version légèrement remaniée à l’occasion de sa republication dans le magazine Palais no 27 1, paru en juin 2018. la video içi www.youtube.com/watch?v=Uwj1wh5k5PY The concept for adventure playgrounds originated in postwar Europe, after a playground designer found that children had more fun with the trash and rubble left behind by bombings -inventing their own toys and playing with them- than on the conventional equipment of swings and slides. Narrator John Snagge was a well-known voice talent in the UK, working as a newsreader for BBC Radio - jefklak.org/le-gouvernement-des-playgrounds/ - www.collectorsweekly.com/articles/chasing-the-vanishing-p... or children, playgrounds are where magic happens. And if you count yourself among Baby Boomers or Gen Xers, you probably have fond memories of high steel jungle gyms and even higher metal slides that squeaked and groaned as you slid down them. The cheerful variety of animals and vehicles on springs gave you plenty of rides to choose from, while a spiral slide, often made of striped panels, was a repeated thrill. When you dismounted from a teeter-totter, you had to be careful not to send your partner crashing to the ground or get hit in the head by your own seat. The tougher, faster kids always pushed the brightly colored merry-go-round, trying to make riders as dizzy as possible. In the same way, you’d dare your sibling or best friend to push you even higher on the swing so your toes could touch the sky. The most exciting playgrounds would take the form of a pirate ship, a giant robot, or a space rocket.
“My husband would look at these big metal things and go, ‘Oh my God, those are the Slides of Death!'” - insh.world/history/playground-equipment-of-yesterday-that...
Today, these objects of happy summers past have nearly disappeared, replaced by newer equipment that’s lower to the ground and made of plastic, painted metal, and sometimes rot-resistant woods like cedar or redwood. The transformation began in 1973, when the U.S. Congress established the Consumer Product Safety Commission, which began tracking playground injuries at hospital emergency rooms. The study led to the publication of the first Handbook for Public Playground Safety in 1981, which signaled the beginning of the end for much of the playground equipment in use. (See the latest PPS handbook here.) Then, the American Society for Testing and Materials created a subcommittee of designers and playground-equipment manufacturers to set safety standards for the whole industry. When they published their guidelines in 1993, they suggested most existing playground surfaces, which were usually asphalt, dirt, or grass, needed to be replaced with pits of wood or rubber mulch or sand, prompting many schools and parks to rip their old playgrounds out entirely.
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
Top: A Space Age rocket-themed playground set by Miracle Playground Equipment, introduced circa 1968, photographed in Burlington, Colorado, in 2009. Above: Two seesaws and a snail-shaped climber, circa 1970s, photographed in Vandergrift, Pennsylvania, in 2007. (Photos by Brenda Biondo)
That said, removing and replacing playground equipment takes money, so a certain amount of vintage playground equipment survived into the next millennium—but it’s vanishing fast. Fortunately, Brenda Biondo, a freelance journalist turned photographer, felt inspired to document these playscapes before they’ve all been melted down. Her photographs capture the sculptural beauty and creativity of the vintage apparatuses, as well as that feeling of nostalgia you get when you see a piece of your childhood. After a decade of hunting down old playgrounds, Biondo published a coffee-table book, 2014’s Once Upon a Playground: A Celebration of Classic American Playgrounds, 1920-1975, which includes both her photographs of vintage equipment and pages of old playground catalogs that sold it.
Starting this November, Biondo’s playground photos will hit the road as part of a four-year ExhibitsUSA traveling show, which will also include vintage playground postcards and catalog pages from Biondo’s collection. The show will make stops in smaller museums and history centers around the United States, passing through Temple, Texas; Lincoln, Nebraska; Kansas City, Missouri; and Greenville, South Carolina. Biondo talked to us on the phone from her home in small-town Colorado, where she lives with her husband and children.
This 1975 Miracle catalog page reads, "This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast." (Courtesy of Brenda Biondo)This 1975 Miracle catalog page reads, “This famous Lifetime Whirl has delighted three generations of children and still is a safe, playground favorite. Although it has gone through many improvements many of the original models are still spinning on playgrounds from coast to coast.” (Courtesy of Brenda Biondo)Collectors Weekly: What inspired you to photograph playgrounds?Biondo: In 2004, I happened to be at my local park with my 1-year-old daughter, who was playing in the sandbox. I had just switched careers, from freelance journalism to photography, and I was looking for a starter project. I looked around the playground and thought, “Where is all the equipment that I remember growing up on?” They had new plastic contraptions, but nothing like the big metal slides I grew up with. After that, I started driving around to other playgrounds to see if any of this old equipment still existed. I found very little of it and realized it was disappearing quickly. That got to me.I felt like somebody should be documenting this equipment, because it was such a big part—and a very good part—of so many people’s childhoods. I couldn’t find anybody else who was documenting it, and I didn’t see any evidence that the Smithsonian was collecting it. As far as I could tell, it was just getting ripped up and sent to the scrap heap. At first, I started traveling around Colorado where I live, visiting playgrounds. Eventually, I took longer trips around the Southwest, and then I started looking for playgrounds whenever I was in any other parts of the country, like around California and the East Coast. It was a long-term project—shot over the course of a decade. And every year that I was shooting, it got harder and harder to find those pieces of old equipment.
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
This merry-go-round, photographed in Cañon City, Colorado, in 2006, is very similar to the Lifetime Whirl above. In the background are a rideable jalopy and animals, including four attached to a teeter-totter. (Photo by Brenda Biondo)
Collectors Weekly: How did you find them?
Biondo: I would just drive around. I started hunting down local elementary schools and main-street playgrounds as well as neighborhood playgrounds. If I had a weekend, I would say, “OK, I’m going to drive from my home three hours east to the Kansas border, stay overnight and drive back.” Along the way, I would stop at every little town that I’d pass. They usually had one tiny main-street playground and one elementary school. I never knew what I was going to find. In a poorer area, a town often doesn’t have much money to replace playground equipment, whereas more affluent areas usually have updated their playgrounds by now. It was a bit of a crap shoot. Sometimes, I’d drive for hours and not really find anything—or I’d find one old playground after the other, because I happened to be in an area where equipment hadn’t been replaced.
I couldn’t get to every state, so I had to shoot where I was. I think there certainly are still old playgrounds out there, especially in small towns. But there’s fewer and fewer of them every year. My book has something like 170 photographs. I would guess that half the equipment pictured is already gone. Sometimes, I’d go back to a playground with a nice piece of equipment a year later to reshoot it, maybe in different lighting or a different season, and so often it had been removed. That pressured me to get out as often as I could because if I waited a few weeks, that piece might not be there anymore.
A 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
a 1911 postcard shows girls playing on an outdoor gymnasium at Mayo Park in Rochester, Minnesota.
Collectors Weekly: What did you learn about playground history?
Biondo: I didn’t know American playgrounds started as part of the social reform or progressive movement of the early 1900s. Reformers hoped to keep poor inner-city immigrant kids safe and out of trouble. Back then, city children were playing in the streets with nothing to do, and when cars became more popular, kids started to get hit by motorists. Child activists started building playgrounds in big cities like Boston, Chicago, and New York as a way to help and protect these kids. These reformers felt they could build model citizens by teaching cooperation and manners through playgrounds. These early main-street parks would also have playground leaders who orchestrated activities such as games and songs.
“I started driving to playgrounds to see if any old equipment still existed. I found very little of it and realized it was disappearing quickly.”
In the late 1800s, Germans developed what they called “sand gardens,” which are just piles of sand where kids can come dig and build things. There were few of those in the United States as well. But by the early 1900s, the emphasis of playgrounds was on the apparatuses, things kids could climb on or swing on.
Soon after I started researching playground history, I happened to stumble on an eBay auction for a 1926 catalog that the playground manufacturers used to send to schools. At that point, I wasn’t thinking of doing a book, but I thought I could do something with it. I won the catalog; I paid, like, $12 for it. And it was so interesting because I could see this vintage equipment when it was brand new and considered modern and advanced. The manufacturers boasted about how safe it was and how it was good for building both muscles and imaginations.
After that, I would always search on eBay for playground catalogs, and I ended up with about three dozen catalogs from different manufacturers. My oldest is 1916, and my newest is from 1975. So I would take a photograph of some type of merry-go-round, and then I might find that same merry-go-round in a 1930 catalog. Often in the book, I pair my picture with the page from the catalog showing when it was first manufactured. I discovered a couple dozen manufacturers, which tended to be located in the bigger industrial areas with steel manufacturing, like Trenton, New Jersey, and Kokomo and Litchfield, Indiana. Pueblo, Colorado, even had a playground manufacturer. Burke and GameTime were big 20th century companies, and actually are among few still in existence.
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
The cover of a 1926 catalog for EverWear Manufacturing Company. (Courtesy of Brenda Biondo)
Collectors Weekly: I recently came across an old metal slide whose steps had the name of the manufacturer, American, forged in openwork letters.
Biondo: I love those. One of the last pages in the book shows treads from six different slides, and they each had the name of their manufacturer in them, including Porter, American, and Burke. One time when I was traveling, I did a quick side trip to a small town with an elementary school. In the parking lot was this old metal slide with the American step treads, lying on its side. You could tell it had just been ripped off out of the concrete, which was still attached to the bottom, and was waiting for the steel recyclers to come and take it away.
I thought, “Oh my gosh, just put it on eBay! Somebody is going to want that. Don’t melt it down.” But nobody thinks about this stuff getting thrown away when it should be preserved. If you go on eBay, you can find a lot of those small animals on springs that little kids ride, because they’re small enough to be shipped. Once I saw someone selling one of those huge rocket ships, which had been dismantled, on eBay, but I don’t know if anybody ever bid on it. It’s rare to see the big stuff, because it is so expensive to ship. It’s like, “What kind of truck do you need to haul this thing away?” I don’t know of anyone who’s collecting those pieces, but I hope somebody is.
A metal slide in Victor, Colorado, had step treads with the name "American" in them. Photographed in 2008. (Photo by Brenda Biondo)
A metal slide in Victor, Colorado, had step treads with the name “American” in them. Photographed in 2008. (Photo by Brenda Biondo)
Collectors Weekly: It seems like an opportunity for both starting a collection or repurposing the material.
Biondo: I photographed many of the apparatuses as if they were sculptures because they have really cool designs and colors. Even when they’re worn down, the exposed layers of paint can be beautiful. Hardly anybody stops to look at it that way. People drive by and think, “Oh, there’s an old, rusty, rundown playground.” But if you take the time to look closely at this stuff, it’s really interesting. Just by looking at these pieces, you can picture all the kids who played on them.
Collectors Weekly: Aren’t people nostalgic for their childhood playgrounds?
Biondo: While I was taking the pictures, I visited Boulder, Colorado, which is a very affluent community. I was sure there would be no old playground equipment there. When I was driving around, all of a sudden, I looked over and saw this huge rocket ship. It turns out that one of the original NASA astronauts, Scott Carpenter, grew up in Boulder, and this playground was built in the ’60s to honor their hometown boy. Because of that, the citizens of Boulder never wanted to take down the rocket ship. One of the first exhibitions of this photography project happened in Boulder, and at the opening, I sold four prints of that rocket ship. People would come up to me at the exhibition, and they’d go, “Oh my gosh, I grew up playing on this when I was a little kid! Now, my kids are playing on it, and I’m so excited that I can get a picture of it and hang it in their bedroom.” So people have a strong nostalgic attachment to this equipment. It’s sad that most of it’s not going to be around for much longer.
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship play set seen at the top of this story. (Courtesy of Brenda Biondo)
A 1968 Miracle Playground Equipment catalog features the huge rocket-ship playset seen at the top of this story. (Courtesy of Brenda Biondo)
Collectors Weekly: Besides slides and animals on springs, what were some other pieces that were common in older playgrounds?
Biondo: I didn’t come across as many old swings as I expected. I thought they would be all over the place, but I guess they’re gone now because they were so easy to replace. I tended to find merry-go-rounds more frequently—you know, the one where you’d run around pushing them and then jump on. When my kids were younger, they’d go out playground hunting with me, and the merry-go-rounds were their favorite things. They’re just so fun. The other thing you don’t find often is the seesaw or teeter-totter, and that was my favorite.The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado's R.F. Lamar and Co. (Photo by Brenda Biondo)
The Karymor Stationary Jingle Ring Outfit appeared in the 1931 playground catalog put out by Pueblo, Colorado’s R.F. Lamar and Co. (Photo by Brenda Biondo)
Before I started this project, I didn’t know there was such a variety of equipment. I figured I’d see seesaws, swings, slides, and merry-go-rounds. But I had no idea there were such things as revolving swings, which would be attached to a spinning pole via outstretched metal arms. Many mid-century pieces had themes from pop culture like “The Wizard of Oz,” “Cinderella,” “Denis the Menace,” cowboys and Indians, and Saturday-morning cartoons. During the Space Age, you started to see pieces of equipment shaped like rocket ships and satellites, because in the ’60s, Americans were so excited about space exploration. What was going on in the broader culture often got reflected in playground equipment.
Pursuing the catalogs was eye-opening. I live about an hour and a half south of Denver, so I often looked for playgrounds around the city. There, I’d find these contraptions where were shaped like umbrella skeletons, but then they had these rings hanging off the spindles. I’ve never seen them outside of Colorado. Then I bought a 1930s catalog from the manufacturer in Pueblo, Colorado, which is only 45 minutes from me, and it featured this apparatus. Later, I met people in Denver who’d say, “Oh, yeah, I remember that thing as a kid. It’s kind of like monkey bars where you had to try and get from ring to ring swinging and hanging by your arms.” There was so much variety, and even so many variations on the basics.I have a cool catalog from 1926 from the manufacturer Mitchell, which doesn’t exist anymore. I looked at one of the contraptions they advertised and I was like, “Oh my God, this looks like a torture device!” It was their own proprietary apparatus and maybe it didn’t prove to be very popular. I had never seen something like that on a playground. There probably weren’t very many of them installed.
This strange Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Brenda Biondo says she's never found one in the wild. (Courtesy of Brenda Biondo)
This Climbing Swing from the 1926 Mitchell Manufacturing Company catalog looks a bit like a torture device. Biondo’s never found one in the wild. (Courtesy of Brenda Biondo)
Collectors Weekly: After a while, were you able to date pieces just by looking at them?
Biondo: From looking at the catalogs, I certainly got a better idea of when things were built. But there were a handful things I couldn’t find in the catalogs. You can guess the age by knowing the design, as well as by looking at the amount of wear and the height of the piece. Usually, the taller it was, the older it was. One of the oldest slides I photographed was probably from the ’30s. I climbed to the top to shoot it as if the viewer were going to go down the slide. Up there, the place where you’d sit before sliding had been used for so many years by so many kids that I could see an outline of all the butts worn into the metal. You can imagine all the children who must have gone down that slide to wear the metal down like that.
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
This 1930s-era slide, found in Sargents, Colorado, in 2007, developed a butt-shaped imprint. (Photo by Brenda Biondo)
Collectors Weekly: How did Modernism influence playground design?
Biondo: In 1953, the Museum of Modern Art in New York held a competition for playground design. Modern Art was just getting popular, and the idea of incorporating the theories of Modernist design into utilitarian objects was in the air, and was translated into playgrounds for several years. I have a 1967 catalog that features very abstract playground equipment made from sinuous blobs of poured concrete. And you’ve probably seen some of it, but there’s not too much of that around. That’s another example of how broader cultural trends were reflected in playgrounds.
When most people think of playgrounds, they say, “Oh, that’s a kiddie subject. There’s not much to it.” But when you start looking into them, you realize playgrounds are a fascinating piece of American culture—they go back a hundred years and played a part in most Americans’ lives. These playground pieces are icons of our childhood.
Collectors Weekly:What was the impact of the Consumer Product Safety Commission, which launched in 1973?
Biondo: Things started to change after that, which is why I limited to book to apparatuses made before 1975. New playgrounds were starting to be build out of plastic and fiberglass. I looked up the statistics, and according to the little research I’ve done—contrary to what you’d expect—there’s not much difference in the number of injuries on older equipment versus injuries on equipment today. A “New York Times” article from 2011 called “Can a Playground Be Too Safe?” explains that studies show when playground equipment was really high and just had asphalt underneath it and not seven layers of mulch, thekids knew they had to be careful because they didn’t want to fall. Nowadays, when everything is lower and there’s so much mulch, kids are just used to jumping down and falling and catching themselves. So kids learned to assess risk by playing on the older equipment. They also learned to challenge themselves because it is a little scary to go up to the top of the thing.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
This old postcard of Shawnee Park in Kansas City, Kansas, circa 1912, shows how tall slides could get.
At my local park where you have new equipment, the monkey bars aren’t that high and there’s mulch below it, but a child fell and broke their arm last year. When I was talking to the principal at the school where they had just torn out that old American slide, I asked her, “Why did you replace the equipment?” She said, “We felt the parents in the community were expecting to have a little bit newer and nicer equipment. And this stuff had been here for so long.” And I said, “Have you seen a difference in injury rates since you put up your newer equipment?” She replied, “I’ve been a principal here several years, and we never had a serious broken-bone injury on the playground until four months ago on the new equipment.”
There were some nasty accidents in the ‘60s and ’70s, where kids got their arms or their heads caught in the contraptions. Those issues definitely needed to be assessed. What’s interesting is the Consumer Product Safety Commission never issued requirements, just suggested guidelines. But manufacturers felt that if their equipment didn’t meet those guidelines, they’d be vulnerable to liability. Everybody went to the extreme, making everything super safe so they wouldn’t risk getting sued.A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
A 1970s-era climbing-bar apparatus, photographed in Rocky Ford, Colorado, in 2006. (Photo by Brenda Biondo)
In the last decade, people have been looking at playground-equipment design and trying to make it more challenging and more encouraging of imaginative play, but without making it more likely someone’s going to get injured. And adults, I think, are realizing kids are spending more time indoors on devices so they want to do everything they can to encourage kids to still get outside, run around, and climb on things.
Collectors Weekly: You don’t need a playground to hurt yourself. When I was a kid, I fell off a farm post and broke my arm.Biondo: Oh, yeah, kids have been falling out trees forever—they always want to climb stuff. Playground politics are always evolving. Even in the 1920s, the catalogs talked about how safe their equipment was, and they were selling these 30-foot slides. Sometimes, I’d be out with my family on a vacation, and we’d make a little side tour to look for an old playground to shoot. My husband would look at these big metal things and go, “Oh my God, those are the Slides of Death!” because they were so huge and rickety. But back then, these were very safe pieces of equipment compared to what kids had been playing on before.
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
A page from the 1971 GameTime catalog offering rideable Saddle Mates. (Courtesy of Brenda Biondo)
Collectors Weekly: Growing up in the 1980s, I always hated the new fiberglass slides because I’d end up with all these tiny glass shards in my butt.
Biondo: Yeah, I remember that, too. It’s always something. It is fun to talk to people about playgrounds because it reminds them of all the fun stuff they did as kids. When people see pictures of these metal slides, they tell me, “Oh my gosh, I remember getting such a bad burn from a metal slide one summer!” The metal would get so hot in the sun, and kids would take pieces of wax paper with them to sit on so they’d go flying down the slide. I have some old postcards that show playgrounds from the early ’20s. The wood seesaws not only were huge, but they had no handles so you had hold on to the sides of the board where you sat. I’m looking at that like, “Oh my God!” It’s all relative.
playground_postcard_milwaukee
Kids ride the rocking-boat seesaw at a Milwaukee, Wisconsin, park in this postcard postmarked 1910.
(To see more of Brenda Biondo’s playground photos and vintage catalog pages, pick up a copy of her book, “Once Upon a Playground: A Celebration of Classic American Playground, 1920-1975.” To find an exhibition of Biondo’s playground project, or to bring it to your town, visit the ExhibitsUSA page. To learn more about creative mid-century playgrounds around the globe, also pick up, “The Playground Project” by Xavier Salle and Vincent Romagny.) insh.world/history/playground-equipment-of-yesterday-that...
"Erlangen 's Orangery is architecturally assigned to Erlangen Castle and is located in the castle garden belonging to the residence.
Margrave Christian Ernst of Brandenburg-Bayreuth gave his wife the recently completed Erlangen Castle in 1703. The orangery itself was built a short time later, between 1704 and 1706, on behalf of Margravine Elisabeth Sophie as part of the Erlanger palace complex. It once served the Margrave couple as a greenhouse with living rooms and a ballroom.
Due to its “teatro” shape, derived from the oval floor plan, the arrangement itself and its dual function as a greenhouse and “maison de plaisir” make the orangery an important architectural and historical monument in the entire palace ensemble.
In 1818, after the death of the Dowager Margravine Sophie Caroline, the Orangery became the property of the Friedrich-Alexander University and became the seat of various faculties, offices and offices. Since 1914, in addition to the Institute for Church Music, the art history seminar has also been located in their rooms.
The Orangery in Erlangen is built on a semi-oval floor plan. The ends form pavilions that curve parallel to the garden axis. The middle part, in which the stucco-covered water hall is located, does not continue the curves, but has a rectangular floor plan that is visible to the outside like a risalit. The three-gate portal is the main focus on the south facade. The swinging wings culminate in the triumphal arch architecture, which forms the entrance to the water hall. The central, round-arched gate stands out from the side gates, which are also round-arched, in that it is framed by two pairs of free-standing columns and spanned by an openwork segmental gable. The entrances on the left and right are each framed by a solid column. The bases of the columns are decorated with plant (vegetable) motifs. Only the gable of the central portal breaks the regularity of the attic zone. Rich, figurative and ornamental jewelry here represents princely power and pays homage to fertility. Figures of the four seasons rise on the projecting bases of the cranked attic zone. Although the outer wall of the water hall is not curved but straight compared to the wings, the architectural decoration gives the impression that the wall is swinging out convexly.
Erlangen (German pronunciation: [ˈɛʁlaŋən]; Mainfränkisch: Erlang, Bavarian: Erlanga) is a Middle Franconian city in Bavaria, Germany. It is the seat of the administrative district Erlangen-Höchstadt (former administrative district Erlangen), and with 116,062 inhabitants (as of 30 March 2022), it is the smallest of the eight major cities (Großstadt) in Bavaria. The number of inhabitants exceeded the threshold of 100,000 in 1974, making Erlangen a major city according to the statistical definition officially used in Germany.
Together with Nuremberg, Fürth, and Schwabach, Erlangen forms one of the three metropolises in Bavaria. With the surrounding area, these cities form the European Metropolitan Region of Nuremberg, one of 11 metropolitan areas in Germany. The cities of Nuremberg, Fürth, and Erlangen also form a triangle on a map, which represents the heartland of the Nuremberg conurbation.
An element of the city that goes back a long way in history, but is still noticeable, is the settlement of Huguenots after the Revocation of the Edict of Nantes in 1685. Today, many aspects of daily life in the city are dominated by the Friedrich Alexander University Erlangen-Nuremberg and the Siemens technology group.
Erlangen is located on the edge of the Middle Franconian Basin and at the floodplain of the Regnitz River. The river divides the city into two halves of about equal sizes. In the western part of the city, the Rhine–Main–Danube Canal lies parallel to the Regnitz.
Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).
Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.
Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.
Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.
The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Die Orgel der Klosterkirche wurde 1746 bis 1751 durch den Lippstädter Johann Patroclus Möller errichtet. {de.wikipedia.org/wiki/Kloster_Marienfeld_(Harsewinkel)#Orgel}
Built from 1746-51 by Johann Patroclus Möller of Lippstadt.
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=> 1745
A legend attributes Kraków's founding to the mythical ruler Krakus, who built it above a cave occupied by a dragon, Smok Wawelski. The first written record dates to 965, when Kraków was described as a notable commercial center captured by a Bohemian duke Boleslaus I in 955. The first ruler of Poland, Mieszko I, took Kraków from the Bohemians.
In 1038, Kraków became the seat of the Polish government. By the end of the 10th century, the city was a center of trade. Brick buildings were constructed, including the Royal Wawel Castle. The city was sacked and burned during the Mongol invasion of 1241. It was rebuilt and incorporated in 1257 by Bolesław V the Chaste who introduced city rights. In 1259, the city was again ravaged by the Mongols. The third attack in 1287 was repelled thanks in part to the newly built fortifications.
The city rose to prominence in 1364, when Casimir III founded the University of Kraków, the second oldest university in central Europe. But after Casimir´s death in 1370 the campus did not get completed.
As the capital of the Kingdom of Poland and a member of the Hanseatic League, the city attracted craftsmen from abroad, guilds as science and the arts began to flourish. The 15th and 16th centuries are known as Poland's "Złoty Wiek" (Golden Age).
After childless King Sigismund II had died in 1572, the Polish throne passed to Henry III of France and then to other foreign-based rulers in rapid succession, causing a decline in the city's importance that was worsened by pillaging during the Swedish invasion and by an outbreak of bubonic plague that left 20,000 of the city's residents dead. In 1596, Sigismund III of the House of Vasa moved the capital of the Polish–Lithuanian Commonwealth from Kraków to Warsaw.
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In the place of a Romanesque church, that got destroyed during the Mongol invasion, the early Gothic Church of St. Mary was built on the northeast corner of the market square at the end of the 13th century. It got consecrated in 1320.
The church was completely rebuilt during the reign of Casimir III the Great between 1355 and 1365. The main body of the church was completed in 1395–97 with the new vault constructed by master Nicholas Wernher from Prague.
In the 18th century, the interior was rebuilt in the late Baroque style. In the years 1887–1891, the neo-Gothic design was introduced into the Basilica.
The altarpiece by Veit Stoss is a large Gothic altarpiece and the most important work of art in the basilica. It is located behind the altar of St. Mary. The altarpiece was created between 1477 and 1489 by the German-born sculptor Veit Stoss, who lived and worked in the city for over 20 years.
The retable of the Marian altar is a pentaptych, which means that it has five wings. It consists of a central part with sculptures, a pair of opening inner wings and a pair of fixed outer wings. Both pairs of wings are decorated with reliefs. The structure is completed by a predella in relief on the altarpiece and an openwork keystone with massive sculptures.
It is made of three types of wood. The structure is made of hard oak, the background of lighter but equally strong larch, while the figures are carved of soft and flexible linden.
Unfortunately, the reredos was "closed" so that only the wings could be seen.
Rom - Petersdom
Chair of Saint Peter
Cathedra Petri
The Papal Basilica of St. Peter in the Vatican (Italian: Basilica Papale di San Pietro in Vaticano), or simply St. Peter's Basilica (Latin: Basilica Sancti Petri), is a church built in the Renaissance style located in Vatican City, the papal enclave which is within the city of Rome.
Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture and the largest church in the world. While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome, St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique position in the Christian world" and as "the greatest of all churches of Christendom".
Catholic tradition holds that the basilica is the burial site of Saint Peter, chief among Jesus's apostles and also the first Bishop of Rome (Pope). Saint Peter's tomb is supposedly directly below the high altar of the basilica. For this reason, many popes have been interred at St. Peter's since the Early Christian period. A church has stood on this site since the time of the Roman emperor Constantine the Great. Old St. Peter's Basilica dates from the 4th century AD. Construction of the present basilica began on 18 April 1506 and was completed on 18 November 1626.
St. Peter's is famous as a place of pilgrimage and for its liturgical functions. The pope presides at a number of liturgies throughout the year both within the basilica or the adjoining St. Peter's Square; these liturgies draw audiences numbering from 15,000 to over 80,000 people. St. Peter's has many historical associations, with the Early Christian Church, the Papacy, the Protestant Reformation and Catholic Counter-reformation and numerous artists, especially Michelangelo. As a work of architecture, it is regarded as the greatest building of its age. St. Peter's is one of the four churches in the world that hold the rank of major basilica, all four of which are in Rome. Contrary to popular misconception, it is not a cathedral because it is not the seat of a bishop; the cathedra of the pope as Bishop of Rome is in the Archbasilica of St. John Lateran.
(Wikipedia)
The Chair of Saint Peter (Latin: Cathedra Petri), also known as the Throne of Saint Peter, is a relic conserved in St. Peter's Basilica in Vatican City, the sovereign enclave of the Pope inside Rome, Italy. The relic is a wooden throne that tradition claims the Apostle Saint Peter, the leader of the Early Christians in Rome and first Pope, used as Bishop of Rome. The relic is enclosed in a sculpted gilt bronze casing designed by Gian Lorenzo Bernini and executed between 1647 and 1653. In 2012, Pope Benedict XVI described the chair as "a symbol of the special mission of Peter and his Successors to tend Christ’s flock, keeping it united in faith and in charity."
The wooden throne was a gift from Holy Roman Emperor Charles the Bald to Pope John VIII in 875. It has been studied many times over the years, the last being from 1968 to 1974, when it was last removed from the Bernini altar. That study concluded that it was not a double, but rather a single, chair with a covering and that no part of the chair dated earlier than the sixth century.
The relic itself is described as an oaken chair damaged by cuts and worms. The Chair has metal rings attached to each side, allowing use as a sedia gestatoria. The back and front of the chair are trimmed with carved ivory. This description comes from 1867, when the relic was photographed and displayed for veneration.
The reliquary, like many of the medieval period, takes the form of the relic it protects, i.e. the form of a chair. Symbolically, the chair Bernini designed had no earthly counterpart in actual contemporary furnishings. It is formed entirely of scrolling members, enclosing a coved panel where the upholstery pattern is rendered as a low relief of Christ instructing Peter to tend to His sheep. Large angelic figures flank an openwork panel beneath a highly realistic bronze seat cushion, vividly empty: the relic is encased within.
The cathedra is lofted on splayed scrolling bars that appear to be effortlessly supported by four over-lifesize bronze Doctors of the Church: Western doctors Saint Ambrose and Saint Augustine of Hippo on the outsides, wearing miters, and Eastern doctors Saint John Chrysostom and Saint Athanasius on the insides, both bare-headed. The cathedra appears to hover over the altar in the basilica's apse, lit by a central tinted window through which light streams, illuminating the gilded glory of sunrays and sculpted clouds that surrounds the window. Like Bernini's Ecstasy of Saint Theresa, this is a definitive fusion of the Baroque arts, unifying sculpture and richly polychrome architecture and manipulating effects of light.
Above, on the golden background of the frieze, is the Latin inscription: "O Pastor Ecclesiae, tu omnes Christi pascis agnos et oves" (O pastor of the Church, you feed all Christ's lambs and sheep). On the right is the same writing in Greek. Behind the altar is placed Bernini's monument enclosing the wooden chair, both of which are seen as symbolic of the authority of the Bishop of Rome as Vicar of Christ and successor of Saint Peter.
Early martyrologies indicate that two liturgical feasts were celebrated in Rome, centuries before the time of Charles the Bald, in honour of earlier chairs associated with Saint Peter, one of which was kept in the baptismal chapel of St. Peter's Basilica, the other at the catacomb of Priscilla. The dates of these celebrations were January 18 and February 22. No surviving chair has been identified with either of these chairs. The feasts thus became associated with an abstract understanding of the "Chair of Peter", which by synecdoche signifies the episcopal office of the Pope as Bishop of Rome, an office considered to have been first held by Saint Peter, and thus extended to the diocese, the See of Rome. Though both feasts were originally associated with Saint Peter's stay in Rome, the ninth-century form of the Martyrologium Hieronymianum associated the January 18 feast with his stay in Rome, and the February 22 feast with his stay at Antioch. The two feasts were included in the Tridentine Calendar with the rank of Double, which Pope Clement VIII raised in 1604 to the newly invented rank of Greater Double.
In 1960 Pope John XXIII removed from the General Roman Calendar the January 18 feast of the Chair of Peter, along with seven other feast days that were second feasts of a single saint or mystery. The February 22 celebration became a Second-Class Feast. This calendar was incorporated in the 1962 Roman Missal of Pope John XXIII, whose continued use Pope Benedict XVI authorized under the conditions indicated in his motu proprio Summorum Pontificum. Those traditionalist Catholics who do not accept the changes made by Pope John XXIII continue to celebrate both feast days: "Saint Peter's Chair at Rome" on January 18 and the "Chair of Saint Peter at Antioch" on February 22.
In the new classification introduced in 1969 the February 22 celebration appears in the Roman Calendar with the rank of Feast.
(Wikipedia)
Die Basilika Sankt Peter im Vatikan (italienisch: San Pietro in Vaticano) in Rom, im deutschsprachigen Raum meist Petersdom genannt (auch Basilica Sancti Petri in Vaticano, Petersbasilika, vatikanische Basilika oder Templum Vaticanum), ist die Memorialkirche des Apostels Simon Petrus. Sie ist auf dem Territorium des unabhängigen Staates der Vatikanstadt gelegen und eine der sieben Pilgerkirchen von Rom. Mit einer überbauten Fläche von 20.139 m² und einem Fassungsvermögen von 20.000 Menschen ist der Petersdom die größte der päpstlichen Basiliken und eine der größten und bedeutendsten Kirchen der Welt.
Der Vorgängerbau des heutigen Petersdomes, Alt-St. Peter, wurde um das Jahr 324 von Konstantin dem Großen über dem vermuteten Grab des hl. Petrus errichtet. Mit dem heutigen Bau wurde im Jahr 1506 begonnen, 1626 war er weitestgehend vollendet.
Seit Mitte des 5. Jahrhunderts war die Peterskirche auch die Patriarchalbasilika des Lateinischen Patriarchen von Konstantinopel. Nach der Auflösung des Patriarchats im Jahr 1964 wurde dieser Titel weitergeführt; 2006, als Papst Benedikt XVI. den Titel des Patriarchen des Abendlandes (oder des Westens) niederlegte, wurde er durch den einer Papstbasilika ersetzt.
Seit dem Ende des 14. Jahrhunderts residieren die Päpste in direkter Nähe zum Petersdom. Er ist jedoch weder die Kathedrale des Bistums Rom noch der offiziell ranghöchste römisch-katholische Kirchenbau. Beides ist seit alters her die Lateranbasilika.
(Wikipedia)
Cathedra Petri heißt eine stilisierte überlebensgroße Thron-Nachbildung innerhalb einer mehrteiligen Dekoration vor dem mittleren Wandabschnitt der Haupt-Apsis des Petersdoms in Rom, die 1657 bis 1666 von Gian Lorenzo Bernini im Auftrag von Alexander VII. (Regierungszeit: 1655–1667) geschaffen wurde.
Die Cathedra Petri im Petersdom ist von ihrer Funktion her ein Reliquiar, ein Bronzemantel für einen darin befindlichen Holzstuhl, welcher der Tradition nach der Lehrstuhl von Simon Petrus gewesen sein soll. Wahrscheinlich handelt es sich jedoch um einen für die Krönung Karls des Kahlen angefertigten Stuhl aus dem 9. Jahrhundert n. Chr. Dieser wurde dann nach der Krönungsfeier dem Papst oder der Peterskirche geschenkt. Die liturgische Kathedra Petri, d. h. der Bischofsstuhl des Bischofs von Rom, befindet sich in der römischen Kathedrale, der Lateranbasilika.
Die Cathedra Petri ist ein riesiges Gesamtkunstwerk im Stil des Barock, in dessen Zentrum sich der Thron selbst befindet. Über dem Thron scheint der Himmel geöffnet: In der Mitte erscheint eine Taube im Strahlenkranz als Symbol des Heiligen Geistes, gestaltet als Glasmalerei in einem ovalen, weiß-gelblichen Fenster aus Alabaster. Von der Erscheinung des Heiligen Geistes gehen Bündel von Lichtstrahlen aus und Wolken, auf denen Engelschöre aus Stuck oder Bronze zu sehen sind. Der gesamte obere Teil des Kunstwerkes ist vergoldet. Gold symbolisiert das Göttliche.
Der Thron scheint auf den Wolken aus der himmlischen Sphäre herabzuschweben. Vier überlebensgroße Bronzefiguren greifen in seitliche Schlaufen, die an den geschweiften Beinen des Thrones befestigt sind, und halten ihn auf diese Weise in der Schwebe. Sie stellen die vier Kirchenväter dar, zwei aus dem griechischen Osten (Johannes Chrysostomos und Athanasius) und zwei aus dem lateinischen Westen (Augustinus und Ambrosius). Der Thron selbst ist mit Reliefs verziert.
Nach kirchlicher Überlieferung war Petrus vor Rom auch Gründerbischof der Christengemeinde von Antiochia. Die Kathedra, die er dort innegehabt haben soll, wird heute in San Pietro di Castello, der ehemaligen Patriarchalkirche von Venedig, gezeigt. Sie soll ein Geschenk des Kaisers Michael III. an das damals noch unter byzantinischer Oberhoheit stehende Venedig gewesen sein und stärkte dieses in seinem Selbstbewusstsein gegenüber den Päpsten und in seinem Anspruch auf das Patriarchat von Aquileja. Deutlich sichtbare arabische Schriftzeichen weisen diesen Thronsitz allerdings als zwar orientalisch, aber keinesfalls urchristlich aus.
(Wikipedia)
Steel sculpture; female figure of a stilt-walker (Moko Jumbie). Figure has articulated limbs, painted black. Wears a loincloth composed of plastic and synthetic fibres, shoulder pieces made from nylon netting and gold-sprayed metal breast ornaments. Openwork copper pipe skirt soldered together and hooked onto waist of figure. Numerous composite objects attached to figure including wooden masks and comb; metal bells, keys and toy aeroplane; plastic ornaments sprayed gold; textile decorations. Figure wears gold-sprayed leather and synthetic trainers with toes exposed. Wooden mask with attached vertical headdress made of strips of sheet metal sprayed gold with multiple small metal objects attached including keys, figures, chains, and bells. Wings secured to back of figure, sprayed black and gold. Figure has spiral copper armlet on right proper arm.
Created by Zak Ové for the British Museum's Celebrating Africa season.
The Museum commissioned these figures to coincide with London’s Notting Hill Carnival at the end of August. Moko Jumbie figures became a key feature of carnival in Trinidad in the early 1900s. Oral traditions describe the Moko Jumbie as a guardian of villages who could foresee danger and protect inhabitants from evil forces. Traditionally, Moko Jumbie figures wore long colourful skirts or trousers over their stilts and masks covering their faces. They were sometimes accompanied by dwarfs – represented in the installation in the Great Court by two ‘lost souls’, on loan to the Museum from Zak Ové – who provided a visual height contrast.
Zak Ové works with sculpture, film and photography. He uses these ‘new-world’ materials to pay tribute to both spiritual and artistic African identity. This Moko Jumbie display is part of a larger body of work that draws inspiration from the Trinidad carnival. The works are born from Ové’s documentation of and interest in the African Diaspora and African history. The artist’s intellectual and creative responses to this history are filtered through his own personal and cultural upbringing in London and Trinidad. The relationship between carnival and Africa derives from the enforced movement of peoples during the Transatlantic Slave Trade. Between around 1500 and 1900, millions of people were transported from West and Central Africa to the Caribbean and North, Central and South America.
Carnival in Trinidad began as a predominantly elite event. In the late 1700s French immigrants arrived on the island to run plantations, bringing with them enslaved Africans. The plantation owners staged elaborate masquerade balls during the carnival season. Africans also brought their own masking traditions of which the Moko Jumbie is but one. Masking for Africans in the Caribbean was a way to connect to ancestors and nature as well as ideas of ‘home’. But traditional masquerades were also used to satirically depict their masters and turn a critical eye on plantation society. After full emancipation in 1838, Africans took over the streets at carnival time, using song, dance and masquerade to re-dress the still existing social inequalities.
[British Museum]
"Erlangen 's Orangery is architecturally assigned to Erlangen Castle and is located in the castle garden belonging to the residence.
Margrave Christian Ernst of Brandenburg-Bayreuth gave his wife the recently completed Erlangen Castle in 1703. The orangery itself was built a short time later, between 1704 and 1706, on behalf of Margravine Elisabeth Sophie as part of the Erlanger palace complex. It once served the Margrave couple as a greenhouse with living rooms and a ballroom.
Due to its “teatro” shape, derived from the oval floor plan, the arrangement itself and its dual function as a greenhouse and “maison de plaisir” make the orangery an important architectural and historical monument in the entire palace ensemble.
In 1818, after the death of the Dowager Margravine Sophie Caroline, the Orangery became the property of the Friedrich-Alexander University and became the seat of various faculties, offices and offices. Since 1914, in addition to the Institute for Church Music, the art history seminar has also been located in their rooms.
The Orangery in Erlangen is built on a semi-oval floor plan. The ends form pavilions that curve parallel to the garden axis. The middle part, in which the stucco-covered water hall is located, does not continue the curves, but has a rectangular floor plan that is visible to the outside like a risalit. The three-gate portal is the main focus on the south facade. The swinging wings culminate in the triumphal arch architecture, which forms the entrance to the water hall. The central, round-arched gate stands out from the side gates, which are also round-arched, in that it is framed by two pairs of free-standing columns and spanned by an openwork segmental gable. The entrances on the left and right are each framed by a solid column. The bases of the columns are decorated with plant (vegetable) motifs. Only the gable of the central portal breaks the regularity of the attic zone. Rich, figurative and ornamental jewelry here represents princely power and pays homage to fertility. Figures of the four seasons rise on the projecting bases of the cranked attic zone. Although the outer wall of the water hall is not curved but straight compared to the wings, the architectural decoration gives the impression that the wall is swinging out convexly.
Erlangen (German pronunciation: [ˈɛʁlaŋən]; Mainfränkisch: Erlang, Bavarian: Erlanga) is a Middle Franconian city in Bavaria, Germany. It is the seat of the administrative district Erlangen-Höchstadt (former administrative district Erlangen), and with 116,062 inhabitants (as of 30 March 2022), it is the smallest of the eight major cities (Großstadt) in Bavaria. The number of inhabitants exceeded the threshold of 100,000 in 1974, making Erlangen a major city according to the statistical definition officially used in Germany.
Together with Nuremberg, Fürth, and Schwabach, Erlangen forms one of the three metropolises in Bavaria. With the surrounding area, these cities form the European Metropolitan Region of Nuremberg, one of 11 metropolitan areas in Germany. The cities of Nuremberg, Fürth, and Erlangen also form a triangle on a map, which represents the heartland of the Nuremberg conurbation.
An element of the city that goes back a long way in history, but is still noticeable, is the settlement of Huguenots after the Revocation of the Edict of Nantes in 1685. Today, many aspects of daily life in the city are dominated by the Friedrich Alexander University Erlangen-Nuremberg and the Siemens technology group.
Erlangen is located on the edge of the Middle Franconian Basin and at the floodplain of the Regnitz River. The river divides the city into two halves of about equal sizes. In the western part of the city, the Rhine–Main–Danube Canal lies parallel to the Regnitz.
Franconia (German: Franken, pronounced [ˈfʁaŋkŋ̍]; Franconian: Franggn [ˈfrɑŋɡŋ̍]; Bavarian: Frankn) is a region of Germany, characterised by its culture and Franconian dialect (German: Fränkisch).
Franconia is made up of the three Regierungsbezirke of Lower, Middle and Upper Franconia in Bavaria, the adjacent, Franconian-speaking, South Thuringia, south of the Thuringian Forest—which constitutes the language boundary between Franconian and Thuringian— and the eastern parts of Heilbronn-Franconia in Baden-Württemberg.
Those parts of the Vogtland lying in Saxony (largest city: Plauen) are sometimes regarded as Franconian as well, because the Vogtlandian dialects are mostly East Franconian. The inhabitants of Saxon Vogtland, however, mostly do not consider themselves as Franconian. On the other hand, the inhabitants of the Hessian-speaking parts of Lower Franconia west of the Spessart (largest city: Aschaffenburg) do consider themselves as Franconian, although not speaking the dialect. Heilbronn-Franconia's largest city of Heilbronn and its surrounding areas are South Franconian-speaking, and therefore only sometimes regarded as Franconian. In Hesse, the east of the Fulda District is Franconian-speaking, and parts of the Oden Forest District are sometimes regarded as Franconian for historical reasons, but a Franconian identity did not develop there.
Franconia's largest city and unofficial capital is Nuremberg, which is contiguous with Erlangen and Fürth, with which it forms the Franconian conurbation with around 1.3 million inhabitants. Other important Franconian cities are Würzburg, Bamberg, Bayreuth, Ansbach and Coburg in Bavaria, Suhl and Meiningen in Thuringia, and Schwäbisch Hall in Baden-Württemberg.
The German word Franken—Franconians—also refers to the ethnic group, which is mainly to be found in this region. They are to be distinguished from the Germanic people of the Franks, and historically formed their easternmost settlement area. The origins of Franconia lie in the settlement of the Franks from the 6th century in the area probably populated until then mainly by the Elbe Germanic people in the Main river area, known from the 9th century as East Francia (Francia Orientalis). In the Middle Ages the region formed much of the eastern part of the Duchy of Franconia and, from 1500, the Franconian Circle. The restructuring of the south German states by Napoleon, after the demise of the Holy Roman Empire, saw most of Franconia awarded to Bavaria." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Eastgate and Eastgate Clock in Chester, Cheshire, England, stand on the site of the original entrance to the Roman fortress of Deva Victrix. It is a prominent landmark in the city of Chester and is said to be the most photographed clock in England after Big Ben.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls. In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955 (Wikepedia)
Carved in 1718 by Michiel Clauwert ; shown here are the 4 evangelists added in 1864-5 by J. Van Nieuwenhuyse.
An exceptionally large and elaborate Gothic cathedral on the main square of Milan, the Duomo di Milano is one of the most famous buildings in Europe. It is the largest Gothic cathedral and the second largest Catholic cathedral in the world.
Milan Cathedral (Italian: Duomo di Milano; Lombard: Domm de Milan) is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fifth largest cathedral in the world, and the largest in the Italian state territory.
The roof is open to tourists, which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
Center
Yves Saint Laurent French ( born Algeria) 1936-2008
Cocktail Dress , Fall/Winter 1959-60
Designed for Christian Dior , Paris, founded 1946
Silk taffeta
Yves Saint Laurent showed this dress in July 1959 as part of his bombshell collection dubbed the “new, new look” (in comparison to the famous New Look that Christian Dior debuted in 1947). He made skirts a focal point—and the shortest in Paris (to the knee or just above). This one is made of four bands of doubled ruffles with fringed edges. The torso is swathed diagonally in taffeta that is tacked to the underdress over a layer of organza, giving the dress what Vogue magazine praised as a “light, supple young look.” Perhaps not surprising, since Saint Laurent—already the house of Dior’s designer for two years—was just twenty-three years old.
Gift of the Friends of the Philadelphia Museum of Art, 1997-52-1a
From the Placard: The Philadelphia Museum of Art, PA
www.philamuseum.org/exhibitions/873.html
en.wikipedia.org/wiki/Yves_Saint_Laurent_(designer)
.....
Cristóbal Balenciaga Spanish (active Spain and France), 1895-1972
Cocktail Dress , Winter 1958
Silk machine-made lace over silk chiffon backed by silk plain weave, rayon satin ribbon
Cristóbal Balenciaga’s “baby-doll” dresses of 1957 and 1958 illustrate his experiments with abstraction and exaggeration of form. A see-through lace dress swings from the shoulders, revealing a slim sheath beneath. The loose overdress, slightly shorter in front, is held away from the body by deep, layered ruffles around the bottom. To ensure the ruffles spring outward, they are tightly gathered and supported underneath by stiff gathered net and openwork bands of nylon horsehair.
Gift of Mrs. T. Charlton Henry, 1975-100-2
From the Placard: The Philadelphia Museum of Art, PA
The Grade II* Listed 27 Friar Gate, Derby, Derbyshire.
Built in the mid 18th Century. Red brick; 3 storeys; 5 sash windows, the 2 centre having shaped stone surrounds, and the 1st storey windows having pulvinated friezes and pediments; stone bands and plinth. Ground storey has external shutters and a 6-panelled door in Tuscan stone case with engaged colmms, frieze and modillion cornice; small modillion eaves cornice continued over adjoining house. Gable on return side has a large openwork gilded rural clock face put up by a former owner.
~1500 ; rebuilt in the new church bldg. in 1877 by architect David Walker.
The statues all date from this period, as do many other expertly reconstructed details.
An excellent article about this screen can be read @
www.buildingconservation.com/articles/llananno-rood/llana...
Finished shoes.
A pair of hand sewn purple leather turn-shoes, decorated in openwork. Based on extant examples from the battle of Visby, the effigy of William of Hatfield, and the London excavations.
Historical Context
In the early 14th century, the most popular footwear was a low boot, but by the late 14th century low shoes that fastened across the ankle with a latchet strap or buckle had become the most popular style (S and P time line, and shoe points). The pointy-toed poulaines were fashionable, and the decoration of shoes took the form of engraving, embroidering the vamp, or punching holes in the leather . (Fig...)
Shoes of open work leather were more fragile and susceptible to tearing. People of fashion and means would have been the most likely owners of such shoes – one can see that similar styles were worn by courtiers and kings in the nural from St Stephen's chapel. Shoes during this period were made by shoe makers and cobblers, who purchased tanned hides from tanners and crafted their shoes on wooden lasts (wooden foot forms).
Church of Our Lady Assumed into Heaven (St. Mary's Church) - is a Brick Gothic church re-built in the 14th century (originally built in the early 13th century), adjacent to the Main Market Square in Kraków, Poland. Standing 80 m (262 ft) tall, it is particularly famous for its wooden altarpiece carved by Veit Stoss (Wit Stwosz).
The chancel is covered with starry vault , made by master Czipsera in 1442. The keystones of the ribs appear crests: Polish, Krakow and Bishop Iwo Odrowąż - the founder of the first temple Mary. The perimeter niches set statues of the prophets: Jeremiah, Daniel, David, Ezekiel, Jonah and Isaiah. It was made in 1891 by Zygmunt Langman Kraków sculptor.
Walls decorated with wall paintings done in the years 1890-1892 by Jan Matejko . With its implementation has worked with many of his students master, later known and prominent painters, including: Anthony Grammar, Edward better, Stanislaw Bankiewicz, Mehoffer , Stanislaw Wyspianski . Technical drawings made Thomas Lisiewicz and gilding work is the work of Michael Stojakowski. Stained glass windows in this part of the church is by Joseph Mehoffera , Wyspiański and Tadeusz Dmochowski.
On both sides of the sanctuary is covered with a canopy set stalls . They were made in 1586 and then in 1635 supplemented zapleckami that Fabian Möller decorated with bas-reliefs depicting scenes from the life of Christ and Mary. The stalls right to present: Tree of Jesse , Nativity of Mary , the Presentation of Mary , Marriage of St. Joseph , the Annunciation , the Visitation of Holy. Elizabeth and Christmas . The stalls north (left) are sculptures: Circumcision , Homage of the Magi , Presentation of the Lord , Out of the Mother , the risen Christ appears to Mary , Our Lady of the Assumption , Coronation and the Madonna and Child surrounded by symbols of the Litany of Loreto . The choir organ 12-voice.
The presbytery is completed apse which is separated from the rest of the church, made of bronze , openwork balustrade with two goals. Hinged doors are decorated with coats of arms: Krakow and archiprezbiterów church - Klośnik and Prawdzic . Stained glass windows in the apse from the years 1370 - 1.4 thousand , and made them master Nicholas, called vitreator de Cracovia . They include two thematic series: Book of Genesis of the Old and New Testaments and scenes related to the life of Jesus and Mary [Wikipedia.org]
A few of the many details of the Town Hall - Brussel
The Town Hall of the City of Brussels is a Gothic building from the Middle Ages. It is located on the famous Grand Place in Brussels, Belgium.
The oldest part of the present Town Hall is its east wing (to the left, when facing the front). This wing, together with a small belfry, was built from 1402 to 1420 under direction of Jacob van Thienen, and future additions were not originally foreseen. However, the admission of the craft guilds into the traditionally patrician city government probably spurred interest in expanding the building. A second, shorter wing was completed within five years of Charles the Bold laying its first stone in 1444. The right wing was built by Guillaume (Willem) de Voghel who in 1452 also built the Magna Aula.
The 96 meter (310 ft) high tower in Brabantine Gothic style emerged from the plans of Jan van Ruysbroek, the court architect of Philip the Good. By 1455 this tower had replaced the older belfry. Above the roof of the Town Hall, the square tower body narrows to a lavishly pinnacled octagonal openwork. Atop the spire stands a 5-meter-high gilt metal statue of the archangel Michael, patron saint of Brussels, slaying a dragon or devil. The tower, its front archway and the main building facade are conspicuously off-center relative to one another. According to legend, the architect upon discovering this "error" leapt to his death from the tower. More likely, the asymmetry of the Town Hall was an accepted consequence of the scattered construction history and space constraints.
The Town Hall at night
The facade is decorated with numerous statues representing nobles, saints, and allegorical figures. The present sculptures are reproductions; the older ones are in the city museum in the "King's House" across the Grand Place.
After the bombardment of Brussels in 1695 by a French army under the Duke of Villeroi, the resulting fire completely gutted the Town Hall, destroying the archives and the art collections. The interior was soon rebuilt, and the addition of two rear wings transformed the L-shaped building into its present configuration: a quadrilateral with an inner courtyard completed by Corneille Van Nerven in 1712. The Gothic interior was revised by Victor Jamar in 1868 in the style of his mentor Viollet-le-Duc. The halls have been replenished with tapestries, paintings, and sculptures, largely representing subjects of importance in local and regional history.
The Town Hall accommodated not only the municipal authorities of the city, but until 1795 also the States of Brabant. From 1830, a provisional government assembled here during the Belgian Revolution
St Mary's is over 500 years old, having been built on the site of a previous Norman Church. As the following description from Arthur Mee's Yorkshire North Riding indicates it is worth a visit:
"Thirsk has nothing to compare with its splendid church of St Mary, which has probably no equal for its time in the North Riding. Set on the green bank of one of the willow-bordered streams, it is a magnificent tribute to those who built it in the first half of the 15th century. Nobly yet simply planned, it has a lofty clerestoried nave with aisles, a lower chancel built over a crypt, a west tower, and a two-storeyed porch. A lovely feature of the exterior is the openwork parapet of traceried battlements edging all the walls, as well as the tower and the porch, as with delicate embroidery. There are slender and leafy pinnacles, weird gargoyles, and a glorious array of windows which make the interior a veritable lantern of light.
The tower has unusual buttresses, stepped and sloping, and a niche with a battered sculpture, probably a Madonna. The porch has an oak roof with bosses, but we still see the springers which were meant to support a vault. The richly moulded inner doorway has its worn 15th century door, still magnificent with its studs, tracery, and wicket. It is an introduction to much beautiful old woodwork within. The finest of the 500-year-old roofs is that of the nave, a barrel of open timbering with rich beams and bosses, and spandrels with tracery. In the carving of the one or two bench-ends that remain we see the asses of Askwith and the lion of Mowbray. There are 15th century screens in the aisles, a medieval door in the chancel, an old chest, and an exceptionally fine altar table said to have come from Byland Abbey; it has a border enriched with heads of men and women, and is supported by seated lions. Some old wood is worked into the pinnacled cover of the font.
Beautiful arcades soar to the great clerestory, where, between the windows, are traces of 17th century paintings of saints. The chancel has a trefoiled niche at each side of the east window, and three handsome sedilia. An oil painting of Doubting Thomas is thought to be 16th century, and one of the bells is believed to have been ringing at Fountains Abbey 500 years ago. In the 15th century glass filling the east window of the south aisle with a rich medley of red, blue, and silver light are many little heads and many complete figures, among them Anna, Cleopas, St Leonard, St Giles kneeling, and angels with shields. On two of the shields are three asses and the lion to match those carved in wood. St Catherine and angels are recognisable in glass fragments in the other aisle. The window above Sir Robert Lister Bower's bronze portrait plaque has rich glass in his memory. He had a thrilling adventure in his army days, for as a young man he was in the regiment which went up the Nile to try to relieve Gordon at Khartoum; in his window are nurses, an African native, and a knight riding a horse in splendid trappings, hounds following.”
In November 2016, the church was covered with handmade poppies as part of the Remembrance Day celebrations in Thirsk. The Thirsk Yarnbombers created a more than 40,000 knitted or crocheted poppies to decorate the town, with the main display consisting of a "river" of poppies flowing from the top of St Mary's Church, down the side and then across the wall of the church's cemetery.
Jaipur is the capital and largest city of the Indian state of Rajasthan in Northern India.
Jaipur is also known as the Pink City of India.
Located at a distance of 260 km from the Indian capital New Delhi, it forms a part of the Golden Triangle tourist circuit along with Agra (240 km). Jaipur is a popular tourist destination in India and serves as a gateway to other tourist destinations in Rajasthan such as Jodhpur (348 km), Jaisalmer (571 km) and Udaipur (421 km).
Amer Fort (Hindi: आमेर क़िला) or Amber Fort, is located in Amer, a town with an area of 4 square kilometres (1.5 sq mi) located 11 kilometres (6.8 mi) from Jaipur, Rajasthan state, India. Located high on a hill, it is the principal tourist attraction in the Jaipur area.
At the 37th session of the World Heritage Committee held in Phnom Penh, Cambodia, in 2013, Amer Fort, along with five other forts of Rajasthan, was declared a UNESCO World Heritage Site as part of the group Hill Forts of Rajasthan.
Luxury Goods
Luxury goods were imported from mainland Europe in some quantity. The work of Icelandic craftsmen often reflects foreign influences; some of their craftsmanship was comparable to the very best from abroad.
1. Stoneware jugs, used for baptismal water, one (a) dated 1598 AD, from Raeren, Belgium, the other German of Westerwald type, 17th century.
2. Drinking vessel made from marine mammal tooth, carved with animal images. 16th century.
3. Delicate porcelain bowl, believed to have belonged to Páll Jónsson of Staðarhóll.
4. Whalebone and silver spoons. The silver spoons are Danish, but the whalebone spoons were carved in Iceland.
5. Silver knife and fork, believed to have belonged to the district commissioners at Ögur in the West Fjords.
6. 17th Century Dutch snuff and tobacco containers of brass. A scene from the city of Amsterdam is carved on the lid, showing ships moored in the harbour. Tortoise shell snuff box. Inside the lid there is an old brandmark and the year 1603 is inscribed.
7. Brass keyrings with engraved ornamentation and inscriptions. The inscription on the larger one reads, in English translation: Drive hatred and anger and Weltschmerz away from me. The smaller one is inscribed with a verse.
8. Heart-shaped locket on a chain: probably for a pomander. Imported, 16th century.
9. Gold ring from the 15th or 16th century, with embossed Gothic design. Said to have belonged to the 17th-century Bishop Brynjólfur Sveinsson.
10. Two silver belts and strap-ends (d) in the Renaissance style. Linked silver belt (b). The clasp of the belt is German, dating from the 16th century, while the belt itself is Icelandic filigree of later date. Pendant openwork belt (c), late Middle c. made from cut and wrought silver.
Die Orgel der Klosterkirche wurde 1746 bis 1751 durch den Lippstädter Johann Patroclus Möller errichtet. {de.wikipedia.org/wiki/Kloster_Marienfeld_(Harsewinkel)#Orgel}
Built from 1746-51 by Johann Patroclus Möller of Lippstadt.
The case was made in 1714 by Marc-Antoine Dallam {1673-1730}, a member of a distinguished family of organ builders. Much of the original instrument is said to be extant, but its original character will have been lost several times over. In 1894 it was moved from the west gallery to the north transept, where it blocks the view of a 16th-century alabaster monument.
St Thomas of Canterbury church which originally dates back to the 12th century. This lovely stone church is believed to have been built by William De Tracey as penance for his part in the murder of the then Archbishop of Canterbury, Thomas a Beckett on 29th December 1170. The church was extended in the 15th century. Also added around this time was the most exquisitely carved rood screen, the church also boasts beautifully carved bench ends and roof woodwork.
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CHURCH OF ST THOMAS OF CANTERBURY, LAPFORD, DEVON
Heritage Category: Listed Building
Grade: I
List Entry Number: 1250085
Date first listed: 26-Aug-1965
Statutory Address 1: CHURCH OF ST THOMAS OF CANTERBURY
National Grid Reference: SS 73152 08277
Details
LAPFORD LAPFORD SS 70 NW 4/86 Church of St Thomas of Canterbury - 26.8.65 GV I
Parish church. Norman origins, rebuilt in C15, north aisle added and nave re-roofed in late C15. Vestry added 1869 according to Cresswell and chancel is complete rebuild of same time. South porch rebuilt 1871. Further renovation of 1888 by Packham, Croote and Stuart included scraping and repointing the masonry, exposing and repairing the roofs, and some window replacement. 1955 restoration by Lt. Col. Bertram Shore. Original fabric of mudstone rubble with granite, red sandstone and volcanic ashlar detail; C19 snecked mudstone masonry and red sandstone, Hamstone and Bathstone detail; slate roofs with crested ridge tiles on north aisle. Nave with smaller and narrower chancel, north aisle and vestry, west tower and south porch. Perpendicular throughout. Tall west tower of 3 stages with diagonal buttresses and embattled parapet. Semi-octagonal stair turret projecting from south-east corner with embattled parapet. The 4 bold drip courses are carried round the stair turret and buttresses and rise as hoodmoulds over doorway and window on west side. Replaced belfry windows of red sandstone, all 2-lights with trefoil heads and a quatrefoil in the arched head. West side of tower has C15 doorway, a 2-centred arch with moulded surround and roll stops, which contains C19 studded plank door with plain heavy hinges. Tall 3-light window above with restored Perpendicular tracery and a drip course at sill level is on this side only. Late C19 carved gargoyle water spout at the top on the north-west corner. South side has an unusual and very weathered sandstone niche in the lower stage which now contains a C19 statue of St Thomas a Becket and, in the middle stage, a 2-light window to the ringing loft similar to the belfry windows but of volcanic stone and original. The stair turret has tiny slit windows and 1 quatrefoil light. The east face of the tower shows evidence of an earlier higher roof than present. South side of nave is much restored. Renewed Bathstone window at left end is square-headed and 2-lights with cinquefoil heads and hoodmould, and towards right end is a much-restored, arch- headed window with Perpendicular tracery. C19 porch has Bathstone quoins, kneelers and coping to gable end, outer flat arch with moulded surround, and lancets either side. At right (east) end of nave is a volcanic and red standstone offset buttress which has been reduced in height, possibly C15 work. Gable end of nave is slate hung above the chancel. Chancel itself is wholly C19. South side has two 2-light Perpendicular windows with a buttress between them. East end has diagonal buttresses each side, kneelers and coping to gable which is surmounted by a fleuree cross and contains large 3-light window with Perpendicular tracery and moulded hoodmould with large labels carved as bishops heads, and, near the apex, a trefoil headed ventilator. Set into the bottom of the wall is a plaque recording the 1955 restoration by Lt. Col. Bertram Shore (Architect), Harry Partridge (master builder) and Michael Tucker (master mason). North side of chancel has 2 lancets. East end of north aisle and gable end of vestry have the same kneelers, coping, cross and ventilator as the chancel. Former contains a 3-light Perpendicular window and latter a 3-light Decorated window. On east side of vestry is an arched door containing a plank door with Gothick cover strips and strap hinges with fleur-de-lis finials and on the north-west corner is a large chimney shaft supported by an offset buttress. Immediately to the right of the vestry the break between the C19 rebuild and C15 north aisle can clearly be seen. The north aisle nevertheless heavily restored 3-window front of tall square-headed 3-light windows with elliptical heads, sunken spandrels and moulded hoodmoulds. Original granite heads and renewed mullions. Restored buttresses between and chamfered granite plinth. West has been restored in the style of C19 rebuild of east end. Exceptional interior. Tiled floor of porch includes a C17 granite gravestone with a sunken border and bold lettering rising from it. 'God rest the soul of John Killan'. C15 south doorway, a granite 2-centred arch with moulded surround and roll stops. It contains an ancient studded oak door thought by some to be Norman. The coverstrips are C19 but the massive plain strap hinges, the other iron fittings and the large oak lock housing are original. Above the south door is a semi-circle of voussoirs, may be a blocked Norman arch. Nave has very fine late C15 wagon roof, now open but formerly ceiled. 8 bays, main trusses with moulded ribs and purlins, large carved bosses, carved vine leaf wall plate and angels bearing heaters stand on shaped corbels under each main truss. The 2 bays nearest chancel have a ceilure; the panels are boarded and there are diagonal cross braces, crestwork around the panels and on the wall plate, the bosses are richer and the whole finished with paint and gold leaf. ll-bay wagon roof to north aisle is similar but not quite as grand as the nave roof. Here too the original ceiling has been removed. Chancel has 4 bay C19 roof with false hammer beam trusses with moulded archbraces and cusped queen struts above collar. Similar roof to vestry. Moulded chancel arch on corbels. High tower arch has triple-chamfered arch ring dying into plain sides. Stair turret projects into south-west corner and includes a granite arch containing a C15 oak studded plank door. Late C15 4-bay granite arcade to north aisle with moulded piers (Pevsner's Type A) with moulded capitals to shafts only and wide low arches. Nave and aisle walls have been stripped of plaster and much restored. Large crank-headed arch to C19 vestry. C19 tile floors throughout with some patterned encaustic tiles in chancel. The late C15 8-bay oak rood screen across both nave and aisle is well-preserved and amongst the finest in the country. It has Pevsner's B Type Perpendicular tracery over panelled wainscotting with applied ogival tracery and lower quatrefoils. The ribbed coving over the arches is enriched with carved Renaissance motifs, and above this the cornice is covered by 4 friezes of densely carved openwork foliage and delicate cresting. Chancel door has been rehung and door to former north chapel is missing. Bay to left of chancel door had mullion removed in C17 to accommodate a reading desk and lintel with lobe decoration inserted. Rear of screen is less decorated. Contemporary oak 3 bay parclose. East bay of wainscotting has an applied strip of chip-carved oak with 4 trefoil heads. 4-light square-headed windows with slender Perpendicular tracery and round headed door. Most of seating is C15 oak benches. 2 distinct types but both are C15. Earlier benches now to south of nave and north of aisle have moulded surrounds to bench ends with boldly carved panels, either tracery or rigidly symmetrical plant motifs. The later C15 benches, mostly in the middle of nave and aisle, include original rear benches and frontal with collonade of flamboyant Perpendicular applied tracery and lower quatrefoils. Bench ends have carved foliage frames and similar tracery to 2-panels. These contain a variety of carved motifs in matching pairs arranged on heaters, sometimes heraldic achievements, plant symbols, human faces and some allegoric, such as symbols of the Passion. One features the initials of the Saint John family who had the manor and advowson from 1430 to circa 1490. Some C19 benches to rear. Other furnishings are all C19. Oak handrail on wrought iron supports with repoussee vine leaf brackets. Gothic-style Beerstone stem pulpit with octangonal drum and marble shafts to arcade and dated 1860, the gift of Henry Kelland. Oak lectern of 1884. Perpendicular Gothic-style Beerstone font. Single plain marble mural monument to James Wills Patridge (died 1836) on south wall. East window and south window have stained glass memorial windows, both to Kelland family and made by Beer and Driffield 1888-9. North windows have attractive late C19 leaded glass in which geometric patterns made up of small panes of coloured translucent glass and with simple flowers in heads. Sources. Devon SMR. Devon C19 Church Project. B Cresswell, Notes on Devon Churches in the Deanery of Chumleigh (1919), pp.96-107.
Listing NGR: SS7315608276
Sources
Books and journals
Cresswell, B F, Notes on Devon Churches in the Deanery of Chulmleigh, (1919), 96-107
historicengland.org.uk/listing/the-list/list-entry/125008...
Die Orgel der Klosterkirche wurde 1746 bis 1751 durch den Lippstädter Johann Patroclus Möller errichtet. {de.wikipedia.org/wiki/Kloster_Marienfeld_(Harsewinkel)#Orgel}
Built from 1746-51 by Johann Patroclus Möller of Lippstadt.
This pencil skirt dress combo from Mon Tissu looks like it was more or less made for Veenya. You know how I adore my pencil skirts. I really like the added belt on this, it makes it stand out a bit. I decided to pair it with this gorgeous envelope clutch, also from Mon Tissu. The clutch comes with two different poses, the one shown and one where you wear it tucked under your arm. If you attach the clutch after you play your regular pose, it’ll bend only your arm, so you get a perfect clutch pose every time.
Hair: Truth – Briony
Skin: Glam Affair – Cassiopea
Eyeliner: Pekka – Vintage Cat Eyeliner
Eyes & Lashes: Glam Affair – Stella Eyes & Regina Eyelashes
Nails: Mandala – Nail Palette 2 Long
Dress: Mon Tissu – Silk Tucked Pencil Dress
Stockings: Zaara – Chanchal Stockings
Shoes: Mon Tissu – Openwork Wedges
Earrings & Necklace: WTG – Dignity Set
Rings: Paper Couture – Limelight Ring & Golden Wings Ring
Clutch: Mon Tissu – Envelope Clutch
Poses: aDORKable Poses
Location: Mayfair
Milan Cathedral is the cathedral church of Milan, Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Angelo Scola.
The Gothic cathedral took nearly six centuries to complete. It is the fourth largest cathedral in the world and the largest in the Italian state territory.
The plan consists of a nave with four side-aisles, crossed by a transept and then followed by choir and apse. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral, which was never completed).
The roof is open to tourists, which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, set upon delicate flying buttresses.
The cathedral's five broad naves, divided by 40 pillars, are reflected in the hierarchic openings of the façade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
ITALY AUTUMN 2012
Calcite
Thebes, Valley of the Kings, Tomb of Tutankhamun (KV 62).
New Kingdom, 18th Dynasty, Reign of Tutankhamun (1355-1346 BCE).
This elaborately carved oil container has it's own stand. The flanking openwork design symbolizes the unification of the two lands, Upper and Lower Egypt. Papyri, representing the north emerge from lilies, representing the south.
King Tut exhibit, Seattle Washington, 2012.
Ierse Kunst. 3000 v. Chr - 1500 na Chr. - Rijksmuseum Amsterdam (1983). 19 nov. 1983 - 26 feb. 1984. ISBN 3-8053-0780-2
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The Stowe Missal, which is, strictly speaking, a sacramentary rather than a missal, is an Irish illuminated manuscript written mainly in Latin with some Gaelic in the late eighth or early ninth century, probably after 792. In the mid-11th century it was annotated and some pages rewritten at Lorrha Monastery in County Tipperary, Ireland. Also known as the Lorrha Missal, it is known as the "Stowe" Missal as it once belonged to the Stowe manuscripts collection formed by George Nugent-Temple-Grenville, 1st Marquess of Buckingham at Stowe House. When the collection was bought by the nation in 1883, it and the other Irish manuscripts were handed over to the Royal Irish Academy in Dublin, where it remains, catalogued as MS D II 3. The cumdach or reliquary case which up to this point had survived together with the book was later transferred, with the rest of the Academy's collection of antiquities, to the National Museum of Ireland (museum number 1883, 614a). The old story was that the manuscript and shrine left Ireland after about 1375, as they were collected on the Continent in the 18th century, but this appears to be incorrect, and they were found inside a stone wall at Lackeen Castle near Lorrha in the 18th century.
There are 67 folios, measuring 5 5⁄8 by 4 1⁄2 inches (14 by 11 cm). Only the last three folios are in Irish. These contain a short treatise on the Mass and, on the last page, folio 67v, three spells "against injury to the eye, thorns, and disease of the urine". The Latin sections contain extracts from the Gospel of John (f 1), which were probably from another manuscript, then the order of Mass and some special Masses (f 12), the Order of Baptism and of Communion for the newly baptised (f 46v), and the Order for the Visitation of the Sick and Last Rites (f 60). The version of the mass used is thought to be older than the manuscript, and reflects the early usage of Celtic Christianity. The five original scribes of the Missal wrote in an angular majuscule script. A more cursive hand was used by a scribe signing himself Moél Caích (f 37) who revised several pages. A few initials are decorated, notably the one on f 1, and the extracts from John contain a "crude" full page evangelist portrait of John with his symbol of the eagle, unusually placed at the end (f 11v), with panels of Insular interlace on either side of the standing figure, and the eagle above. Apart from the eagle, it is rather similar to the portrait of John in the Book of Mulling.
The manuscript retains its cumdach or book-shrine, a distinctively Irish form of reliquary case for books associated with an important religious figure; this is one of only five early examples. It is a box with metalwork plaques attached with nails to a wooden core of oak. The metalwork is elaborately decorated, with some animal and human figures, and one face and the sides probably date to between 1027 and 1033, on the basis of inscriptions recording its donation and making, while the other face is later, and can be dated to about 1375, again from its inscriptions.
The older "lower" face, which is currently detached from the case, is in silver-gilt copper alloy, with a large cross inside a border that carries the inscription in Irish, which also runs along the arms of the cross. The centre of the cross was later replaced ("severely embellished" as the National Museum put it),[8] probably at the same time as the later face, by a setting for a large stone (now missing) with four lobed sections, similar to the centre of the lower face. The inscription has missing sections because of this, but can mostly be reconstructed: "It asks for a prayer for the abbot of Lorrha, Mathgamain Ua Cathail (+1037) and for Find Ua Dúngalaigh, king of Múscraige Tíre (+1033). It also mentions Donnchadh mac Briain, styled 'king of Ireland' and Mac Raith Ua Donnchada, king of the Eoganacht of Cashel (+1052) as well as the name of the maker, Donnchadh Ua Taccáin [a monk] 'of the community of Cluain (Clonmacnoise)'." The four spaces between cross and border have panels of geometric openwork decoration, and there are small panels with knotwork decoration at the corners of the border and inside the curved ends of the cross members.
The sides have unsilvered copper alloy plaques with figures of angels, animals, clergy and warriors, set in decorative backgrounds. The newer "upper" face, of silver-gilt, is again centred on a cross with a large oval rock crystal stone at the centre and lobed surrounds, and other gems. The inscription, engraved on plain silver plaques, runs round the border and the spaces between cross and border have four engraved figures of the crucified Christ, Virgin and Child, a bishop making a blessing gesture, and a cleric holding a book (possibly St John). The inscription "invokes a prayer for Pilib Ó Ceinnéidigh, 'king of Ormond' and his wife Áine, both of whom died in 1381. It also refers to Giolla Ruadhán Ó Macáin, abbot of the Augustinian priory of Lorrha and the maker, Domhnall Ó Tolairi". Black niello is used to bring out the engraved lines of the inscription and figures, and the technique is very similar to that of the later work on the Shrine of Saint Patrick's Tooth (also in the NMI), which was also given a makeover in the 1370s, for a patron some 50 km from Lorrha. They were probably added to by the same artist, something that can only rarely be seen in the few survivals of medieval goldsmith's work (Wikipedia).
A look around Fort Royal Park in Worcester, mainly to check out the Worcester Stands Tall giant giraffe (except the one here was vandalised and has been removed from the trail unfortunately).
Fort Royal Hill, is in a park in Worcester, England, and the site of the remains of an English Civil War fort.
Fort Royal was a Civil War sconce (or redoubt) on a small hill to the south-east of Worcester overlooking the Sidbury Gate. It was built by the Royalists in 1651 to defend the hill, because during the siege in 1646 Parliamentary forces had positioned their artillery on the hill and had been able to severely damage the city's walls.
During the final stages of the Battle of Worcester, fought on 3 September 1651, the last battle of the war and a Parliamentary victory, the Royalists retreat turned into a rout in which Parliamentarian and Royalist forces intermingled and skirmished up to and into the city. The Royalist position became untenable when the Essex militia stormed and captured Fort Royal, turning the Royalist guns to fire on Worcester.
In early April 1786, John Adams and Thomas Jefferson visited Fort Royal Hill at the battlefield at Worcester. Adams wrote
Edgehill and Worcester were curious and interesting to us, as scenes where freemen had fought for their rights. The people in the neighborhood appeared so ignorant and careless at Worcester, that I was provoked, and asked, "And do Englishmen so soon forget the ground where liberty was fought for? Tell your neighbors and your children that this is holy ground; much holier than that on which your churches stand. All England should come in pilgrimage to this hill once a year." This animated them, and they seemed much pleased with it. Perhaps their awkwardness before might arise from their uncertainty of our sentiments concerning the civil wars.
— John Adams.
The plaque at the foot of the Virginian oak tree
On 23 October 2009 a Virginian oak tree was planted in Fort Royal Park by Rear Admiral Ronald H. Henderson, Defence Attaché to the Embassy of the United States, to commemorate this occasion.
Worcester Cathedral and the spire of St Andrew's Church.
Worcester Cathedral
Grade I listed building
Cathedral Church of Christ and St Mary
Listing Text
WORCESTER
SO8554NW COLLEGE STREET
620-1/17/1 Cathedral Church of St
Mary
22/05/54 (Formerly Listed as:
Cathedral Church of
Christ and St Mary)
GV I
Cathedral Church, formerly Benedictine Priory. Crypt from 1084, some remains of same date in W transept and first 2 bays West end of nave. West transept and part of 2 bays at west end of nave c1175. Choir, east transept, Lady Chapel, presbytery, 1224-1250. Nave with aisles 1317-1377; central tower from 1374, and north porch from 1386, substantial restoration 1857-1863, by AE Perkins and GG Scott. Few medieval designers are identified, but include Alexander the Mason c1224-1240 (nave west bays), William Shockerwick, c1317-1324 (nave north arcade), and John Clyve, 1376/77 (nave south arcade and central tower).
MATERIALS: construction mainly in Highly and Alveley sandstones, with some Cotswold oolite, and Purbeck marble, many of the vault panels are in tufa, roof slate, including Penrhyn slate.
PLAN: east end includes substantial remains of the early crypt, formerly with radial chapels and outer ambulatory.
Principal church has 9-bay nave and aisles with deep north porch and a single bay chapel also on north side. West transept and east transept, both without aisles, 4-bay choir with aisles, 3-bay Lady Chapel, and 2-bay Chapel of St John, central crossing tower. South of the nave are the cloister,
with Chapter House and former frater (now King's School Hall qv)).
EXTERIOR: exterior of the cathedral was very largely refaced during C19 restoration work, and both central tower and eastern arm substantially restructured or refaced - the sandstones used being relatively soft, and subject to reject rapid weatherings. However, original medieval detail remains in most areas. The gables are coped, and parapets are mostly plain, with saddle-back weathered copings and a lower string course, the northwest transept is an exception. The following description will begin at the west end and work to the east.
NAVE - WEST END: central gable over 3 tall rectangular lights and a very large 8-light 'Decorated' window of the C19, flanked by square buttresses surmounted by octagonal turrets with open pinnacles. The big west door, also of C19 but with some remnants of Norman work, has a high gable breaking into the bottom part of the window. To each side the aisle terminations with square corner turrets to octagonal pinnacles, and each with a round-arched light with later tracery above a large 4-light window.
NAVE - NORTH SIDE: first 2-bays of the clerestory have round-arched lights with tracery, in masonry of various dates, remainder are small 3-light with stopped drips in flat 4-centred arches. The aisle, right of the porch, has a 3-light pointed then a 3-light with stepped transoms, and with straight-sided arch. These bays with heavy flying buttresses, supporting a wall of early masonry in small blocks. 2 further bays having simpler 3-light to cusped heads in pointed arches.
Bay 5 has the bold square 2-bay porch with almost plain flanks, and rich north front, rebuilt by Scott, and having statues by Redfern. Interior is vaulted, and inner door, flanked by Norman responds, has a narrow Dec cusped head above the C19 doors set in plain masonry to a very flat basket arch. Left of the porch are 2 bays with 3-light Dec windows under small rectangular lights, with deep buttress between, then the single bay projecting chapel with corner buttresses and large 3-light to the North wall. Beyond this is a further aisle bay.
NAVE - SOUTH SIDE: the first 2-bays are similar to those to the North, incorporating older masonry, then 7 clerestory bays with 3-light windows to straight-sided arches and stopped drips, and two flying buttresses. The aisle has two 2-light traceried rectangular windows to each bay, but one 3-light in the arches, set deep with broad casement mould, and with stopped drips. Plain square buttresses divide the bays. At the lower level is the north walk of the cloister (qv).
WEST TRANSEPT - NORTH ARM: the high gabled north wall has 3 small rectangular lights above a prominent horizontal string, then a large C19 Decorated 4-light window to sill string, carried round to the returns. To each side is a square turret with nook shafting, crowned by tall octagonal turrets with pinnacles. The W and E sides have two 4-light in Mannerist panelling including ogee heads and with a crenellated parapet. The east side also has a deep 4-light with transom and 4-centred head.
SOUTH ARM: this differs greatly in detail from the north arm, having an 'Early English' plate tracery window in the south wall, below the high gable with rectangular lights, and to heavy octagonal corner turrets without pinnacles. The west side has a small 4-light in panelling as to the north, then a very long 4-light with 2 transoms, all this set to masonry of widely varied dates. The east side has a high rectangular window in a larger 4-centred opening, and weathered offset at sill level, below are roofs of ancillary buildings. The bold crossing tower rises to 59.7m (169ft), and has 4 identical faces. It is in 2 stages, with a lofty 8-bay Perp blind arcade below two large 2-buttresses with pinnacles rise to tall octagonal main pinnacles, linked by 7-bay traceried parapets to a horizontal coping. Although substantially rebuilt in the C19, the medieval detail has been convincingly retained. The eastern arm externally is mainly C19 work, it has plain coped parapets carried on a continuous corbel-table of tri-lobed arches, and windows are generally formed in pale limestone contrasting with the sandstone walling. The east end has 5 above 5 lancets, the upper row stepped, and a large open trefoil in the gable, all flanked by square buttresses crowned by open octagonal turrets with plain pinnacles, these are repeated on the gable ends of the east transept. The east end has a single bay return with a single lancet at 2 levels, then the ends of the Lady Chapel aisles. The main body has stepped in a containing arch at aisle level, with triple lancets to the 2-bay chapel on the south side. On the north side of the choir is a very large ground level flying buttress below the original flying buttress. The transepts have triple lancets at 2 levels, the upper one stepped, and on the returns a similar configuration in the first bay with a single small lancet above the aisles. Square buttresses with weathered heads have small nook shafts.
INTERIOR: the description begins with the earliest unit - the crypt, then proceeds from east to west. The crypt - the central vessel is in 4 aisles with apsidal end, small monolithic columns with square bases and cushion capitals carry plastered groined vaults with broad transverse arches, with a central and 2 outer rows. This is contained within thick walls with attached half-columns in bedded stone, and arched doorways to outer aisles, also with a central row of columns and responds. Remains of a south side chapel are at the west end, with early stairs to the west transept, and a C20 stair flight gives access at the east end, adjacent to Prince Arthur's Chapel, here also are some excavated remains of a former pentagonal chapel, including some early wall painting. The church is stone vaulted throughout, principally ribbed quadripartite, and neither plastered nor painted except to the East arm. Floors are generally C19 black and white marble. Nave, choir and Lady Chapel are in three storeys, with aisles. The east arm makes extensive use of Purbeck marble, main arcades carry richly moulded arches, those to the choir with some embellishment, and wider than in the Lady Chapel. The triforium above a Purbeck string, is in paired double lights with varied carved spandrel figures, in front of a simpler continuous blind arcade which is carried through in an independent rhythm. The clerestory, also above a Purbeck string, has a triple stepped opening with Purbeck shafts, and wall passage. The vault, with a longitudinal ridge rib, retains the C19 Hardman painted decoration, and is carried on Purbeck shafts taken down to the level of the arcade capitals. The shallow single bay sanctuary to the Lady Chapel has tall lancets at two levels, on three sides. The aisles have simple quadripartite vaulting, and wall arcading in the eastern half and east transept. In the east transept the 3 storey treatment is carried into the first bay, with 2 level lancets in the outer bay and the end walls, all with an inner Purbeck screen and wall passage. The east crossing piers have banded Purbeck shafts to the full height. The main crossing has tall unbroken multi-shaft piers carrying pointed arches in four orders, and crowned by an unusual lierne vault, plastered and painted. West transept reflects continuous growth and alteration from the time of Wulfstan to the C19, with a mix of masonry, and occasional remnants of detail built into the walls. Both arms have ribbed vaults with diagonal and ridge ribs, with some liernes in the south arm, the joints in the severy panels are very prominent. In each arm the east wall retains a bold Norman arch with the 2-bay St John's Chapel, which was part of the great 1224 extension. The upper parts of these walls include rectilinear inner screening to windows. The west walls have much plain masonry, with sharply cut rectilinear blind panelling above the aisle arches. In the NW corner of the north arm is a prominent circular stair turret from early work, but the large window is C19. This arm contains many wall monuments. The south arm has a triple lancet to its south wall. The nave, with a single tierceron rib in addition to the diagonals and ridges also have prominent joints to the panels. Arcade piers are multi-shafted, some of these taken full height on the Sough side, and detail varies slightly between the two arcades, the south being completed some decades later than the north. Triforia have paired double lights, with very varied carved spandrel figures, there is no wall passage in the normal way, but bays are entered from doorways in the roof spaces.
The clerestory has a wall passage, and stepped triple inner arcade. In the first bay adjoining the crossing there are prominent flying buttresses carried through clerestory and triforium levels, these inserted to stabilise the central tower. The 2 west bays have a lower arcade, and transitional detail, with paired triple round-arched openings embellished with chevron and rosettes, under pointed arches, and mixed pointed and round arches to the clerestory inner screen, at the pier junction between old and new bays is some two-coloured stonework of Wulfstan's original build. The large west window is richly glazed in small scale biblical stories.
The nave north aisle has simple vaulting, but the south is an unusual combination of quadripartite design plus sets of longitudinal and transverse lierne ribs except for the two west bays. The walls are almost filled with monuments, including in the south side some deep recesses. On the north side the single bay Jesus Chapel is enclosed by a decorative stone screen of the late C19. The entrance from the north porch is provided with a large internal draught lobby. Above the south aisle for its full length is the Cathedral Library, with heavy roof timbers adjusted when new shelving was inserted in the C18. Parts of 2 flying buttresses show within the space, and at the west end the floor is lower, over the Norman bays.
FITTINGS, MONUMENTS, AND STAINED GLASS: Most internal fittings are of the later C19, many by G G Scott, including the bishop's throne, choir reredos, choir stalls (but incorporating late C14 misericords and choir screens, including main open ironwork screen under the crossing arch, organ cases, and the nave pulpit. The chancel pulpit is an octagonal design of 1642, much restored by Scott. There is a 3-bay repositioned C15 stone screen on the North side of the retrochoir, and two openwork iron screens by Skidmore. The nave lectern with gilt angel is a Hardman design, and the font, at the west end of the nave south aisle, is by G F
Bodley.
Although fragments of C14 glass remain in some windows of the nave south aisle, most is of the C19, principally by Hardman, including the great window and the main lancets, the large window in the north wall of the west transept is by Lavers and Barraud, as is that in the east bay of the nave North aisle,of 1862, and according to Pevsner 'The best Victorian glass in the cathedral...'. Of special historic interest is a fine memorial 3-light window to Sir Edward Elgar, in the second bay of the nave north aisle (above a C16 monument of the kneeling figure of Lady Abigail, mother to Bishop Goldisburgh).
The cathedral is very rich in commemorative monuments, both free-standing and wall-mounted, including work by Nollekens, Robert Adam, Chantrey, and Westmacott Junior. They are too numerous to be detailed here, but Pevsner (op cit) includes many of them in his description. Outstanding is the chantry chapel to Prince Henry, of 1504. This is a very elegant fine stone 'casket' on the south side of the main sanctuary, in lacy open stonework with delicate cresting and pinnacles, it has a complex flat lierne vault with pendants, and very rich stone reredos with many figures and complex canopies: these were defaced and plastered over, but when rescued, much of the detail is seen to remain. On its south side, towards the east transept, the chapel is on two levels, with an intermediate band of shields and other devices in blank panelling, above 2 recesses containing earlier recumbent figures of the Giffard family. Other major monuments include the splendid recumbent effigy to King John, centred below the sanctuary steps, Bishops Walter de Cantelupe and William de Blois in the Lady Chapel sanctuary, the chest tomb to Sir Griffith Ryce, 1523, with very fine in-situ brass top, in the SE transept, Sir John Beauchamp, executed by the 'merciless parliament' in 1388 - a splendid painted chest tomb on a medieval base, and Robert Wylde, 1607/08 (sic), a large multi-coloured chest tomb, these last two in the N and S arcade of the nave, respectively, fourth bay from the crossing. In the eighth bay, near the W end, the large free-standing early Renaissance monuments to
Bishop Thornborough, 1641 (N side) and Dean Eades, 1596 (S side) are especially notable. In the N chancel aisle, opposite the Prince Arthur chantry are 2 early monuments, both of early design, with recumbent figures in recesses, of interest since they, with adjacent walling, were left 'unrestored' by Scott, to demonstrate the general state of the building before that action. Among wall monuments some of the more striking are: Bishop Isaac Maddox, 1697-1759, in white and grey marble, with a great urn and weeping supporters over an extended inscription, and Bishop Hough, a Roubiliac design of 1746, in the NW transept and choir aisle, Dean Stillingfleet, 1599, in white marble on a gadrooned base, in the N wall of this transept, Nicholas Billington, 1576, with an esoteric selection of elements, to the right of Jesus Chapel, John Moore, 1615, with his wife Ann and six kneeling figures, with late gothic vaulting over an early Renaissance design (nave, N aisle, to left of porch).
The nave S aisle has a whole series of interesting monuments, including Bishop Blandford, 1675, a bold Baroque design, a recessed tomb chest of 1428 to Judge Littleton, and in the next bay to Bishop Henry Parry, 1616 - this under a medieval canopy, with cusping and mouchettes. Of special local interest is the modest white marble tablet on the W wall of the NW transept to Mrs Henry Wood, 1814/1887, author of the Victorian 'best seller' East Lynn.
HISTORY: Worcester in the Middle Ages was an unusually large diocese, including, for instance, both Gloucester and Bristol, it was also unusual in that its Saxon Bishop, Wulfstan, remained in power after the Norman takeover, and it was during his episcopate that the earliest extant parts of the current cathedral - the crypt, nave and W transept - were established.
Subsequent Gothic phases were conditioned by the pre-existing work, but the E arm was greatly extended - including a second transept, peculiar to English cathedrals - in the C13, so that the central tower lies almost exactly half-way in the 130m (425ft) length of the structure. Rich in architectural detailing and containing a large number of monuments, both free-standing and as wall tablets, the building has frequently undergone restoration or reconstruction because the soft sandstone used weathers so quickly. Substantial new work, including replacement of window designs, was undertake in the C17 and C18, much damage having been caused also by Parliamentarians, but a major restoration, including replacement of window designs of appropriate type, was effected in the C19. The location is enhanced by its setting by the Severn, but in the C20 the town has been cut off visually and practically by the principal traffic route passing diagonally across the N and E sides of the building.
The Pevsner description was written before the later excavation revealed the details of radial chapels to the crypt.
(P Barker: A Short Architectural History of Worcester Cathedral: 1994-; MEDIEVAL ART AND ARCHITECTURE AT WORCESTER CATHEDRAL: 1978-; J Harvey: English Mediaeval Architects: 1954-; N Pevsner: The Buildings of England, Worcestershire:
1968-).
This text is from the original listing, and may not necessarily reflect the current setting of the building.
spire of St Andrew's Church
Grade II* Listed Building
Listing Text
SO8454NE
620-1/16/208
WORCESTER
DEANSWAY (West side)
St Andrew's Church Tower
22/05/54
GV
II*
Also known as: St Andrew's Tower COPENHAGEN STREET.
Also known as: St Andrew's Church Tower ST ANDREW'S GARDENS.
Church tower. C15 with spire rebuilt in 1751 by Nathaniel
Wilkinson, a journey-man of Worcester. Limestone ashlar.
3-stage Perpendicular tower with slim, recessed, octagonal
Gothick spire. Chamfered plinth. Diagonal off-set buttresses
to first and second stages, those to first stage have engaged
columnettes, with clasping pilasters to third stage. Pointed
arches to east, north and south with Perpendicular moulding.
5-light pointed west window. First-stage band. To second stage
a 2-light pointed window with Perpendicular tracery to head;
second stage band. Third stage has 2-light pointed belfry
window. Spire has one level of 2-light, then single light
lucarnes. Surmounted by Corinthian capital.
INTERIOR: lierne-vault over lower stage, to the east the
springers of the first bay of the arcades. To south-west angle
a plank door in ogeed surround.
HISTORICAL NOTE: the medieval, probably C12 church was
demolished in 1948/9 as it was believed to be structurally unsound. It now stands in a public garden, opened 1953 to commemorate the coronation of Elizabeth II. The
original top of the spire stands in the same garden. The spire
is locally known as "The Glover's Needle" due to its shape and
to Worcester's association with the glove-making industry.
A significant streetscape feature, forming an important
landmark. It forms part of the visual context for Worcester
Cathedral (qv) from the River Severn, together with Worcester
Bridge, Bridge Street (qv), Gascoyne House, Brown's Restaurant
and Bond House, South Quay (qqv) and grouping with Merchant's
House, Quay Street (qv). NMR photographs.
(The Buildings of England: Pevsner: N: Worcestershire:
Harmondsworth: 1968-1985: 317-8).
This text is from the original listing, and may not necessarily reflect the current setting of the building.
The Glover's Needle (or St Andrews Spire) is a spire-carrying tower in the city of Worcester, England.
The tower is a prominent landmark of the city, from road, rail, or the River Severn, and can be seen for miles around. It is located in St Andrews Gardens close to Worcester College of Technology. The spire used to crown the church of St Andrew but this was demolished in the late 1940s. The Glover's Needle is seated on Deansway Road, Worcester Cathedral being very close to the south and All Saints Church to the north. On the western side of the spire the pedestrian can descend into gardens that lead onto the River Severn. Across the road from the Glover's Needle is a "House of Fraser" shop which stands on the site of the old graveyard of St Andrews. At night the spire is illuminated (but not the tower below) and a blue glow is projected from inside one of the windows. The blue represents St Andrew, the colour of the Scottish flag. The blue glow and night lighting were paid for by the Rotary Club of Worcester Severn, to commemorate the millennium in 2000.
In the 15th century, Saxons built a church (called St. Andrews Church) with a tall spire but this was destroyed in a great storm of 1733. Shortly after this disaster, the spire was rebuilt. It was constructed by using the ingenious method of kite flying to carry up the stones. Worcester people took the new masterpiece to their hearts and named it the 'Glover's Needle'. This name came from the industrial glove making that was executed in Worcester. The entire structure measures approximately 245 feet. It is the tallest spire in the country to have such a narrow angle of taper. In the 1920s the slum housing which crowded round the church was demolished. The congregation of the church was thus reduced by a large degree. The church fell into decay, had an overgrown churchyard, few parishioners and a tiny parish of five acres. In the 1940s, the council accepted the Bishop of Worcester's offer of the church. They decided to demolish the church and create a garden of remembrance to replace it. However the council decided to leave the tower and spire, freestanding. Thus St Andrew's church was demolished in 1949.
As a millennium project, a clock was installed in the tower and now the hours are struck on the council bell. A recently reinstated custom is to have the council bell strike from 18:45 to 18:50 before a full meeting of the council. In the early 2000s a fence was put around the base of the spire. A few years ago, the RSPB has taken the Glover's Needle into their own hands and the actual spire is now used for special birds of prey for roosting. Live web cams have been installed in the tower.
The Glover's Needle formerly housed a set of five bells.[citation needed] These were hung full circle for proper English style change ringing. In 1870, four of the bells were sold but the tenor (heaviest bell) was retained in the old bell frame. This bell weighs 20 CWT — 1 ton. This is the so-called council bell mentioned above. It is unlikely that the Glover's Needle could sustain a ring of bells today as there is no church to buttress the swaying tower.
Steel sculpture; female figure of a stilt-walker (Moko Jumbie). Figure has articulated limbs, painted black. Wears a loincloth composed of plastic and synthetic fibres, shoulder pieces made from nylon netting and gold-sprayed metal breast ornaments. Openwork copper pipe skirt soldered together and hooked onto waist of figure. Numerous composite objects attached to figure including wooden masks and comb; metal bells, keys and toy aeroplane; plastic ornaments sprayed gold; textile decorations. Figure wears gold-sprayed leather and synthetic trainers with toes exposed. Wooden mask with attached vertical headdress made of strips of sheet metal sprayed gold with multiple small metal objects attached including keys, figures, chains, and bells. Wings secured to back of figure, sprayed black and gold. Figure has spiral copper armlet on right proper arm.
Created by Zak Ové for the British Museum's Celebrating Africa season.
The Museum commissioned these figures to coincide with London’s Notting Hill Carnival at the end of August. Moko Jumbie figures became a key feature of carnival in Trinidad in the early 1900s. Oral traditions describe the Moko Jumbie as a guardian of villages who could foresee danger and protect inhabitants from evil forces. Traditionally, Moko Jumbie figures wore long colourful skirts or trousers over their stilts and masks covering their faces. They were sometimes accompanied by dwarfs – represented in the installation in the Great Court by two ‘lost souls’, on loan to the Museum from Zak Ové – who provided a visual height contrast.
Zak Ové works with sculpture, film and photography. He uses these ‘new-world’ materials to pay tribute to both spiritual and artistic African identity. This Moko Jumbie display is part of a larger body of work that draws inspiration from the Trinidad carnival. The works are born from Ové’s documentation of and interest in the African Diaspora and African history. The artist’s intellectual and creative responses to this history are filtered through his own personal and cultural upbringing in London and Trinidad. The relationship between carnival and Africa derives from the enforced movement of peoples during the Transatlantic Slave Trade. Between around 1500 and 1900, millions of people were transported from West and Central Africa to the Caribbean and North, Central and South America.
Carnival in Trinidad began as a predominantly elite event. In the late 1700s French immigrants arrived on the island to run plantations, bringing with them enslaved Africans. The plantation owners staged elaborate masquerade balls during the carnival season. Africans also brought their own masking traditions of which the Moko Jumbie is but one. Masking for Africans in the Caribbean was a way to connect to ancestors and nature as well as ideas of ‘home’. But traditional masquerades were also used to satirically depict their masters and turn a critical eye on plantation society. After full emancipation in 1838, Africans took over the streets at carnival time, using song, dance and masquerade to re-dress the still existing social inequalities.
[British Museum]
Inlay copper Celtic knot openwork plaque with Dragons or snakes. Irish, medieval, 11th Century AD. National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier
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TABLE LAMP XXIV STILLA
The head of the lamp is made of Senegalese gourd. Its diameters is 20 cm.
The height of the whole lamp is 21 cm. The base created by Lech Kostyszak from Unique Wood Design is made of Padouk wood.
The diameter of the base is 18,5 cm. The perforation is made by drills of 18 diameters differing by only 0,1 mm. There are also openwork carvings.
The white carvings are the deeper layers of wood which allow some light to pass through it.
On the top of the lamp there is a 15 mm wide star ruby embedded.