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Monument funéraire du chanoine Jean Coquillau †1455 : la Vierge de Pitié, saint Sébastien, saint Jean-Baptiste, le chanoine donateur accompagné d'un évêque, bas-relief, pierre peinte et dorée.
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painted stone ; 158cm. x 125cm.
Brugge
The Belfry of Bruges (Dutch: Belfort van Brugge) is a medieval bell tower in the centre of Bruges, Belgium. One of the city's most prominent symbols, the belfry formerly housed a treasury and the municipal archives and served as an observation post for spotting fires and other dangers.
The belfry was added to the Markt (market square) around 1240, when Bruges was an important centre of the Flemish cloth industry. After a devastating fire in 1280, the upper half of the tower was largely rebuilt.
The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus changing the height of the building from 102 metres (335 ft) to 83 metres (272 ft), which it remains today. However, an openwork stone parapet in Gothic Revival style was added to the rooftop in 1822.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 metres (144 ft) broad but 84 metres (276 ft) deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
Since 1999, the belfry has been on the UNESCO World Heritage List as a part of the Belfries of Belgium and France serial property. In addition, it is a key component of the UNESCO World Heritage Site of the historic centre of Bruges, inscribed in 2000.
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Bruges (Dutch: Brugge) is the capital and largest city of the province of West Flanders, in the Flemish Region of Belgium. It is located in the northwest of the country, and is the sixth most populous city in Belgium. The historic city center is a prominent World Heritage Site of UNESCO.
Early medieval habitation starts in the ninth and tenth centuries on the Burgh terrain, probably with a fortified settlement and church. Bruges received its city charter on 27 July 1128, and new walls and canals were built.
Bruges had a strategic location at the crossroads of the northern Hanseatic League trade. Traders developed, or borrowed from Italy, new forms of merchant capitalism, whereby several merchants would share the risks and profits and pool their knowledge of markets. The city eagerly welcomed foreign traders, most notably the Portuguese traders selling pepper and other spices. With the reawakening of town life in the 12th century, a wool market, a woolens weaving industry, and the cloth market all profited from the shelter of city walls, where surpluses could be safely accumulated under the patronage of the counts of Flanders.
In 1277, the first merchant fleet from the Republic of Genoa appeared in the port of Bruges, the first of the merchant colony that made Bruges the main link to the trade of the Mediterranean. The Bourse opened in 1309 (most likely the first stock exchange in the world) and developed into the most sophisticated money market of the Low Countries in the 14th century. The foreign merchants expanded the city's trading zones. They maintained separate communities governed by their own laws until the economic collapse after 1700.
Starting around 1500, the Zwin channel, (the Golden Inlet) which had given the city its prosperity, began silting up and the Golden Era ended. During the 17th century, the lace industry took off. In the second half of the 19th century, Bruges became one of the world's first tourist destinations, attracting wealthy British and French tourists.
In World War I and World War II, the city suffered virtually no damage, and was liberated on 19 October 1918 by the Allies. After 1965, the original medieval city experienced a "renaissance". Restorations of residential and commercial structures, historic monuments, and churches generated a surge in tourism and economic activity in the downtown area. International tourism has boomed, and new efforts resulted in Bruges being designated European Capital of Culture in 2002. It attracts some eight million tourists annually.
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.
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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.
The African Heritage Classroom was designed to reflect an 18th-century Asante temple courtyard in Ghana which would provide the setting for ceremonial events, learning, and worship. The classroom represents the entire continent of Africa with Yoruba-style door carvings by Nigerian sculptor Lamidi O. Fakeye depicting ancient kingdoms of Africa including Egypt, Nubia, Ethiopia, Benin, Kongo/Angola, Kuba, Mali, and Zimbabwe. Plaster forms in the frieze represent the arts, music, science, languages, and literature of Africa. A display case housing artifacts from various African nations and the chalkboard area reflect patos around the courtyard. Below the chalkboard doors depicting the Igbo lozenge and star motif are Sankofa birds which symbolize the need to learn from the past in order to prepare for the future. The oxblood steps, two levels of student benches, and wainscot with relief decorations suggest the polished clay of an Asante temple. Openwork screens are present on the windows as they are used in Asante structures to filter the sun's rays while allowing air flow. Six chieftain stools provide informal seating near a hand-carved professor's lectern.
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
Next to the Hand Car Wash and hemmed in by pallets, cones and wheelie-bins, I often pass this engaging structure not far from Bury St Edmunds station ...one of whose turrets appears, top left. I felt sure the Seventh Day Adventists could not have been the original owners and I was a little suspicious of the facing material, which looks in the photo a bit like that cladding you see on warehouses in modern "industrial estates". But no, the church's website gives the material as corrugated iron with varnished matchboard lining. The building dates from 1901 and was originally a railwaymen's mission. At the ridge of the roof you can make out the base of a small openwork spire; this can be seen in a photograph in which an Austin A35 also appears, so must have endured into the 50s or 60s. The church survived an attempt by British Rail, in 1987, to sell the land on which it stands, for which a nominal ground rent was paid. It was bought by the Adventists in 2001 and is now Grade II listed. Photographed from Tesco's useful secondary car park ...so much pleasanter to use than the idiot-frequented main facility... following the purchase of a four-for-£6 ale deal.
Official list entry
Heritage Category:Listed Building
Grade:I
List Entry Number:1269316
Date first listed:18-Jan-1949
Statutory Address: Abbey Church of St Mary and St Aldhelm, Malmesbury, Wiltshire
Location
Statutory Address: Abbey Church of St Mary and St Aldhelm, Malmesbury, Wiltshire
District: Wiltshire (Unitary Authority)
Parish:Malmesbury
National Grid Reference:ST 93280 87320
Details
Benedictine Abbey church, now parish church. Church founded c637 by Irish hermit Mailduib, monastery founded during abbacy of Aldhelm (c675-705), though no pre-C12 work survives; church probably begun under Bishop Roger (c1118-1139), and mostly dates from c1160-80 with a 9-bay aisled nave, transepts with E chapels, chancel, ambulatory with 3 radiating chapels, and S porch, rebuilt 1350-1450 above gallery level with clerestory, vault, crossing spire and W towers, a lengthened chancel and Lady Chapel; spire fell 1479. After Dissolution nave altered by William Stumpe of Abbey House (qv) and damaged W parts walled for the parish church, W tower fell c1662, W window by Goodridge 1830, restored W end 1903. MATERIALS: limestone ashlar with stone tiles. STYLE: late Romanesque style C12 work, Decorated Gothic style C14 extensions. PLAN: reduced since the Dissolution to 6 E bays of nave, with short lengths of transept walls and S corner of W end. EXTERIOR: the E end has a single N chancel bay and matching chancel arch with paired half shafts set in square piers with quarter round capitals, beneath the 2-centre arched line of the vault, and tas-de-charges with sunken mouchettes; the jambs of next E bay has matching aisle and triforium semi-circular jambs with chevron mouldings. Inner wall of N transept has blocked 2-centred aisle arch containing a C16 doorway and 3-light mullion window, and a blind round-arched doorway to the right; 6-bay N elevation has a blind former cloister wall along the aisle divided by buttresses, with a roll-top coping, and round-arched windows above a cill band containing C14 tracery, with a steep gable in the fourth bay containing a 3-light Decorated tracery window; at the left end is a blocked, round-arched C12 doorway with an archivolt of relief palmettes, and a cusped cinquefoil arch set within. The C14 clerestory has flying buttresses with tall pyramidal pinnacles between 3-light 2-centre arched windows, 2-light at the E end, with paterae to each side of the three E windows. S transept as N, 2 bays after the aisle arch, an incomplete arcade of interlacing round arches with a chevron moulding
beneath 2 storeys of round-arched windows with splayed reveals, the lower windows flanked by narrow round-arched recesses containing inner arches open to a passage through the walls. The arcade continues along the former external side of the S transept and to the 9-bay S elevation, otherwise as the N side with a Decorated cusped openwork parapet to aisle and nave, and with second and third bays from E containing C14 2-centre windows with Decorated tracery. C12 porch rebuilt externally in C14 with angle buttresses, has a very fine splayed round-arched entrance of 3 orders, without capitals, richly carved with iconographic Biblical scenes set in oval panels, and separated by richly carved mouldings, and a hood with dog head stops. Inside is a similarly-moulded doorway and C14 door, beneath a tympanum of Christ in Glory supported by 2 angels, with along both sides the round-arched arcade above a bench, beneath finely-carved lunettes each of 6 Apostles with a horizontal flying angel above. In the E re-entrant is a square stair turret with a pyramidal roof. The incomplete W end has a massive clasping buttress stair turret to the S corner in 4 stages separated by moulded strings, blank from the ground, a pair of blind round-arched panels containing lower arched panels to the second stage, an arcade of narrow interlacing round-arches to the third, and a taller arcade to the fourth stage with square section mouldings; the bay to the left as the S aisle, with a pair of round arches with flanking half arches at the second stage enriched with chevron moulding, containing pairs of round-arches; above is an arcade of 5 round-arches, and a blind wall topped with a C20 parapet. The S side of the central entrance bay has the jamb of a round-arched entrance with 2 orders carved as the S porch and plain capitals, beneath the jamb of a large C14 W window with the springers of 4 cusped transoms. INTERIOR: nave arcade has round shafts with scallop capitals to sharply moulded 2-centre arches, with billet mouldings to the 2 E arches, and billet hoods with dog head stops; the triforium has blind round arches with attached shafts to cushion capitals, a chevron moulding, with an arcade of 4 similar arches within; splayed clerestory windows have rere arches. An attached shaft extends up from the piers to C14 tas-de-charges, and a lierne vault with carved bosses. A 'Watching Loft' is corbelled out above the fourth pier on the S side of the nave, with plain openings and billet moulded cornice. The C12 aisles have pointed quadripartite vaults and benches,
the blind arcade of the outside beneath the windows, on the S side without the middle columns; the E end bays have C15 stone screens with Perpendicular tracery. To the left of the entrance is a winder stair to the C14 parvis over the porch, which has C20 panelling. MEMORIALS: running counter-clockwise from the entrance, a wall monument to Joseph Cullerne, d1764, a marble panel with raised bracketed top section; wall monument to Robert Greenway, d1751, a marble shield; wall monument to Bartholomew Hiren, d1703, a panel with a broken pediment; at the W end, a wall monument to Dame Cyscely Marshal, d 162?, with a slate panel in a carved alabaster frame; to the left a late C17 cartouche with drapes; in the N aisle, a dresser tomb of King Athelston, d939, with narrow buttresses to the sides, with a recumbent figure of the King with his feet on a lion, and a vaulted canopy behind his head; wall monument to Elizabeth Warneford, d1631, a slate plaque set in a moulded alabaster frame with shields along the sides, a cartouche, and a segmental cornice over; wall tablet to Isaac Watts, d 1789, an oval marble panel set in slate; wall tablet to Johannes Willis, mid C18, a marble panel with gadroon beneath and a cornice; wall tablet to GI Saunders, d1806, with a round-arched top and moulded frame; wall tablet to Elizabeth George, d1806, a well-carved cartouche with putti below; wall tablet to Edward Cullerne, d1765, marble with yellow marble inserts and a pediment; wall tablet to Mary Thomson, d1723, a stone panel with draped surround including an hour glass; wall tablet facing the entrance to Willima Robernce (?), d1799, a stone frame including a small inscribed pointing hand in the corner. Set in the chancel floor are a group of 8 brasses from late C17 to mid C18. FITTINGS: include a round C15 font from St Mary Westport (qv), with a turned base and fluted sides; at the W end of the nave, is the font used since the C17; in the S aisle, a glass case containing a verge of 1615, carved with features of the Abbey; at the E end the S aisle is the parish chest dated 1638, panelled with 3 locks; communion rail of c1700 with twisted balusters. In the parvis are kept 4 volumes of an illustrated manuscript Bible of 1407. GLASS: mostly C14 glass in the N aisle; the Luce window in the S aisle designed by Burne Jones and made by William Morris. HISTORICAL NOTE: the use of pointed arches and vaults in the aisles is structurally advanced and transitional with Early Gothic, and links Malmesbury with subsequent West Country churches, but the carving is Anglo Saxon in character, and probably borrowed from manuscript illustrations. The conventual buildings stood on the N side of the church; for the reredorter and sections of the precinct wall, see
Abbey House, Market Cross (qv), and for the guest house, see Old Bell Hotel, Gloucester Street (qv). (Victoria History of the Counties of England: Crowley DA: Wiltshire: 1991-: 157; Archaeologia: Brakspear H: Malmesbury Abbey: 1912-; Smith MQ: The Sculptures of the S Porch of Malmesbury Abbey: Malmesbury: 1973-; The Buildings of England: Pevsner N: Wiltshire: London: 1963-: 321-327; Midmer R: English Medieval Monasteries 1066-1540: London: 1976-: 212).
© Historic England 2022
Patrick's Bell
"This bell is reputed to have belonged to St. Patrick. It is made of two sheets of iron which are riveted together and coated with bronze. This bell is frequently mentioned in written sources as one of the principal relics of Ireland.
An inscription on its surface indicates that the shrine for the bell was made around AD 1100. It is trapezoidal in shape, echoing the shape of the bell it was made to cover. Formed of a series of bronze plates joined at the edges by tubular bindings, the shrine is topped by a curved crest which covers the handle of the bell. The front of the shrine is covered with a silver-gilt frame that originally held thirty gold filigree panels. These are arranged in the shape of a ringed cross.
The sides of the shrine are adorned with openwork panels depicting elongated beasts intertwined with ribbon-bodied snakes. The back of the shrine is plainer and flatter, and is decorated with an openwork silver plate featuring interlocking crosses.
The inscription along the edge of the backplate records the name of the craftsman and his sons who made the shrine, and Domhnall Ua Lochlainn, King of Ireland between AD 1094 and 1121, who commissioned the shrine; Cathalan Ua Maelchallain, the keeper of the bell, is also mentioned. Remarkably, the shrine remained in the possession of this family until the end of the 19th century."
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
The Sacred Heart Church or Sacred Heart Parish church Graz is a brick building in neo-Gothic style, a Roman Catholic church in Graz St. Leonhard . The building was built in 1881-1887 and has the third highest spire in Austria and is one of the most important buildings of historicism in Styria.
Architectural History
Facade
In 1875, called a native of South Tyrol Prince Bishop Johann Baptist Zwerger, a great admirer of the Sacred Heart, for the first time to build a Sacred Heart Church for Graz. The church should be a parish center for the then rapidly growing Gründerzeitviertel now in the district of St. Leonhard and at the same time representing an important monument of the Sacred Heart devotion .
After long discussions about the architecture ( the building of a church of the nature of the Votive Church (in Vienna) had to be rejected for cost reasons) eventually a native of Graz George of Hauberrisser, architect of the Munich town hall, was commissioned with the establishment of the church in neo-Gothic brick style by way of the north German churches in the style of Brick Gothic . The groundbreaking ceremony took place in 1881, in 1885 the same roof was completed in 1887 and celebrated the high tower. On 5 June 1891 the church was consecrated , but only on 10 October 1902 the parish church. In the years 2004 and 2005, a comprehensive foreign restoration was carried out.
Outside
Herz-Jesu- Kirche Graz , north -west side
The church and parsonage are built in the same style surrounded by a park and visibly influenced by the ideals of Romanticism. To achieve a monumental appearance , despite the low-lying building site , the church was built in the form of a two-storey lower church , which opens in arcades to the park, and an overlying upper church. The southwest tower of the church is not exactly geostet (eastern-oriented) with 109.6 meters the third highest church tower in Austria , according to the towers of St. Stephen's Cathedral and St. Mary's Cathedral in Linz.
Upper Church
The church was to as many people on the sanctuary to provide a view built as a directed road church with side chapels , support free interior and integrated into the nave wall piers. The stern look of great free interior is enlivened by colorful windows and wall frescoes. The prevailing inside single overall impression is due to the fact that Hauberrisser has designed every little detail and even the original equipment is still intact .
Altar area
The new altar designed by Gustav Troger
Look through the nave to the front
Looking back through the nave
Through a wide steps of plant base of a large pointed arch at the transition is made to the presbytery. A higher floor level than the ship and a little different material choice the altar area is highlighted.
As part of the preparation for the Centenary of the Church in 1991 led to a redesign of the altar area of the church. In the spirit of the liturgy reforms of the Second Vatican Council , a smaller additional altar was to maintain the original high altar still can , built on an upstream , designed by the architect Henry Tritthart podium. This so-called people's altar was made according to a design by the Styrian artist Gustav Troger , as well as a new ambo and glass chandeliers.
The original altar consecrated to the Sacred Heart is designed as altar canopy . In the front pediment of the altar canopy wound of a crown of thorns heart is to see, and an openwork roof attachment holds the statue of the risen, the Redeemer pointing to his open heart.
Side chapels
There are small chapels with Retabelaltären and murals on both sides of the nave.
Left Right
Joseph's Chapel Lady Chapel
Francis Xavier Chapel Aloisiuskapelle
Barbara Chapel Nepomukkapelle
Annakapelle Antoniuskapelle
Cross Chapel Baptistry
Mural
At the request of the architect Hauberrisser Viennese genre and historical painter Karl Karger was entrusted with the production of the mural. Karger then created boxes, after which his pupils Johann Lukesch and Max Goldfeld ran the paintings from 1886 to 1906. The 12 murals on the sides of the nave and chancel on the north wall form a closed cycle, which begins with the worship of Christ front right by shepherds and kings and ends with the crucifixion of Christ. Each image is accompanied by an explanatory quotation from the Bible .
Stations of the Cross
The 14 Stations of the Cross painted on copper plates , which are located on the outer walls of the side chapels were designed by the Viennese painter Josef Kastner .
Pulpit
The octagonal pulpit rests on a stronger central column and seven slender columns, which also take the stairs. In the fields the pulpit railing relief busts of the four evangelists are seen at the six corners of the sound cover are angel with a banner ( Discite a me, uia mitis sum et humilis corde - Learn from me , for I am meek and humble of heart ' , Matthew 11:29 ) , and on the underside of the lid, the sound is represented as a dove symbolizing the Holy Spirit.
Window
The glass windows of the Sacred Heart Church provide one of the few completely preserved ensemble neo-Gothic glass art in Austria. From the according to the design of Haubenrisser designed windows came the figural art glass in stained glass of the Institution Neuhauser in Innsbruck, the simpler glazing partially in Graz. In the figural windows main content Christian doctrine is presented, such as the Trinity and the saints and the risen Christ.
Organ
1889 a large two-manual organ with 36 registers and pneumatic action was built by the Walcker firm. 1941, the plant was then a third manual, a positive return, extended and converted the pneumatic action of electro-pneumatic operation . An overhaul of the builders firm was completed in 1991. Now there are 52 registers.
Bell
In the first World War II were dismantled all bronze bells as war material. In the 2nd World War II again. Only the smallest was then obtained. As a result of it steel bells were installed, for cost reasons and because it is to be expected that they remain safe. Only the largest (about 3000 kg) is currently at 7 , 12 and 19 clock ( electric motor ) rung (2009). The small bronze bell serves as Totenglöcklein (death knell).
Crypt
The lower church is dedicated to the poor souls. This three-nave system can be achieved through a wide staircase and a hall through the unspoilt natural brick structure of the pier produces a strong impression. Closing windows on three figualen choir Christ , Mary and John the Baptist are seen. The original altar of the lower church is located directly beneath the high altar of the upper church and is a simple Retabelaltar with relief representations of the " poor souls ". Even in the lower church, a new altar area was built to celebrate the winter here in worship. The redesign of the altar area was designed by architect Henry Tritthart.
Official list entry
Heritage Category:Listed Building
Grade:I
List Entry Number:1269316
Date first listed:18-Jan-1949
Statutory Address: Abbey Church of St Mary and St Aldhelm, Malmesbury, Wiltshire
Location
Statutory Address: Abbey Church of St Mary and St Aldhelm, Malmesbury, Wiltshire
District: Wiltshire (Unitary Authority)
Parish:Malmesbury
National Grid Reference:ST 93280 87320
Details
Benedictine Abbey church, now parish church. Church founded c637 by Irish hermit Mailduib, monastery founded during abbacy of Aldhelm (c675-705), though no pre-C12 work survives; church probably begun under Bishop Roger (c1118-1139), and mostly dates from c1160-80 with a 9-bay aisled nave, transepts with E chapels, chancel, ambulatory with 3 radiating chapels, and S porch, rebuilt 1350-1450 above gallery level with clerestory, vault, crossing spire and W towers, a lengthened chancel and Lady Chapel; spire fell 1479. After Dissolution nave altered by William Stumpe of Abbey House (qv) and damaged W parts walled for the parish church, W tower fell c1662, W window by Goodridge 1830, restored W end 1903. MATERIALS: limestone ashlar with stone tiles. STYLE: late Romanesque style C12 work, Decorated Gothic style C14 extensions. PLAN: reduced since the Dissolution to 6 E bays of nave, with short lengths of transept walls and S corner of W end. EXTERIOR: the E end has a single N chancel bay and matching chancel arch with paired half shafts set in square piers with quarter round capitals, beneath the 2-centre arched line of the vault, and tas-de-charges with sunken mouchettes; the jambs of next E bay has matching aisle and triforium semi-circular jambs with chevron mouldings. Inner wall of N transept has blocked 2-centred aisle arch containing a C16 doorway and 3-light mullion window, and a blind round-arched doorway to the right; 6-bay N elevation has a blind former cloister wall along the aisle divided by buttresses, with a roll-top coping, and round-arched windows above a cill band containing C14 tracery, with a steep gable in the fourth bay containing a 3-light Decorated tracery window; at the left end is a blocked, round-arched C12 doorway with an archivolt of relief palmettes, and a cusped cinquefoil arch set within. The C14 clerestory has flying buttresses with tall pyramidal pinnacles between 3-light 2-centre arched windows, 2-light at the E end, with paterae to each side of the three E windows. S transept as N, 2 bays after the aisle arch, an incomplete arcade of interlacing round arches with a chevron moulding
beneath 2 storeys of round-arched windows with splayed reveals, the lower windows flanked by narrow round-arched recesses containing inner arches open to a passage through the walls. The arcade continues along the former external side of the S transept and to the 9-bay S elevation, otherwise as the N side with a Decorated cusped openwork parapet to aisle and nave, and with second and third bays from E containing C14 2-centre windows with Decorated tracery. C12 porch rebuilt externally in C14 with angle buttresses, has a very fine splayed round-arched entrance of 3 orders, without capitals, richly carved with iconographic Biblical scenes set in oval panels, and separated by richly carved mouldings, and a hood with dog head stops. Inside is a similarly-moulded doorway and C14 door, beneath a tympanum of Christ in Glory supported by 2 angels, with along both sides the round-arched arcade above a bench, beneath finely-carved lunettes each of 6 Apostles with a horizontal flying angel above. In the E re-entrant is a square stair turret with a pyramidal roof. The incomplete W end has a massive clasping buttress stair turret to the S corner in 4 stages separated by moulded strings, blank from the ground, a pair of blind round-arched panels containing lower arched panels to the second stage, an arcade of narrow interlacing round-arches to the third, and a taller arcade to the fourth stage with square section mouldings; the bay to the left as the S aisle, with a pair of round arches with flanking half arches at the second stage enriched with chevron moulding, containing pairs of round-arches; above is an arcade of 5 round-arches, and a blind wall topped with a C20 parapet. The S side of the central entrance bay has the jamb of a round-arched entrance with 2 orders carved as the S porch and plain capitals, beneath the jamb of a large C14 W window with the springers of 4 cusped transoms. INTERIOR: nave arcade has round shafts with scallop capitals to sharply moulded 2-centre arches, with billet mouldings to the 2 E arches, and billet hoods with dog head stops; the triforium has blind round arches with attached shafts to cushion capitals, a chevron moulding, with an arcade of 4 similar arches within; splayed clerestory windows have rere arches. An attached shaft extends up from the piers to C14 tas-de-charges, and a lierne vault with carved bosses. A 'Watching Loft' is corbelled out above the fourth pier on the S side of the nave, with plain openings and billet moulded cornice. The C12 aisles have pointed quadripartite vaults and benches,
the blind arcade of the outside beneath the windows, on the S side without the middle columns; the E end bays have C15 stone screens with Perpendicular tracery. To the left of the entrance is a winder stair to the C14 parvis over the porch, which has C20 panelling. MEMORIALS: running counter-clockwise from the entrance, a wall monument to Joseph Cullerne, d1764, a marble panel with raised bracketed top section; wall monument to Robert Greenway, d1751, a marble shield; wall monument to Bartholomew Hiren, d1703, a panel with a broken pediment; at the W end, a wall monument to Dame Cyscely Marshal, d 162?, with a slate panel in a carved alabaster frame; to the left a late C17 cartouche with drapes; in the N aisle, a dresser tomb of King Athelston, d939, with narrow buttresses to the sides, with a recumbent figure of the King with his feet on a lion, and a vaulted canopy behind his head; wall monument to Elizabeth Warneford, d1631, a slate plaque set in a moulded alabaster frame with shields along the sides, a cartouche, and a segmental cornice over; wall tablet to Isaac Watts, d 1789, an oval marble panel set in slate; wall tablet to Johannes Willis, mid C18, a marble panel with gadroon beneath and a cornice; wall tablet to GI Saunders, d1806, with a round-arched top and moulded frame; wall tablet to Elizabeth George, d1806, a well-carved cartouche with putti below; wall tablet to Edward Cullerne, d1765, marble with yellow marble inserts and a pediment; wall tablet to Mary Thomson, d1723, a stone panel with draped surround including an hour glass; wall tablet facing the entrance to Willima Robernce (?), d1799, a stone frame including a small inscribed pointing hand in the corner. Set in the chancel floor are a group of 8 brasses from late C17 to mid C18. FITTINGS: include a round C15 font from St Mary Westport (qv), with a turned base and fluted sides; at the W end of the nave, is the font used since the C17; in the S aisle, a glass case containing a verge of 1615, carved with features of the Abbey; at the E end the S aisle is the parish chest dated 1638, panelled with 3 locks; communion rail of c1700 with twisted balusters. In the parvis are kept 4 volumes of an illustrated manuscript Bible of 1407. GLASS: mostly C14 glass in the N aisle; the Luce window in the S aisle designed by Burne Jones and made by William Morris. HISTORICAL NOTE: the use of pointed arches and vaults in the aisles is structurally advanced and transitional with Early Gothic, and links Malmesbury with subsequent West Country churches, but the carving is Anglo Saxon in character, and probably borrowed from manuscript illustrations. The conventual buildings stood on the N side of the church; for the reredorter and sections of the precinct wall, see
Abbey House, Market Cross (qv), and for the guest house, see Old Bell Hotel, Gloucester Street (qv). (Victoria History of the Counties of England: Crowley DA: Wiltshire: 1991-: 157; Archaeologia: Brakspear H: Malmesbury Abbey: 1912-; Smith MQ: The Sculptures of the S Porch of Malmesbury Abbey: Malmesbury: 1973-; The Buildings of England: Pevsner N: Wiltshire: London: 1963-: 321-327; Midmer R: English Medieval Monasteries 1066-1540: London: 1976-: 212).
© Historic England 2022
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
El Colegio de San Gregorio de Valladolid es la sede principal del Museo Nacional de Escultura. Es uno de los mejores ejemplos de la arquitectura del periodo de los Reyes Católicos. En particular, su patio y su portada son célebres por su refinada ornamentación, las elegantes proporciones y una ostensible simbología del poder.
Igualmente interesante es su historia como institución docente. Destinado a colegio de Teología para frailes dominicos, adquirió una notable autoridad doctrinal y actuó como un semillero espiritual y político de la España renacentista y barroca.
La Universidad de Valladolid fue fundada en el siglo XIII durante el reinado de Alfonso X el Sabio; como en otros países se potenció la aparición de centros colegiales, de modo que tardíamente se creó el Colegio de San Gregorio, que actuaron en paralelo o complementariamente con relación a la vida universitaria. En Valladolid se creó además el Colegio de Santa Cruz también a finales del siglo XV
La creación del Colegio, bajo la advocación del doctor de la Iglesia San Gregorio, fue obra del dominico Alonso de Burgos, obispo de la diócesis de Palencia y confesor de los Reyes Católicos. Alonso de Burgos condicionó su fundación a la obtención de la comunidad dominica de San Pablo de los terrenos para la construcción de su propia capilla funeraria, que serviría igualmente para el alumnado del Colegio. Tal petición se vio satisfecha en 1487: consigue el espacio necesario, lo cual fue confirmado por el Papa Inocencio VIII.
Las obras se iniciaron en 1488 aunque se había comenzado ya la construcción de la capilla funeraria, cuya puerta de entrada se percibe en el crucero sur de la Iglesia conventual de San Pablo.
La fachada fue concebida como un telón o estandarte (arquitectura suspendida). Su compartimentación se organiza con elementos vegetales que evocan los arcos triunfales construidos con madera y enramada, reforzándose su carácter civil y urbano. Dada su significación simbólica, la explicación de los diferentes motivos y elementos que la integran ofrece una gran dificultad, tanto individualmente como en su totalidad y en la relación entre los diferentes elementos.
En el tímpano principal y sobre el dintel decorado con flor de lis aparece la dedicatoria y la ofrenda del Colegio por parte del fraile dominico Alonso de Burgos a san Gregorio Magno en presencia de San Pablo y Santo Domingo.
Destacan las figuras de hombres silvestres cubiertos, o no, de pelo, y con garrotes y escudos; o bien aluden a la costumbre cortesana de disfrazar escuderos con ocasión de fiestas, o bien representan la imagen mítica del «hombre natural», tal como se discutió por esas fechas y entran en diálogo visual con esculturas de caballeros, vestidos con armaduras y portando lanzas y escudos, encarnando la Virtud.
La parte central superior está ocupada por un pilón hexagonal, rebosante de agua, que puede evocar la especulación intelectual como Fuente de la Vida. En torno al pilón, se arremolinan parejas de niños y de él arranca el tronco de un granado, en posible alusión a la Fuente de la Vida y al Árbol de la Ciencia, aparte de la celebración de la reciente conquista del Reino de Granada. Todo el relieve central de la fachada se constituye con esta representación simbólica de un microcosmos, a imagen del Paraíso, lugar hacia donde deberían dirigirse los hombres mediante el conocimiento de las Artes y la Teología.
La presencia del escudo de los Reyes Católicos, sostenido por leones y por el águila de San Juan podría tener una significación política o podría ser una alusión a la dedicación del edificio a la Monarquía, a la que Alonso de Burgos nombró heredera y patrona del Colegio.
El patio del Colegio es de planta cuadrada y representa una de las joyas de estilo hispanoflamenco. Sus dos pisos se levantan sobre pilares helicoidales decorados sus capiteles con medias bolas y lises separados ambos por el tema de la cadena.
En las arquerías del piso superior se encuentra toda la decoración mediante calados pretiles de tracería gótica y cortinas pétreas que al abrirse originan arcos geminados de guirnaldas y follaje, entre los que juguetean niños, concebido con una talla muy plana próxima al estilo renacentista. Un friso de yugos y flechas y las gárgolas es lo único que se conserva de su antiguo coronamiento.
El acceso al piso superior se realiza a través de una sola escalera con pretiles góticos a los que se suceden los paramentos almohadillados de su caja decorada también con el timbre heráldico del fundador y con un artesonado mudéjar, en cuyo friso se pueden observar las iniciales de los Reyes Católicos y que cierra todo su ámbito.
es.wikipedia.org/wiki/Colegio_de_San_Gregorio
es.wikipedia.org/wiki/Museo_Nacional_de_Escultura
The Colegio de San Gregorio is an Isabelline style building located in the city of Valladolid, in Castile and León, Spain, it was formerly a college and now is housing the Museo Nacional de Escultura museum. This building is one of the best examples of the architectural style known as Isabelline, which is the characteristic architectural style of the Crown of Castile region during the Catholic Monarchs' reign (late-15th century to early-16th century).
Among other sections highlights its courtyard and its facade for its refined decoration, elegant proportions and the number of symbologies. It was founded as a teaching institution. Aimed at College of Theology for Dominican friars, it has acquired a doctrinal authority and acted as a spiritual and political hotbed in the Central region of Spain's Renaissance and Baroque periods.
The University of Valladolid was founded in the 13th-century during the Alfonso X of Castile the Wise's reign; as in other countries, the emergence of college centers was potentiated, then belatedly was created the Colegio de San Gregorio, who performed in parallel or complementarily in relation to university life. In Valladolid the Colegio Mayor Santa Cruz was also created also in late 15th-century.
The creation of the College, under the title of the Doctor of the Church Saint Gregory the Great, was work of Dominican Alonso de Burgos, the Catholic Monarchs's confessor and Bishop of the dioceses of Córdoba, Cuenca and Palencia. The foundation of the college was confirmed by with Papal Bull of Pope Innocent VIII in 1487, and accepted as Royal patronage by Queen Isabella the Catholic in 1500, after the founder's death.
It attached to the Convento de San Pablo, which Friar Alonso had been its prior, its foundation was subject to the assignment of the Capilla del Crucifijo (Crucifix's chapel), attached to the Epistle's arm of the Dominican church, to become his own funeral chapel, which later acquired dual function to also serve as a chapel for college.
Work began in 1488 in a process from the inside to outside, being the main facade the last in lift. The Royal shields in the corners of the Large courtyard still do not present the Granada's symbol suggests that this part would be completed before 1492. The building is assumed to completed in 1496.
The facade, plain facing and topped with a crest, stands out above all for its spectacular main facade, which by its stylistic features it sets regarding the workshop of Gil de Siloé, a Flemish origin artist, who was at that time in Burgos dealing with the royal sepulchers of the Miraflores Charterhouse and is known to have been commissioned to make the defunct altarpiece of the chapel, very in connection with which the sculptor had made in the Conception's chapel or of Bishop Acuña in the Cathedral of Burgos and has obvious similarities to the upper of the main facade of San Gregorio.
Perhaps evoking the triumphal arches of the architectures at that time were developing in Central Europe, or perhaps the Islamic Madrasas, architects of this building applying an individually decorated of the Castilian late-Gothic (Isabelline), it has a complex symbolic significance in that mix contemporary figures, saints, allegories, wild men, abundant symbolic of power, etc.
It has two bodies framed by two buttresses. The lower hosts a vain lintel decorated with fleur-de-lys, the founder's symbol repeated often enough, covered with three-centered arch in turn covered by another ogee trefoil.
It draw attention to the "savage men" of the jambs and buttresses, a total of sixteen. Theories about the significance of these figures, present in many buildings of 15th-century, are varied and should be put in relation to the context in which these appear. One of its functions would be simple heraldry sculptures. It is also said that, dressed with shield and mace, were the guardians of the building, beastmen guaranteeing security. Or these could allude to the custom of disguising the squires and lackeys in Court (nobility) festivities in which it presented the "savage" as inferior, in relation, for example, the chivalric romances, which mentions hair covered wild men, degraded men, estranged from the civilized world, not Christianized, and could here be in visual confrontation with the knights who also appear on the main facade, with armor, spears and shields, that would be interpreted as allegories of Virtue. On the contrary, these could also be a positive allusion, the mythical image of man in nature, unpolluted, symbol of purity that evokes the time in a perfect and happy world, with prototype to John the Baptist.
Those on the lower part, flanking the main facade, are completely covered with long hair, carrying weapons and the shields are decorated with demonic figures except in one, which has a Knight order of Calatrava's cross, the same motifs of the soldiers's shields of the second floor, the same iconography already seen for over a century.
However, in the top of the main facade are completely different, with the same attributes but without hair on the body and even two hairless, with a more human aspect, and there are authors who consider the oldest representation in Castile of an American Native, reflecting the effect of the Americas's arrival in the European imagination.
The tympanum, on a lintel, seems to represent the offering of the college by Friar Alonso de Burgos to Saint Gregory the Great in the presence of Saints Dominic and Paul, patrons of the neighboring Dominican convent, a somewhat disconcerting scene, unbalanced, with disproportion between the figures and Saint Paul with a cruciferous nimbus, an exclusive attribute of Christ. It seems to be earlier work than the rest, or even reused from other site.
The upper body is divided into three sections, with the center occupied by a hexagonal pylon which starts a pomegranate tree, referring to the Nasrid Kingdom of Granada's conquest in 1492, swirling around putti playing and jumping. It could be a Fountain of Eternal Youth's representation, hence the children, of the Tree of Knowledge, in relation to the building dedicated to the study, an allegory of the Paradise, the place to which men aspire to reach through the knowledge, an allegory of the Golden Age, in relation to the historical moment that was occurring to the Spanish monarchy.
The pomegranate tree is topped by a big shield of the Catholic Monarchs with the St. John's eagle held by two attitude lions and below the Catholic Monarchs's symbols also appear: the beam and arrows. And the use of the royal heraldry with propaganda purposes in this period reached prominence hitherto unknown, present not only in buildings directly promoted by the Catholic Monarchs but also in many that of their closest collaborators, in that way showing participation and acceptance in the political project undertaken by Isabella I and Ferdinand II in relation to the establishment of a modern state with which to control and organize all their territories under their unique power.
Upper body's side sections have the founder's heraldic decoration and two kings of arms placed at height of the central shield.
Distributed among the distributed arboured throughout the main facade are seen multiple scenes related to the defects to be overcome with the study, in relation to the search for truth and rejection of heresy, the triumph of intelligence over force or the strength to overcome temptation.
(Large courtyard) The Patio Grande was the access to the most important stays of the set. It considered a Hispanic-Flemish (Isabelline) gem, is set in relation to Juan Guas for its similarities to Palacio del Infantado in Guadalajara, although have also located abundant motifs that Bartolomé Solórzano, an active artist at that time in the area, used in the Cathedral of Palencia, seat of the Friar Alonso's bishopric.
It is square with two floors, the lower with slender pillars, perhaps a Solomonic reference in relation to a building as a "temple of wisdom", with capitals of average balls and fleur-de-lis sustaining segmental arches, and the upper with one of the most decorative Isabelline galleries, with parapets openwork with Gothic tracery and geminare arches riddled with garlands and foliage among those appears children playing and where already shown Renassaince influence, of midpoint and a form that goes be more flat.
Then follows a frieze of yokes and arrows on highlighting the imaginative gargoyles.
It has abundant emblems of the Catholic Monarchs and the kingdoms of Navarre and Granada, incorporated into the Crown of Castile during the erection of the building.
The only staircase that connects both floors is rectangular of two sections, Isabelline base, decorated walls with padding of Renaissance influence with the founder's heraldry; an impressive Mudéjar roof on a frieze with the Catholic Monarchs's initials; and neo-Gothic parapets with same trace that the base, added in works in the 1860s to replace the wooden fence that had.
en.wikipedia.org/wiki/Colegio_de_San_Gregorio
en.wikipedia.org/wiki/Museo_Nacional_de_Escultura,_Vallad...
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]
Main Hall of the Irish National Museum. Steel-truss and glass Building by Thomas Newenham Deane and Thomas Manly Deane, 1890 AD. Dublin, Ireland. Copyright 2016, James A. Glazier
The Sacred Heart Church or Sacred Heart Parish church Graz is a brick building in neo-Gothic style, a Roman Catholic church in Graz St. Leonhard . The building was built in 1881-1887 and has the third highest spire in Austria and is one of the most important buildings of historicism in Styria.
Architectural History
Facade
In 1875, called a native of South Tyrol Prince Bishop Johann Baptist Zwerger, a great admirer of the Sacred Heart, for the first time to build a Sacred Heart Church for Graz. The church should be a parish center for the then rapidly growing Gründerzeitviertel now in the district of St. Leonhard and at the same time representing an important monument of the Sacred Heart devotion .
After long discussions about the architecture ( the building of a church of the nature of the Votive Church (in Vienna) had to be rejected for cost reasons) eventually a native of Graz George of Hauberrisser, architect of the Munich town hall, was commissioned with the establishment of the church in neo-Gothic brick style by way of the north German churches in the style of Brick Gothic . The groundbreaking ceremony took place in 1881, in 1885 the same roof was completed in 1887 and celebrated the high tower. On 5 June 1891 the church was consecrated , but only on 10 October 1902 the parish church. In the years 2004 and 2005, a comprehensive foreign restoration was carried out.
Outside
Herz-Jesu- Kirche Graz , north -west side
The church and parsonage are built in the same style surrounded by a park and visibly influenced by the ideals of Romanticism. To achieve a monumental appearance , despite the low-lying building site , the church was built in the form of a two-storey lower church , which opens in arcades to the park, and an overlying upper church. The southwest tower of the church is not exactly geostet (eastern-oriented) with 109.6 meters the third highest church tower in Austria , according to the towers of St. Stephen's Cathedral and St. Mary's Cathedral in Linz.
Upper Church
The church was to as many people on the sanctuary to provide a view built as a directed road church with side chapels , support free interior and integrated into the nave wall piers. The stern look of great free interior is enlivened by colorful windows and wall frescoes. The prevailing inside single overall impression is due to the fact that Hauberrisser has designed every little detail and even the original equipment is still intact .
Altar area
The new altar designed by Gustav Troger
Look through the nave to the front
Looking back through the nave
Through a wide steps of plant base of a large pointed arch at the transition is made to the presbytery. A higher floor level than the ship and a little different material choice the altar area is highlighted.
As part of the preparation for the Centenary of the Church in 1991 led to a redesign of the altar area of the church. In the spirit of the liturgy reforms of the Second Vatican Council , a smaller additional altar was to maintain the original high altar still can , built on an upstream , designed by the architect Henry Tritthart podium. This so-called people's altar was made according to a design by the Styrian artist Gustav Troger , as well as a new ambo and glass chandeliers.
The original altar consecrated to the Sacred Heart is designed as altar canopy . In the front pediment of the altar canopy wound of a crown of thorns heart is to see, and an openwork roof attachment holds the statue of the risen, the Redeemer pointing to his open heart.
Side chapels
There are small chapels with Retabelaltären and murals on both sides of the nave.
Left Right
Joseph's Chapel Lady Chapel
Francis Xavier Chapel Aloisiuskapelle
Barbara Chapel Nepomukkapelle
Annakapelle Antoniuskapelle
Cross Chapel Baptistry
Mural
At the request of the architect Hauberrisser Viennese genre and historical painter Karl Karger was entrusted with the production of the mural. Karger then created boxes, after which his pupils Johann Lukesch and Max Goldfeld ran the paintings from 1886 to 1906. The 12 murals on the sides of the nave and chancel on the north wall form a closed cycle, which begins with the worship of Christ front right by shepherds and kings and ends with the crucifixion of Christ. Each image is accompanied by an explanatory quotation from the Bible .
Stations of the Cross
The 14 Stations of the Cross painted on copper plates , which are located on the outer walls of the side chapels were designed by the Viennese painter Josef Kastner .
Pulpit
The octagonal pulpit rests on a stronger central column and seven slender columns, which also take the stairs. In the fields the pulpit railing relief busts of the four evangelists are seen at the six corners of the sound cover are angel with a banner ( Discite a me, uia mitis sum et humilis corde - Learn from me , for I am meek and humble of heart ' , Matthew 11:29 ) , and on the underside of the lid, the sound is represented as a dove symbolizing the Holy Spirit.
Window
The glass windows of the Sacred Heart Church provide one of the few completely preserved ensemble neo-Gothic glass art in Austria. From the according to the design of Haubenrisser designed windows came the figural art glass in stained glass of the Institution Neuhauser in Innsbruck, the simpler glazing partially in Graz. In the figural windows main content Christian doctrine is presented, such as the Trinity and the saints and the risen Christ.
Organ
1889 a large two-manual organ with 36 registers and pneumatic action was built by the Walcker firm. 1941, the plant was then a third manual, a positive return, extended and converted the pneumatic action of electro-pneumatic operation . An overhaul of the builders firm was completed in 1991. Now there are 52 registers.
Bell
In the first World War II were dismantled all bronze bells as war material. In the 2nd World War II again. Only the smallest was then obtained. As a result of it steel bells were installed, for cost reasons and because it is to be expected that they remain safe. Only the largest (about 3000 kg) is currently at 7 , 12 and 19 clock ( electric motor ) rung (2009). The small bronze bell serves as Totenglöcklein (death knell).
Crypt
The lower church is dedicated to the poor souls. This three-nave system can be achieved through a wide staircase and a hall through the unspoilt natural brick structure of the pier produces a strong impression. Closing windows on three figualen choir Christ , Mary and John the Baptist are seen. The original altar of the lower church is located directly beneath the high altar of the upper church and is a simple Retabelaltar with relief representations of the " poor souls ". Even in the lower church, a new altar area was built to celebrate the winter here in worship. The redesign of the altar area was designed by architect Henry Tritthart.
The Grade I Listed Leeds Minster, in Leeds, North Yorkshire.
A church at “Ledes” is mentioned in the Domesday Book of 1086 although it is likely that there had been a church on the same site for much longer, as evidenced by the fragments of Anglo-Scandinavian stone crosses (known as the Leeds Cross) found on the site during the construction of the current church. The church was rebuilt twice, after a fire in the 14th century, and again in the 19th century.
Walter Farquhar Hook, Vicar of Leeds from 1837 until preferment as Dean of Chichester in 1859 was responsible for the construction of the present building, and of the revitalisation of the Anglican church throughout Leeds as a whole. The architect was Robert Dennis Chantrell.
It was originally intended only to remodel the church in order to provide space for a larger congregation. In November 1837 a scheme was approved under which the tower would have been moved from the crossing to the north side, the chancel widened to the same breadth as the nave, and the north aisle roof raised. When work began, however, it was discovered that much of the structure was in a perilous condition, and it was decided to replace the church completely.
The new building was the largest new church in England built since Sir Christopher Wren's St Paul's Cathedral erected after the Great Fire of London and consecrated in 1707. The new parish church was rebuilt by voluntary contributions from the townspeople at a cost of over £29,000 and consecrated on 2 September 1841.
Cruciform in plan, the minster is built in ashlar stone with slate roofs, in an imitation of the English Gothic style of the late 14th century, a period of transition from the Decorated to the Perpendicular. The church is 180 feet long and 86 feet wide, its tower rising to 139 feet. The chancel and nave each have four bays of equal length with clerestories and tall aisles.
The tower is situated at the centre of north aisle. Below the tower on the north side is the main entrance. The tower has four unequal stages with panelled sides and corner buttresses terminating in crocketed turrets with openwork battlements and crocketted pinnacles. The clock was made by Potts of Leeds.
Information Source:
Breakthrough - SL Fashion Line Up
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We are bringging two looks inspired in colors spotlights. On melissa some nude tones matching the hairstyle with density. On Lis, Jeans and stripes which is always a good call for a casual look bringging the attention to the shoes as well and giving the final touch.
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CREDITS:
Melissa Hindrabar:
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Necklace: {mon tissu} Take Flight Necklace ~ Silver
Bag: Maitreya Mesh Leather Satchel * Beaver
Pants: {mon tissu} Nora Skinny Jeans (XXS/XS/S/M/L) ~ Indigo
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Ring: [EY:NO] Crucifix Set (silver)
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www.slfashionlineup.blogspot.com
www.slfashionlineup.blogspot.com.br/2012/09/breakthrough....
The earthenware mask's A-line shape suggests it was modeled after a wooden helmet, which an exorcist would have worn while performing rituals to ward off evil spirits and misfortune.
A similar mask found at Yangguanxhai Village near Xi'an dates to round 3500 BCE. DNA testing identified some tomb occupants at the same site as Mongols, descendants of ancient Rong and Di people.
Opening of The Albert Bridge
The handsome new bridge which spans the river Torrens near the site of the old Frome, Bridge, and has been named after the late Prince Albert, was formally opened at noon on Wednesday May 7, by the Mayoress (Mrs Buik), in the presence of a large assemblage of leading citizens.
The bridge is an iron erection with the exception of the abutments, which are of stone, the lower part from the ground line to the plinth course being from Mr Bundey's quarry at Teatree Gully, while the piers, panels, and coping composing the superstructure are of Sydney freestone. The bridge has a total length of 120 feet between the abutments, and is composed of three spans—that in the centre being 60 feet, and those at the ends 30 feet each. The total width is 42 feet between the handrails, divided into a carriageway of 30 feet and two footpaths of six feet. The bridge has the appearance of an arched structure, but in reality it consists of continuous girders throughout, of which those over the central opening balance the side spans, which act as cantilevers. By this arrangement no weight is thrown upon the abutments, as would have been the case had an ordinary form of construction been adopted.
The piers in the river, which bear the whole weight of the bridge, are each formed of three cast-iron cylinders, the outer being 4½ feet diameter decreasing to 3 feet, and the inner 6 feet diameter decreasing to 4½ feet. These are provided at the bottom with a cutting edge, and are carried down to a depth of from 12 to 15 feet below the bed of the river, passing through a strong gravel and resting upon the_ gravel or upon an indurated clay which underlies it. The first cylinder was sunk dry, pumps having been used to keep down the water which flowed in from the gravel through which the cylinder passed. The power required to keep down the water was, however, so great that the contractors determined to sink the cylinders by means of a diver working under water, and the remaining cylinders have been sunk by this method. The diver excavated the gravel round the edge of the cylinders, which were heavily weighted by being loaded at the top with large blocks of cast iron and the bracing links from the old City Bridge, and as the gravel was removed by the diver the cylinder sunk by its own weight. When the cylinders had been sunk to the required depth they were filled up with concrete, and upon this bed stones were laid after the cylinders had been raised to the height of the under side of the girders. The cylinders are provided with ornamental bases and caps.
The height of the girders at the springing of the piers is 7¼ feet, and at the abutments 6½ feet, the radius of the curve of the under side of the girders for the side and centre spans being 28 feet and 106½ feet respectively. The girders are of wrought iron, and have a web 3/8 inch thick throughout, the flange-plates being of the same thickness. These are two feet wide and increase in number from a single plate at the ends to three at the piers. There are three girders, which are spaced 15 feet apart, and are securely braced together over the piers: these run the whole length of the bridge, and upon them cross girders are fixed 1¼ feet deep and 6 feet apart: the latter project 6½ feet beyond the girders and form cantilevers for carrying the footpath and parapet.
The roadway is carried by 3-inch jarrah planking resting upon joists of the same material, and which are borne by the cross girders. The footway is covered with timber planking two inches thick. The ends of the cross girders support a moulded cornice with corbels, to which are attached the brackets which secure the handrail and the openwork panels under it. Over the caps of the river piers half-columns with fluted sides are carried up, covering the junctions of the springing of the curves of the girders, and giving the spectator just the idea of the extra strength required at these points to support pilasters of iron, which relieve the monotony of the handrail and are ornamented with panels on each side, the one facing the roadway being filled in with the arms of the Corporation of Adelaide. A lamp of graceful design upon each of these pilasters completes the bridge, which is a handsome one, though of massive proportions and, perhaps, a trifle heavy in appearance. The panels and lamps are, however, not yet erected as in consequence of the large amount of minute work upon them they were not ready for shipment with the rest of the ironwork. They are expected to arrive in a few days.
The bridge has been erected under the superintendence of Mr Langdon, the City Surveyor, by the contractors, Messrs Davies & Wishart, the contract price being £7,550. There have been some extras, however, which have brought the actual cost of the bridge up to £9,000. The design was chosen by the City Council in an open competition, the successful competitor being Mr John H Grainger, who is to be complimented upon the handsome bridge which is now completed.
The opening ceremony was a very simple affair. The bridge was gaily decorated with flags and banners, and a couple of arches of evergreen spanned the roadway. In the centre of the structure a temporary platform had been erected, and here the Mayor and Mayoress, members of the Government, and the City Corporation stood while the bridge was being formally named and declared open for traffic. The Mayor arrived in his carriage immediately after the time given had indicated the hour, and he was soon afterwards followed by a string of vehicles containing most of those who were anxious to see the ceremony. Among these were the Chief Secretary, Hon W Morgan, the Commissioner of Public Works (Hon G C Hawker), the Commissioner of Crown Lands (Hon T Playford), Messrs Townsend, Fowler, and Fraser MP's, Colonel Downes and Major Godwin, Mr R C Patterson, Assistant Engineer: the members of the Corporation: Mr Langdon, the City Surveyor: and several ex-members of the Corporation and other gentlemen interested in the erection of a third bridge between North and South Adelaide. The Mayor announced that his wife had been asked to formally open the bridge. Mrs Buik then stepped forward, and after breaking the bottle of wine in the orthodox fashion, formally named the structure "The Albert Bridge”, and declared it open for traffic.
The Mayor then came forward and said that he had been desired by his wife to say on her behalf that she felt highly honoured at being asked to perform the ceremony of opening this beautiful bridge. He believed it was universally admitted that though the bridge was smaller than the City Bridge it was better in many respects, at any rate it was much more beautiful. It was called the "Albert Bridge" after the illustrious husband of our beloved Queen.
The cost of the bridge was about £9,000 altogether, the contract price was £8,100, the extra cost being incurred principally through it having been found necessary to deepen the foundations. He felt sure the citizens would admit that the contractors had fairly and properly done their work, and that the bridge would be an ornament to the city as well as a great convenience to the eastern end of the town.
Ref: Evening Journal (Adelaide SA) 7 May 1879.
Official list entry
Heritage Category:Listed Building
Grade:I
List Entry Number:1269316
Date first listed:18-Jan-1949
Statutory Address: Abbey Church of St Mary and St Aldhelm, Malmesbury, Wiltshire
Location
Statutory Address: Abbey Church of St Mary and St Aldhelm, Malmesbury, Wiltshire
District: Wiltshire (Unitary Authority)
Parish:Malmesbury
National Grid Reference:ST 93280 87320
Details
Benedictine Abbey church, now parish church. Church founded c637 by Irish hermit Mailduib, monastery founded during abbacy of Aldhelm (c675-705), though no pre-C12 work survives; church probably begun under Bishop Roger (c1118-1139), and mostly dates from c1160-80 with a 9-bay aisled nave, transepts with E chapels, chancel, ambulatory with 3 radiating chapels, and S porch, rebuilt 1350-1450 above gallery level with clerestory, vault, crossing spire and W towers, a lengthened chancel and Lady Chapel; spire fell 1479. After Dissolution nave altered by William Stumpe of Abbey House (qv) and damaged W parts walled for the parish church, W tower fell c1662, W window by Goodridge 1830, restored W end 1903. MATERIALS: limestone ashlar with stone tiles. STYLE: late Romanesque style C12 work, Decorated Gothic style C14 extensions. PLAN: reduced since the Dissolution to 6 E bays of nave, with short lengths of transept walls and S corner of W end. EXTERIOR: the E end has a single N chancel bay and matching chancel arch with paired half shafts set in square piers with quarter round capitals, beneath the 2-centre arched line of the vault, and tas-de-charges with sunken mouchettes; the jambs of next E bay has matching aisle and triforium semi-circular jambs with chevron mouldings. Inner wall of N transept has blocked 2-centred aisle arch containing a C16 doorway and 3-light mullion window, and a blind round-arched doorway to the right; 6-bay N elevation has a blind former cloister wall along the aisle divided by buttresses, with a roll-top coping, and round-arched windows above a cill band containing C14 tracery, with a steep gable in the fourth bay containing a 3-light Decorated tracery window; at the left end is a blocked, round-arched C12 doorway with an archivolt of relief palmettes, and a cusped cinquefoil arch set within. The C14 clerestory has flying buttresses with tall pyramidal pinnacles between 3-light 2-centre arched windows, 2-light at the E end, with paterae to each side of the three E windows. S transept as N, 2 bays after the aisle arch, an incomplete arcade of interlacing round arches with a chevron moulding
beneath 2 storeys of round-arched windows with splayed reveals, the lower windows flanked by narrow round-arched recesses containing inner arches open to a passage through the walls. The arcade continues along the former external side of the S transept and to the 9-bay S elevation, otherwise as the N side with a Decorated cusped openwork parapet to aisle and nave, and with second and third bays from E containing C14 2-centre windows with Decorated tracery. C12 porch rebuilt externally in C14 with angle buttresses, has a very fine splayed round-arched entrance of 3 orders, without capitals, richly carved with iconographic Biblical scenes set in oval panels, and separated by richly carved mouldings, and a hood with dog head stops. Inside is a similarly-moulded doorway and C14 door, beneath a tympanum of Christ in Glory supported by 2 angels, with along both sides the round-arched arcade above a bench, beneath finely-carved lunettes each of 6 Apostles with a horizontal flying angel above. In the E re-entrant is a square stair turret with a pyramidal roof. The incomplete W end has a massive clasping buttress stair turret to the S corner in 4 stages separated by moulded strings, blank from the ground, a pair of blind round-arched panels containing lower arched panels to the second stage, an arcade of narrow interlacing round-arches to the third, and a taller arcade to the fourth stage with square section mouldings; the bay to the left as the S aisle, with a pair of round arches with flanking half arches at the second stage enriched with chevron moulding, containing pairs of round-arches; above is an arcade of 5 round-arches, and a blind wall topped with a C20 parapet. The S side of the central entrance bay has the jamb of a round-arched entrance with 2 orders carved as the S porch and plain capitals, beneath the jamb of a large C14 W window with the springers of 4 cusped transoms. INTERIOR: nave arcade has round shafts with scallop capitals to sharply moulded 2-centre arches, with billet mouldings to the 2 E arches, and billet hoods with dog head stops; the triforium has blind round arches with attached shafts to cushion capitals, a chevron moulding, with an arcade of 4 similar arches within; splayed clerestory windows have rere arches. An attached shaft extends up from the piers to C14 tas-de-charges, and a lierne vault with carved bosses. A 'Watching Loft' is corbelled out above the fourth pier on the S side of the nave, with plain openings and billet moulded cornice. The C12 aisles have pointed quadripartite vaults and benches,
the blind arcade of the outside beneath the windows, on the S side without the middle columns; the E end bays have C15 stone screens with Perpendicular tracery. To the left of the entrance is a winder stair to the C14 parvis over the porch, which has C20 panelling. MEMORIALS: running counter-clockwise from the entrance, a wall monument to Joseph Cullerne, d1764, a marble panel with raised bracketed top section; wall monument to Robert Greenway, d1751, a marble shield; wall monument to Bartholomew Hiren, d1703, a panel with a broken pediment; at the W end, a wall monument to Dame Cyscely Marshal, d 162?, with a slate panel in a carved alabaster frame; to the left a late C17 cartouche with drapes; in the N aisle, a dresser tomb of King Athelston, d939, with narrow buttresses to the sides, with a recumbent figure of the King with his feet on a lion, and a vaulted canopy behind his head; wall monument to Elizabeth Warneford, d1631, a slate plaque set in a moulded alabaster frame with shields along the sides, a cartouche, and a segmental cornice over; wall tablet to Isaac Watts, d 1789, an oval marble panel set in slate; wall tablet to Johannes Willis, mid C18, a marble panel with gadroon beneath and a cornice; wall tablet to GI Saunders, d1806, with a round-arched top and moulded frame; wall tablet to Elizabeth George, d1806, a well-carved cartouche with putti below; wall tablet to Edward Cullerne, d1765, marble with yellow marble inserts and a pediment; wall tablet to Mary Thomson, d1723, a stone panel with draped surround including an hour glass; wall tablet facing the entrance to Willima Robernce (?), d1799, a stone frame including a small inscribed pointing hand in the corner. Set in the chancel floor are a group of 8 brasses from late C17 to mid C18. FITTINGS: include a round C15 font from St Mary Westport (qv), with a turned base and fluted sides; at the W end of the nave, is the font used since the C17; in the S aisle, a glass case containing a verge of 1615, carved with features of the Abbey; at the E end the S aisle is the parish chest dated 1638, panelled with 3 locks; communion rail of c1700 with twisted balusters. In the parvis are kept 4 volumes of an illustrated manuscript Bible of 1407. GLASS: mostly C14 glass in the N aisle; the Luce window in the S aisle designed by Burne Jones and made by William Morris. HISTORICAL NOTE: the use of pointed arches and vaults in the aisles is structurally advanced and transitional with Early Gothic, and links Malmesbury with subsequent West Country churches, but the carving is Anglo Saxon in character, and probably borrowed from manuscript illustrations. The conventual buildings stood on the N side of the church; for the reredorter and sections of the precinct wall, see
Abbey House, Market Cross (qv), and for the guest house, see Old Bell Hotel, Gloucester Street (qv). (Victoria History of the Counties of England: Crowley DA: Wiltshire: 1991-: 157; Archaeologia: Brakspear H: Malmesbury Abbey: 1912-; Smith MQ: The Sculptures of the S Porch of Malmesbury Abbey: Malmesbury: 1973-; The Buildings of England: Pevsner N: Wiltshire: London: 1963-: 321-327; Midmer R: English Medieval Monasteries 1066-1540: London: 1976-: 212).
© Historic England 2022
Made by French jewellers Van Cleef and Arpels, this beautiful late Edwardian openwork broach was purchased as a Christmas gift in Paris in 1919. With a base of 18 carat yellow gold, it contains 24 rose cut diamonds, three brilliant cut diamonds and eight oriental pearls on a platinum mount. It still has its original 18 carat yellow gold catch and stick.
Having been made just after the Great War (1914 - 1918) it is in the transitional period of design between Art Nouveau and Art Deco, but has tendancies towards the latter.
Edwardian jewellery is renowned for its delicate, beautifully crafted designs. In contrast to Victorian jewellery, many pieces were made in a very feminine fashion, using finer smaller stones and very light settings made possible by using platinum.
Could this be a Christmas gift for you?
Private collection
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...
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)
The Lübeck Rathaus (city hall) was constructed in a Gothic style between 1230 and 1308. It was designed as a symbol of political independence after the city was given the status of free imperial city in 1226. The Rathaus was modified many times in its history, most notably decorative additions in the Renaissance and modifications in the 19th century in a Neo-Gothic style.
The Rathaus presents itself as an L-shaped building from the side of the market. The Langes Haus (long house, left) was constructed between 1288 and 1308. The ground floor features an open vaulted hall with brick pillars that used to shelter the booths of the goldsmiths. The great hall upstairs served as council chambers and then as festivities hall. The Neues Gemach (right) is a late Gothic addition from 1440. It features a stunning openwork wall.
The first meeting of the Hanseatic League was held here in 1358, turning Lübeck into the center of this emerging trade and defense alliance in Northern Europe. The last meeting took place in 1669, long after the Hanseatic League had lost its central role.
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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...
A visit to Coughton Court in Warwickshire, on the Spring Bank Holiday Weekend in late May 2018. A National Trust property, it was the home of the Throckmorton family.
Coughton Court is an English Tudor country house, situated on the main road between Studley and Alcester in Warwickshire. It is a Grade I listed building.
The house has a long crenelated façade directly facing the main road, at the centre of which is the Tudor Gatehouse, dating from 1530; this has hexagonal turrets and oriel windows in the English Renaissance style. The gatehouse is the oldest part of the house and is flanked by later wings, in the Strawberry Hill Gothic style, popularised by Horace Walpole.
The Coughton estate has been owned by the Throckmorton family since 1409. The estate was acquired through marriage to the De Spinney family. Coughton was rebuilt by Sir George Throckmorton, the first son of Sir Robert Throckmorton of Coughton Court by Catherine Marrow, daughter of William Marrow of London. The great gatehouse at Coughton was dedicated to King Henry VIII by Throckmorton, a favorite of the King. Throckmorton would become notorious due to his almost fatal involvement in the divorce between King Henry and his first wife Catherine of Aragon. Throckmorton favoured the queen and was against the Reformation. Throckmorton spent most of his life rebuilding Coughton. In 1549, when he was planning the windows in the great hall, he asked his son Nicholas to obtain from the heralds the correct tricking (colour abbreviations) of the arms of his ancestors' wives and his own cousin and niece by marriage Queen Catherine Parr. The costly recusancy (refusal to attend Anglican Church services) of Robert Throckmorton and his heirs restricted later rebuilding, so that much of the house still stands largely as he left it.
After Throckmorton's death in 1552, Coughton passed to his eldest son, Robert. Robert Throckmorton and his family were practicing Catholics therefore the house at one time contained a priest hole, a hiding place for priests during the period when Catholics were persecuted by law in England, from the beginning of the reign of Queen Elizabeth I. The Hall also holds a place in English history for its roles in both the Throckmorton Plot of 1583 to murder Queen Elizabeth I of England, and the Gunpowder Plot of 1605, although the Throckmorton family were themselves only indirectly implicated in the latter, when some of the Gunpowder conspirators rode directly there after its discovery.
The house has been in the ownership of the National Trust since 1946. The family, however, hold a 300-year lease and previously managed the property on behalf of the Trust. In 2007, however, the house reverted to management by the National Trust. The management of the property is renewed every 10 years. The family tenant until recently was Clare McLaren-Throckmorton, known professionally as Clare Tritton QC, until she died on 31 October 2017.
The house, which is open to the public all year round, is set in extensive grounds including a walled formal garden, a river and a lake.
The gatehouse at Coughton was built at the earliest in 1536, as it is built of stones which came from Bordesley Abbey and Evesham Abbey after the Dissolution of the Monasteries Act in 1536. As with other Tudor houses, it was built around a courtyard, with the gatehouse used for deliveries and coaches to travel through to the courtyard. The courtyard was closed on all four sides until 1651, when Parliamentary soldiers burnt the fourth (east) wing, along with many of the Throckmorton's family papers, during the English Civil War.
After the Roman Catholic Relief Act was passed in 1829, the Throckmorton family were able to afford large-scale building works, allowing them to remodel the west front.
Grade I Listed Building
Listing Text
COUGHTON
SP06SE
1/144 Coughton Court
10/02/56
GV I
Country house, Gatehouse late C15, and after 1518; early and late C16; late C17
additions; west front remodelled 1780; additions and remodelling of 1835(VCH).
Limestone ashlar gatehouse. Timber framed with lath and plaster infill; brick;
imitation stone render. Tile and lead roofs; brick stacks, U-plan, formerly
courtyard. 2 and 3 storeys; 13-window range. Entrance (west) front symmetrical.
3 storey central gatehouse range has moulded plinth and double string course.
Square ground floor with corner turrets. C19 Gothic panelled part-glazed
double-leaf doors in 4-centred moulded arch with square head, hood mould and
carved spandrels. Stone mullioned and transomed windows with arched lights
throughout. Upper floors of different coloured stone. 2-storey canted oriel with
flanking lights and glazed octagonal turrets; 2 transoms on first floor, one on
second. Shield of arms on each floor. Turrets continued up another floor'; left
turret unglazed. Remainder 2 storeys only. Single 5-light window with transom
and hood mould. Clasping buttresses with quatrefoil panels projecting above
roof. Crenellated parapets with string course throughout. Remainder of front of '
scored imitation ashlar with stucco hood moulds. Ground floor has leaded 2-light
casements, 3 slightly recessed bays have Gothick sashes and moulded surrounds on
first floor. Projecting end bays with clasping buttresses. First floor: leaded
cross windows. String course above first floor. Attic with quatrefoil panels,
some part glazed. String course and crenellated parapet. Right return side of
thin bricks. Two C17 shaped gables with stone coping. Left gable between 2
external brick stacks; right gable has ball finials. 5-window range, mostly C17
stone cross windows. Narrow gabled wing set back. High single-storey range with
early C20 window, and plaster eaves cove. East front of gatehouse has unglazed
turrets and inscription over entrance. Irregular ranges to courtyard. Timber
framed with brick ground floor. Corresponding small 4-centred door. Irregular
fenestration with moulded stone mullioned windows ground floor, wood mullions
and casements above; some with transoms. 2 storey south range has close studding
with middle rail. Left section breaks forward and has 4 framed gables with
brackets. Entrance in recessed bay below third gable has 4-centred moulded
doorway with square head, hood mould and carved spandrels. Paired 6-panelled
doors with Gothick overlight. Right section has 2 large gables, and another
behind and above in roof, with decorative panel framing. Elaborately carved
scrolled bargeboards with finials and openwork pendants. End wall has gable.
Ground floor has 2 stone cross windows with arched lights. Blocked arches above
and in centre. 2-storey and attic north range. Close studding. 3 large framed
gables and smaller end gable all with casements and brackets. Ground floor has
four 3-light mullioned and transomed windows. First floor projects on plaster
cove. Blank gabled end wall. Left return side: range of c.1690. Scored render
with quoins. 3 projecting bays with hipped roofs. 4-centred doorway. Slightly
projecting first floor. Irregular fenestration with wood mullioned and transomed
windows. Interior: Entrance Hall with plaster fan vault. Late C18 open well
cantilevered staircase with moulded soffit and simple handrail; Gothick
plasterwork cornice. Drawing Room has simple early Cl6 stone fireplace. Windows
with C16,C17 and C19 armorial glass. Gothick plasterwork cornice. 6-panelled
doors. Little Drawing Room has C18 style carved wooden fireplace. Newel
staircase to roof. Tower Room has moulded 4-centred fireplace with carved
spandrels and projecting top. Two 4-centred doorways. North east turret has 2
hiding places. Dining Room and Tribune have fine C16 panelling possibly with
later work, turned balusters, grotesques and medallions with heads. Fine marble
chimneypiece with paired Ionic and Corinthian columns, cartouche and coat of
arms, Saloon, formed 1910, has arcaded panelled screen c.1660 (VCH) to Tribune.
C16 double-flight staircase from Harvington hall with heavy turned balusters and
square newel posts with finials. Study has fine C17 panelling with pilasters.
Ground floor with broad-chamfered ceiling beams. North range has part of a fine
C16 panelled timber cieling with moulded ribs and carved bosses. Dog-leg
staircase with C17 turned balusters. The Throckmortons were Catholics, and were
deeply involved in the Throckmorton plot of 1583. In 1605 the wives of the
Gunpowder Plotters awaited news at Coughton. In 1688 the east wing was destroyed
by a Protestant mob, and was finally cleared away in 1780.
(V.C.H.: Warwickshire, Vol.III, pp.75-78; Buldings of England: Warwickshire,
pp.245-6; Coughton Court; The National Trust 1984).
Listing NGR: SP0831160624
This text is from the original listing, and may not necessarily reflect the current setting of the building.
View of the house from within the house.
The North Wing from The South Wing. Couldn't go into The North Wing as it was private.
L'église Saint-Milliau à Ploumilliau.
Construite au 15ème siècle, cet important édifice de style Gothique est admirablement conservé.
Son clocher en granit à campanile ajouré est typique des clochers bretons.
Côtes d'Armor, Bretagne, france.
The Saint-Milliau church in Ploumilliau.
Built in the 15th century, this important Gothic building is admirably preserved.
Its granite bell tower with an openwork bell tower is typical of Breton steeples.
Sensory overload begins the moment one crosses the threshhold of the Metropolitan Museum of Art.
To stay focused, I decided to look only at the museum's pre-Columbian collection, and then mostly at the Peruvian objects on display.
Frank, however, wandered over to the nearby New Guinea collection.
I can see why.
This called a Bis pole.
It was carved by a member of the Asmat people named Jiem, who was active in the 1960s.
Otsjanep Village, ca. 1960
Asmat People, New Guinea, Papua (Irian Jaya) Province, Indonesia.
Wood, paint, fiber.
What is a bis pole? The museum offers the following description:
"The Asmat honored their dead with feasts and rituals, which both commemorated the deceased and reminded the living to avenge their deaths. The towering Asmat "bis" poles were made for these funeral feasts. The basic form of the bis is an openwork pole incorporating several ancestor figures and a winglike projection that represents the pole's phallus."
"In Asmat belief, no death was accidental. Each death was always caused by an enemy, either through headhunting raids or sorcery. Death created an imbalance in society, which the living had to correct by taking an enemy head. When a village had suffered a number of deaths, it would hold a bis ceremony, which consisted of a series of feasts held over several months. A number of bis poles were carved for the ceremony and displayed in front of the men's house, where they formed the center of a mock battle between men and women. The poles were kept until a successful headhunt had been carried out and the balance restored. After a final feast, the Asmat abandoned the bis poles in the sago palm groves from which they obtained their primary food. As the poles decayed, their fertile supernatural power seeped into the earth and fertilized the sago trees."
www.metmuseum.org/art/collection/search/313830
So, my question is whether the order of things was disrupted in any way because, instead of being allowed to decay in the sago groves, this bis pole was whisked away by a rich collector. Do the Asmat people have a ceremony for when a bis pole gets carted off by a collector with a good eye, sticky fingers and a fat wallet?
Note: I painstakingly removed distracting structural elements in the background along with the pole that supports this object.
The Metropolitan Museum of Art, New York.
Brugge
The Belfry of Bruges (Dutch: Belfort van Brugge) is a medieval bell tower in the centre of Bruges, Belgium. One of the city's most prominent symbols, the belfry formerly housed a treasury and the municipal archives and served as an observation post for spotting fires and other dangers.
The belfry was added to the Markt (market square) around 1240, when Bruges was an important centre of the Flemish cloth industry. After a devastating fire in 1280, the upper half of the tower was largely rebuilt.
The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus changing the height of the building from 102 metres (335 ft) to 83 metres (272 ft), which it remains today. However, an openwork stone parapet in Gothic Revival style was added to the rooftop in 1822.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 metres (144 ft) broad but 84 metres (276 ft) deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
Since 1999, the belfry has been on the UNESCO World Heritage List as a part of the Belfries of Belgium and France serial property. In addition, it is a key component of the UNESCO World Heritage Site of the historic centre of Bruges, inscribed in 2000.
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Bruges (Dutch: Brugge) is the capital and largest city of the province of West Flanders, in the Flemish Region of Belgium. It is located in the northwest of the country, and is the sixth most populous city in Belgium. The historic city center is a prominent World Heritage Site of UNESCO.
Early medieval habitation starts in the ninth and tenth centuries on the Burgh terrain, probably with a fortified settlement and church. Bruges received its city charter on 27 July 1128, and new walls and canals were built.
Bruges had a strategic location at the crossroads of the northern Hanseatic League trade. Traders developed, or borrowed from Italy, new forms of merchant capitalism, whereby several merchants would share the risks and profits and pool their knowledge of markets. The city eagerly welcomed foreign traders, most notably the Portuguese traders selling pepper and other spices. With the reawakening of town life in the 12th century, a wool market, a woolens weaving industry, and the cloth market all profited from the shelter of city walls, where surpluses could be safely accumulated under the patronage of the counts of Flanders.
In 1277, the first merchant fleet from the Republic of Genoa appeared in the port of Bruges, the first of the merchant colony that made Bruges the main link to the trade of the Mediterranean. The Bourse opened in 1309 (most likely the first stock exchange in the world) and developed into the most sophisticated money market of the Low Countries in the 14th century. The foreign merchants expanded the city's trading zones. They maintained separate communities governed by their own laws until the economic collapse after 1700.
Starting around 1500, the Zwin channel, (the Golden Inlet) which had given the city its prosperity, began silting up and the Golden Era ended. During the 17th century, the lace industry took off. In the second half of the 19th century, Bruges became one of the world's first tourist destinations, attracting wealthy British and French tourists.
In World War I and World War II, the city suffered virtually no damage, and was liberated on 19 October 1918 by the Allies. After 1965, the original medieval city experienced a "renaissance". Restorations of residential and commercial structures, historic monuments, and churches generated a surge in tourism and economic activity in the downtown area. International tourism has boomed, and new efforts resulted in Bruges being designated European Capital of Culture in 2002. It attracts some eight million tourists annually.
~1540, altered ; the oldest organ case in England ; please enlarge to see details of the fantastic carving ; the pipes are not original.
The Grade II Listed North Parade Bridge viewed from Parade Gardens, in Bath, Somerset.
Designed by William Tierney Clark, built by David Aust between 1835-1836, rebuilt 1936-1937 by FR Sisson CE. Originally with cast iron arch ribs, deck and parapet, between rusticated ashlar abutments; span entirely rebuilt in ashlar in 1936. Single span bridge with side arches, and approach causeway on east. Footpath arches with console keystones and main piers up to cornice, supported on console brackets, are original. Heavily rusticated stonework, while 1936 arch smooth ashlar with rustication only to arch itself, and smooth soffit. Parapet balustraded throughout, abutment piers are carried up in further rusticated work and support openwork iron standards with lanterns. All this work of 1936, and continues similar treatment on balustrade of retaining wall to North Parade and Grand Parade
~1540, altered ; the oldest organ case in England ; please enlarge to see details of the fantastic carving ; the pipes are not original.
Perpendicular church of 1470, restored in 1884, and chiefly notable for the 17th century Gwydir chapel.
Its exterior dominates the approach to the church, with heavy gothic buttresses and a battlemented roof, to which the main church seems an extension. Inside, the nave is differentiated from the chancel only by a screen and loft.
This work may have been brought from the dissolved Maenan Abbey. While the musicians' loft has lost its saints, the canopy vaulting and filigree openwork in the screen panels are exceptional.
The Gwydir chapel is a church in itself, built in 1633/4 by Sir Richard Wynn of Gwydir, treasurer to Queen Henrietta Maria. The roof is almost flat, known as camber-beam. The Jacobean panelling and decoration show the transition from gothic to renaissance in 17th century British churches. In the chapel is an empty coffin, said to be that of Llywelyn the Great. A knight in armour of c1440 is complete with cushion sword and lion.
The chapel is home to a set of 17th century monuments to the Wynn family. The walls are adorned with a set of memorial brasses of the same period.
Gwydir Chapel: Detail from the memorial to baby Sydney Wynn. She was born 6th September 1639 and died 8th October the same year.
Opening of The Albert Bridge
The handsome new bridge which spans the river Torrens near the site of the old Frome Bridge, and has been named after the late Prince Albert, was formally opened at noon on Wednesday May 7, by the Mayoress (Mrs Buik), in the presence of a large assemblage of leading citizens.
The bridge is an iron erection with the exception of the abutments, which are of stone, the lower part from the ground line to the plinth course being from Mr Bundey's quarry at Teatree Gully, while the piers, panels, and coping composing the superstructure are of Sydney freestone. The bridge has a total length of 120 feet between the abutments, and is composed of three spans—that in the centre being 60 feet, and those at the ends 30 feet each. The total width is 42 feet between the handrails, divided into a carriageway of 30 feet and two footpaths of six feet. The bridge has the appearance of an arched structure, but in reality it consists of continuous girders throughout, of which those over the central opening balance the side spans, which act as cantilevers. By this arrangement no weight is thrown upon the abutments, as would have been the case had an ordinary form of construction been adopted.
The piers in the river, which bear the whole weight of the bridge, are each formed of three cast-iron cylinders, the outer being 4½ feet diameter decreasing to 3 feet, and the inner 6 feet diameter decreasing to 4½ feet. These are provided at the bottom with a cutting edge, and are carried down to a depth of from 12 to 15 feet below the bed of the river, passing through a strong gravel and resting upon the_ gravel or upon an indurated clay which underlies it. The first cylinder was sunk dry, pumps having been used to keep down the water which flowed in from the gravel through which the cylinder passed. The power required to keep down the water was, however, so great that the contractors determined to sink the cylinders by means of a diver working under water, and the remaining cylinders have been sunk by this method. The diver excavated the gravel round the edge of the cylinders, which were heavily weighted by being loaded at the top with large blocks of cast iron and the bracing links from the old City Bridge, and as the gravel was removed by the diver the cylinder sunk by its own weight. When the cylinders had been sunk to the required depth they were filled up with concrete, and upon this bed stones were laid after the cylinders had been raised to the height of the under side of the girders. The cylinders are provided with ornamental bases and caps.
The height of the girders at the springing of the piers is 7¼ feet, and at the abutments 6½ feet, the radius of the curve of the under side of the girders for the side and centre spans being 28 feet and 106½ feet respectively. The girders are of wrought iron, and have a web 3/8 inch thick throughout, the flange-plates being of the same thickness. These are two feet wide and increase in number from a single plate at the ends to three at the piers. There are three girders, which are spaced 15 feet apart, and are securely braced together over the piers: these run the whole length of the bridge, and upon them cross girders are fixed 1¼ feet deep and 6 feet apart: the latter project 6½ feet beyond the girders and form cantilevers for carrying the footpath and parapet.
The roadway is carried by 3-inch jarrah planking resting upon joists of the same material, and which are borne by the cross girders. The footway is covered with timber planking two inches thick. The ends of the cross girders support a moulded cornice with corbels, to which are attached the brackets which secure the handrail and the openwork panels under it. Over the caps of the river piers half-columns with fluted sides are carried up, covering the junctions of the springing of the curves of the girders, and giving the spectator just the idea of the extra strength required at these points to support pilasters of iron, which relieve the monotony of the handrail and are ornamented with panels on each side, the one facing the roadway being filled in with the arms of the Corporation of Adelaide. A lamp of graceful design upon each of these pilasters completes the bridge, which is a handsome one, though of massive proportions and, perhaps, a trifle heavy in appearance. The panels and lamps are, however, not yet erected as in consequence of the large amount of minute work upon them they were not ready for shipment with the rest of the ironwork. They are expected to arrive in a few days.
The bridge has been erected under the superintendence of Mr Langdon, the City Surveyor, by the contractors, Messrs Davies & Wishart, the contract price being £7,550. There have been some extras, however, which have brought the actual cost of the bridge up to £9,000. The design was chosen by the City Council in an open competition, the successful competitor being Mr John H Grainger, who is to be complimented upon the handsome bridge which is now completed.
The opening ceremony was a very simple affair. The bridge was gaily decorated with flags and banners, and a couple of arches of evergreen spanned the roadway. In the centre of the structure a temporary platform had been erected, and here the Mayor and Mayoress, members of the Government, and the City Corporation stood while the bridge was being formally named and declared open for traffic. The Mayor arrived in his carriage immediately after the time given had indicated the hour, and he was soon afterwards followed by a string of vehicles containing most of those who were anxious to see the ceremony. Among these were the Chief Secretary, Hon W Morgan, the Commissioner of Public Works (Hon G C Hawker), the Commissioner of Crown Lands (Hon T Playford), Messrs Townsend, Fowler, and Fraser MP's, Colonel Downes and Major Godwin, Mr R C Patterson, Assistant Engineer: the members of the Corporation: Mr Langdon, the City Surveyor: and several ex-members of the Corporation and other gentlemen interested in the erection of a third bridge between North and South Adelaide. The Mayor announced that his wife had been asked to formally open the bridge. Mrs Buik then stepped forward, and after breaking the bottle of wine in the orthodox fashion, formally named the structure "The Albert Bridge”, and declared it open for traffic.
The Mayor then came forward and said that he had been desired by his wife to say on her behalf that she felt highly honoured at being asked to perform the ceremony of opening this beautiful bridge. He believed it was universally admitted that though the bridge was smaller than the City Bridge it was better in many respects, at any rate it was much more beautiful. It was called the "Albert Bridge" after the illustrious husband of our beloved Queen.
The cost of the bridge was about £9,000 altogether, the contract price was £8,100, the extra cost being incurred principally through it having been found necessary to deepen the foundations. He felt sure the citizens would admit that the contractors had fairly and properly done their work, and that the bridge would be an ornament to the city as well as a great convenience to the eastern end of the town.
Ref: Evening Journal (Adelaide SA) 7 May 1879.
The Grade I Listed Leeds Minster, in Leeds, North Yorkshire.
A church at “Ledes” is mentioned in the Domesday Book of 1086 although it is likely that there had been a church on the same site for much longer, as evidenced by the fragments of Anglo-Scandinavian stone crosses (known as the Leeds Cross) found on the site during the construction of the current church. The church was rebuilt twice, after a fire in the 14th century, and again in the 19th century.
Walter Farquhar Hook, Vicar of Leeds from 1837 until preferment as Dean of Chichester in 1859 was responsible for the construction of the present building, and of the revitalisation of the Anglican church throughout Leeds as a whole. The architect was Robert Dennis Chantrell.
It was originally intended only to remodel the church in order to provide space for a larger congregation. In November 1837 a scheme was approved under which the tower would have been moved from the crossing to the north side, the chancel widened to the same breadth as the nave, and the north aisle roof raised. When work began, however, it was discovered that much of the structure was in a perilous condition, and it was decided to replace the church completely.
The new building was the largest new church in England built since Sir Christopher Wren's St Paul's Cathedral erected after the Great Fire of London and consecrated in 1707. The new parish church was rebuilt by voluntary contributions from the townspeople at a cost of over £29,000 and consecrated on 2 September 1841.
Cruciform in plan, the minster is built in ashlar stone with slate roofs, in an imitation of the English Gothic style of the late 14th century, a period of transition from the Decorated to the Perpendicular. The church is 180 feet long and 86 feet wide, its tower rising to 139 feet. The chancel and nave each have four bays of equal length with clerestories and tall aisles.
The tower is situated at the centre of north aisle. Below the tower on the north side is the main entrance. The tower has four unequal stages with panelled sides and corner buttresses terminating in crocketed turrets with openwork battlements and crocketted pinnacles. The clock was made by Potts of Leeds.
Information Source:
~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...
Yo/Me & Galería/Gallery Fotografia de Viajes/Travel photography
Gracias por vuestros comentarios.Thanks for your comments
Santa María de Eunate
es una iglesia románica ubicada en campo libre a 2km de Muruzábal, en Navarra, españa. Se halla donde se juntan los Caminos de Santiago de Somport y de Roncesvalles. Supuestamente la iglesia fue construida, en estilo románico bajo influencia mozárabe, en la segunda parte del siglo XII. Como está lejos de un pueblo y se encontraron varias en las tumbas, se opina que fue un hospicio para los peregrinos. El conjunto es de planta octogonal y está rodeado por una galería porticada de 33 arcos, con capiteles decorados. La armonía de la planta octogonal queda rota por un ábside pentagonal y una torreta de planta cuadrada adosada al Lado de la Epístola. En los muros exteriores se alternan ventanas caladas y ciegas y dos puertas de acceso, la del norte ante el Camino, muy decorada, y otra de más sencilla hacia poniente. Al parecer, Eunate además de encontrarse en las inmediaciones del encuentro de las rutas jacobeas francesa y navarra, se encuentra en el cruce de dos corrientes telúricas, hecho que ya era conocido por los Caballeros Constructores*. Una de estas corrientes, con dirección Norte a Sur, desciende desde San Juan de Luz y, pasando por las concentraciones megalíticas que se encuentran entre Lesaka y Oiarzun, discurre por los dólmenes de Leitza y los cromlech de Ezkurra, atraviesa la sierra sagrada de Aralar y bordea Pamplona antes de cruzar la capilla de Eunate y seguir hasta el Moncayo. La otra corriente, con dirección Este a Oeste, procede desde el Aneto y pasa por el centro de San Juan de la Peña y del Monasterio de Leire, cruza Eunate y se interna en la zona megalítica de Alava (Santa Cruz de Campezo, Elvillar y Laguardia) dirigiéndose hacia el Oeste como una línea sinuosa paralela al Camino de Santiago. Resulta que es habitual que estos cruces de corrientes energéticas de la tierra, coincidan con lugares de antiguos cultos a divinidades femeninas que engendraron, por el lado pagano, a las brujas y las meigas y, por el lado ortodoxo, a la multitud de vírgenes negras cuyo culto fue preferentemente promocionado por benedictinos y templarios, en un intento de confraternizar las viejas creencias paganas con la figura de la Virgen María madre. Así, la tradicional romería que se celebra anualmente en Eunate sería, en sus orígenes, una especie de "jornada de puertas abiertas" en la que se permitía al pueblo llano beneficiarse de la energía universal allí manifestada por la Madre Tierra, personificada en la Virgen Negra que presidía los cultos. Se conoce que en el medievo la comitiva partía cada primavera, coincidiendo con el equinoccio, desde Puente la Reina y atravesaba simbólicamente las "cien puertas abiertas de la naturaleza". Aunque la tradición de la romería persiste, el sentido y el ritual se han perdido.
Santa Maria of Eunate
is a Romanesque church in free field 2 km from Muruzábal, in Navarre, Spain. Where is joining the road to Santiago of Somport and Roncesvalles. Supposedly the Church was built, in Romanesque style under Mozarabic, influence in the second part of the 12th century. As it is far from a people and met scallops in tombs, believed that it was a hospice for pilgrims. The set is octagonal and surrounded by an arcaded Gallery of 33 arches, with decorated capitals. The octagonal harmony is broken by a pentagonal apse and a turret square semi-detached on the epistle. The outer walls alternate openwork and blind Windows and two gates, the north face the very decorated road and another more simple to West Reportedly, Eunate and found in the vicinity of the encounter of jacobeas routes French and navarra, lies at the junction of two telluric currents, fact which was already known to the builders Knights. One of these flows north to South, address descends from San Juan de Luz and passing megalithic concentrations among Lesaka and Oiarzun, flows through the dolmens of Leitza and Ezkurra, cromlech crosses the sierra sacred Aralar and borders Pamplona before crossing the chapel of Eunate and follow until the Moncayo. Another current, with eastbound to West, comes from Aneto and going through the Centre of San Juan de la Peña and the monastery of Leire, crosses Eunate and delves into the megalithic Alava (Santa Cruz de Campezo, del Villar and La Guardia) area towards the West as a sinuous line parallel to the Camino de Santiago. It is usual that these crosses of energy of the Earth, flows match places of ancient cults to female divinities that fathered, pagan witches and the meigas and the Orthodox side side, the crowd of black virgins whose cult was preferably promoted by Benedictines and Templars, in an attempt to confraternizar old Pagan figure of the Virgin Mary beliefs mother. Thus, the traditional procession held annually in Eunate would, in its origins, a kind of "open day" allowed the plain people benefit from the universal energy there expressed by the mother earth, personified in the Black Madonna presiding cults. Known in the middle ages the motorcade left each spring, coinciding with the Equinox, from Puente la Reina and symbolically crossed "hundred open doors of nature". Although the tradition of the pilgrimage persists, the sense and ritual have lost.
Rooftop of the Duomo, Milan Cathedral.
This Gothic cathedral took five centuries to complete and is the fourth-largest church in the world.The cathedral of Milan is often described as one of the greatest churches in the world. The roof is open to tourists, which allows 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.
© Yen Baet. All Rights Reserved.
Moscow. Park Tsaritsyno. Middle Tsaritsynsky pond. Evening.
Camera: Canon Prima Zoom 80u Date (AiAF) [zoom 38-80mm] (№8405914)
Film: Fujifilm Fuji Eterna ??? expired
Scanner: Fujifilm Frontier SP-3000
Photo taken: 06/09/2018
This film Fujifilm Fuji Eterna unknown to me marking, sensitivity and expiry date. Storage conditions are also unknown to me. A couple of months ago I bought 2 rolls of this film for testing. So these photos can be called experimental.
The film was exhibited at 100 ISO. Development of 7 minutes in D-76
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The eastern arch bridge in Tsaritsyno was built in 2005-2007 according to the project of the architect V.S. Keremetchi. One of the two bridges leading to the artificial C-shaped island "Podkova" in the Middle Tsaritsynsky pond. These openwork structures directly connected the front entrance area of the Tsaritsyno Museum Reserve with the opposite shore of the pond.