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Feel the relaxing sea breeze in this elegant Honeycomb Overlay Fringed Pullover. Coffee Honeycomb Overlay Fringed Pullover
A beautifully crafted honeycomb surfaced pullover with a charming openwork pattern. It features unique high-low hem with fringes detailed. Layer over your favorite cami and pair with slim pants for perfect complement.
Cozier. Copper with siver inserts and enamel inlay, and Celtic knot openwork. Irish, medieval, 11th Century AD. National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier
Early C19 terraced house of 1 bay and 3 storeys plus attic. The arch of the entrance can just be seen to right at No. 125. A canopied verandah on cast-iron columns contributes to a graceful, but narrow, facade. Grade II listed. Hampstead, London Borough of Camden.
(CC BY-SA - credit: Images George Rex.)
Coachwork by Henri Chapron
At the paris Motor Show 1933, Delahaye broke totally with their traditional productions by presenting two modern chassis with independent front wheels : the four-cylinder Type 134 and the six-cylinder, 3,2-litre Type 138. The latter would lead to the celebrated Type 135, characterized by a lower chassis frame of even more modern design, with side-frames of with tubular struts, the ensemble being electrically welded.
In June 1934 Delahaye obtained approval from the Service des Mines (French vehicle-testing service) for a chassis with a 3,5-litre engine known as the 135M (for modified). The engine entered production in 1935 after being tested in competition.
This 135M with bodywork by Henri Chapron, belonged for many years to the well-known collector Jacques Dumontant, who inherited it from his father and often used it on his travels in search of vintage cars. Although that 135M usually came with openwork sheet-metal wheels, this one has more elegant wire wheels, always available as an option at the time.
Zoute Concours d'Elegance
The Royal Zoute Golf Club
Zoute Grand Prix 2016
Knokke - Belgium
Oktober 2016
This is one piece - a harness collar fitting with a maenad appliqué - of a large set of bronze and gilded silver fittings for a four-wheeled, two-horse carriage that was discovered in a burial mound dating from the Roman Imperial period. It was among the first unearthed in archaeological investigations in Bulgaria and provides an opportunity to reconstruct the design and decorations of such carriages in the province of Thrace. The fittings were both functional and ornamental. Most of them served to prevent tangling of the horses' reins. The solid bronze fittings were cast, and their upper surfaces were silver-plated. Round appliqués depicting deities and mythological characters were soldered on top of each element.
Most of the pieces decorated the double yoke. In the center, where the pole was attached, there was a conical umbo ending in a hexagonal prism with concave walls and a round disk on top, which is decorated with a silver appliqué with the head of Dionysos facing frontally (cat. 65a). The lower conical element is decorated with two appliqués with maenads. On both sides of the central piece, there were large bronze spikes with octagonal heads, decorated with round silver appliqués with the bust of a young wreathed Herakles, his lion skin thrown across his left shoulder and a strap across his right one (cat, 65b). The curved parts of the yoke were decorated with rings attached to soldered hexagonal bronze pieces decorater with silver appliqués with heads of maenads turned slightly to the right, wreathed with ivy and with a ribbon holding their wild hair (cat. 65c). The ends of the yoke were decorated with elongated hexagonal bronze elements with rings (cat. 65d). On the upper surface are two bulging disks decorated with silver appliqués with heads of maenads facing frontally.
Similar images decorated the horse harness, forming a set. The collars of the two horses were composed of bronze elements of irregular shape, with openwork ornaments at the upper and lower ends (cat. 65e).
In the middle, soldered to a bulging disk on a hexagonal base, is an appliqué with the head of a maenad. One of the maenads turns to the left, the other to the right (this one in the photo). Four chains served to hang the fittings. The flanks of the horses were decorated with bronze elements of irregular shape, with a relief hexagon in the middle and a bulging disk decorated with an appliqué with the head of Dionysos facing frontally (cat. 65f).
Thracian, 3rd century BCE. Bronze and silver with gilding. Found near the village of Shishkovisi, Kyustendil Province, Bulgaria, in 1954.
H with chains: 29 cm; W: 12.5 cm;
D: 6/5.5 cm; Wt: 146.3/198.6 grams
Sofia, National Archaeological Institute with Museum, 7992 (22, 23)
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Photographed at the Getty Villa Museum, at the exhibition 'Ancient Thrace and the Classical World: Treasures from Bulgaria, Romania, and Greece'
Fé no Interior da Catedral de Milão.
A text, in english, from Wikipedia, the free encyclopedia.
Milan Cathedral
Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. It is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.
History:
Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies the most central site in Roman Mediolanum, that of the public basilica facing the forum. Saint Ambrose's 'New Basilica' was built on this site at the beginning of the 5th century, with an adjoining basilica added in 836. When a fire damaged both buildings in 1075, they were rebuilt as the Duomo.
Um texto, em português, do Site "Fatos e fotos de viagens", que pode ser visto no endereço interata.squarespace.com/jornal-de-viagem/2006/11/27/duom...
In 1386 archbishop Antonio da Saluzzo began construction in a rayonnant Late Gothic style more typically French than Italian. Construction coincided with the accession to power in Milan of the archbishop's cousin Gian Galeazzo Visconti, and was meant as a reward to the noble and working classes which had been suppressed by his tyrannical Visconti predecessor Barnabò. Before actual work began, three main buildings were demolished: the palace of the Archbishop, the Ordinari Palace and the Baptistry of 'St. Stephen at the Spring', while the old church of Sta. Maria Maggiore was exploited as a stone quarry. Enthusiasm for the immense new building soon spread among the population, and the shrewd Gian Galeazzo, together with his cousin the archbishop, collected large donations for the work-in-progress. The construction program was strictly regulated under the "Fabbrica del Duomo", which had 300 employees led by first chief engineer Simone da Orsenigo. Galeazzo gave the Fabbrica exclusive use of the marble from the Candoglia quarry and exempted it from taxes.
In 1389 a French chief engineer, Nicolas de Bonaventure, was appointed, adding to the church its strong Gothic imprint. Ten years later another French architect, Jean Mignot, was called from Paris to judge and improve upon the work done, as the masons needed new technical aid to lift stones to an unprecedented height. Mignot declared all the work done up till then as in pericolo di ruina ("peril of ruin"), as it had been done sine scienzia ("without science"). In the following years Mignot's forecasts proved untrue, but anyway they spurred Galeazzo's engineers to improve their instruments and techniques. Work proceeded quickly, and at the death of Gian Galeazzo in 1402, almost half the cathedral was complete. Construction, however, stalled almost totally until 1480, due to lack of money and ideas: the most notable works of this period were the tombs of Marco Carelli and Pope Martin V (1424) and the windows of the apse (1470s), of which those extant portray St. John the Evangelist, by Cristoforo de' Mottis, and Saint Eligius and San John of Damascus, both by Niccolò da Varallo. In 1452, under Francesco Sforza, the nave and the aisles were completed up to the sixth bay.
In 1500-1510, under Ludovico Sforza, the octagonal cupola was completed, and decorated in the interior with four series of fifteen statues each, portraying saints, prophets, sibyls and other characters of the Bible. The exterior long remained without any decoration, except for the Guglietto dell'Amadeo ("Amadeo's Little Spire"), constructed 1507-1510. This is a Renaissance masterwork which nevertheless harmonized well with the general Gothic appearance of the church.
The famous "Madunina" atop the main spire of the cathedral, a baroque gilded bronze artwork.
During the subsequent Spanish domination, the new church proved usable, even though the interior remained largely unfinished, and some bays of the nave and the transepts were still missing. In 1552 Giacomo Antegnati was commissioned to build a large organ for the north side of the choir, and Giuseppe Meda provided four of the sixteen pales which were to decorate the altar area (the program was completed by Federico Borromeo). In 1562 Marco d' Lopez's St. Bartholomew and the famous Trivulzio candelabrum (12th century) were added.
After the accession of the ambitious Carlo Borromeo to the archbishop's throne, all lay monuments were removed from the Duomo. These included the tombs of Giovanni, Barnabò and Filippo Maria Visconti, Francesco and his wife Bianca, Galeazzo Maria and Lodovico Sforza, which were brought to unknown destinations. However, Borromeo's main intervention was the appointment, in 1571, of Pellegrino Pellegrini as chief engineer— a contentious move, since to appoint Pellegrino, who was not a lay brother of the duomo, required a revision of the Fabbrica's statutes.
Borromeo and Pellegrino strove for a new, Renaissance appearance for the cathedral, that would emphasise its Roman / Italian nature, and subdue the Gothic style, which was now seen as foreign. As the façade still was largely incomplete, Pellegrini designed a "Roman" style one, with columns, obelisks and a large tympanum. When Pellegrini's design was revealed, a competition for the design of the facade was announced, and this elicited nearly a dozen entries, including by Antonio Barca [1].
This design was never carried out, but the interior decoration continued: in 1575-1585 the presbytery was rebuilt, while new altars and the baptistry were added in the nave.
Wooden choirstalls were constructed by 1614 for the main altar by Francesco Brambilla.
In 1577 Borromeo finally consecrated the whole edifice as a new church, distinct from the old Santa Maria Maggiore and Santa Tecla (which had been unified in 1549 after heavy disputes).
At the beginning of the 17th century Federico Borromeo had the foundations of the new façade laid by Francesco Maria Richini and Fabio Mangone. Work continued until 1638 with the construction of five portals and two middle windows. In 1649, however, the new chief architect Carlo Buzzi introduced a striking revolution: the façade was to revert to original Gothic style, including the already finished details within big Gothic pilasters and two giant belfries. Other designs were provided by, among others, Filippo Juvarra (1733) and Luigi Vanvitelli (1745), but all remained unapplied. In 1682 the façade of Santa Maria Maggiore was demolished and the cathedral's roof covering completed.
The ultimate facade with its striking rosy marble revetment
In 1762 one of the main features of the cathedral, the Madonnina's spire, was erected at the dizzying height of 108.5 m. The spire was designed by Francesco Croce and sports at the top a famous polychrome Madonnina statue, designed by Giuseppe Perego that befits the original stature of the cathedral.[2] Given Milan's notoriously damp and foggy climate, the Milanese consider it a fair-weather day when the Madonnina is visible from a distance, as it is so often covered by mist.
On May 20, 1805, Napoleon Bonaparte, about to be crowned King of Italy, ordered the façade to be finished. In his enthusiasm, he assured that all expenses would fall to the French treasurer, who would reimburse the Fabbrica for the real estate it had to sell. Even though this reimbursement was never paid, it still meant that finally, within only seven years, the Cathedral had its façade completed. The new architect, Francesco Soave, largely followed Buzzi's project, adding some neo-Gothic details to the upper windows. As a form of thanksgiving, a statue of Napoleon was placed at the top of one of the spires.
In the following years, most of the missing arches and spires were constructed. The statues on the southern wall were also finished, while in 1829-1858, new stained glass windows replaced the old ones, though with less aesthetically significant results. The last details of the cathedral were finished only in the 20th century: the last gate was inaugurated on January 6, 1965. This date is considered the very end of a process which had proceeded for generations, although even now, some uncarved blocks remain to be completed as statues. The Duomo's main facade is under renovation as of 2007; canvas-covered scaffolding obscures most of the facade.
he cathedral of Milano is often described as one of the greatest churches in the world. The ground plan is of a nave with 5 aisles, crossed by a transept and then followed by choir and apsis. The height of the nave is about 45 meters, the highest Gothic vaults of a complete church (less than the 48 meters of Beauvais Cathedral that was never completed).
The roof is open to tourists (for a fee), which allows many a close-up view of some spectacular sculpture that would otherwise be unappreciated. The roof of the cathedral is renowned for the forest of openwork pinnacles and spires, sitting upon delicate flying buttresses.
The cathedral's five wide naves, divided by forty pillars, are reflected in the hierarchic openings of the facade. Even the transepts have aisles. The nave columns are 24.5 metres (80 ft) high, and the apsidal windows are 20.7 x 8.5 metres (68 x 28 feet). The huge building is of brick construction, faced with marble from the quarries which Gian Galeazzo Visconti donated in perpetuity to the cathedral chapter. Its maintenance and repairs are very complicated.
The interior of the cathedral includes a huge number of monuments and artworks. These include:
* The Archbishop Alberto da Intimiano's sarcophagus, which is overlooked by a Crucifix in copper laminae (a replica).
* The sarcophagi of the archbishops Ottone Visconti and Giovanni Visconti, created by a Campionese master in the 14th century.
* The sarcophagus of Marco Carelli, who donated 35,000 ducati to accelerate the construction of the cathedral.
* The three magnificent altars by Pellegrino Pellegrini, which include the notable Federico Zuccari's Visit of St. Peter to St. Agatha jailed.
* In the right transept, the monument to Gian Giacomo Medici di Marignano, called "Medeghino", by Leone Leoni, and the adjacent Renaissance marble altar, decorated with gilt bronze statues.
* In front of the former mausoleum is the most renowned work of art of the cathedral, the St. Bartholomew statue by Marco D'Agrate.
* The presbytery is a late Renaissance masterpiece composing a choir, a Temple by Pellegrini, two pulpits with giant telamones covered in copper and bronze, and two large organs. Around the choir the two sacristies' portals, some frescoes and a fifteenth-century statue of Martin V by Jacopino da Tradate) can be seen.
* The transepts house the Trivulzio Candelabrum, which is in two pieces. The base (attributed to Nicolas of Verdun, 12th century), characterized by a fantastic ensemble of vines, vegetables and imaginary animals; and the stem, of the mid-16th century.
* In the left aisle, the Arcimboldi monument by Alessi and Romanesque figures depicting the Apostles in red marble and the neo-Classic baptistry by Pellegrini.
* A small red light bulb in the dome above the apse marks the spot where one of the nails from the Crucifixion of Christ has been placed.
* In November-December, in the days surrounding the birthdate of the San Carlo Borromeo, a series of large canvases, the Quadroni are exhibited along the nave.
DUOMO - A Catedral de Milão
O Duomo é apenas mais um dos fabulosos exemplos de arquitetura e monumentalidade dirigida ao culto ao divino entre tantas outras catedrais construídas na Europa durante a Idade Média, entre os séculos 9 e 12.
Dizem que o Duomo foi projetado pelo pintor, escultor, arquiteto, engenheiro, cientista e inventor italiano Leonardo da Vinci, nascido em Vinci e falecido em Amboise, na França.
Igrejas como as de Chartres , Amiens e Notre Dame de Paris (França), Sevilha e Santiago de Compostela (Espanha), Colônia (Alemanha) e o Duomo de Milão (Itália) são o exemplo máximo do estilo gótico — caracterizado pelo uso das ogivas (cruzamento de arcos), que possibilitavam a construção de altas estruturas. No apogeu do fervor católico, elas foram projetadas usando medidas que reproduziam as proporções do corpo humano.
Situado no centro da cidade , o Duomo é o marco zero geográfico da cidade e ponto de partida para se conhecer a cidade. Muitas de suas atrações estão nas proximidades ou vizinhanças.
Pode-se visitar internamente a igreja e seu telhado. Todos os dias, de 7 às19h de junho a setembro, e de 9 às 16h, de outubro a maio. Para ingressar na igreja nada se paga, mas para subir ao seu telhado paga-se o preço de 4 Euros, por elevador.
Duomo é uma gigantesca igreja catedral, uma das maiores em estilo gótico em todo o mundo, em dimensões, pois tem cerca de 160 m de comprimento por 92 de largura. Suas dimensões representam aquilo que mais impressiona e provoca admiração a quem a visita, num primeiro olhar.
igreja começou a ser construída no Século 14 mas só foi concluída 500 (!!) anos depois.
Uma das coisas mais interessantes a ser fazer em toda Milão é visitar o telhado do Duomo, todo em placas de mármore, da mesma pedra de sua fachada, suas esculturas (santos, gárgulas e agulhas) e de onde se tem uma bela vista de toda a cidade.
A fachada do Duomo não tem apenas um estilo arquitetônico: eles vão do gótico ao renascentista, com alguns elementos neoclássicos.
Ainda no exterior, antes de entrar na igreja, não deixe de observar o rendilhado que envolve as janelas-vitrais e também as belíssimas e enormes portas de bronze, nas quais estão esculturas em baixos e altos-relevos que mostram cenas da história da cidade.
O que mais impressiona no interior é a altura dos enormes pilares góticos que suportam o telhado de toda a igreja e que delimitam suas naves laterais, secundárias e principal, além do altar-mór. Elas enquadram os vitrais igualmente gigantescos e belíssimos.
O interior não impressiona tanto quanto o exterior, ainda que seja solene, grandioso e tenha cinco naves e 52 gigantescas colunas de pedra.
Também o maravilhoso piso de mármore de três ou quatro tonalidades, que formam belos desenhos, dão, na nave central, a verdadeira impressão das dimensões desta fabulosa igreja. Observe o piso (de preferência ajoelhado nele) posisionando-se de costas para o altar-mór e olhando para o portão principal.
Em Milão quase tudo gira ao redor do Duomo, a Catedral de Milão, a terceira maior igreja da cristandade depois da Basílica de São Pedro, em Roma, e da Catedral de Sevilha.
No telhado as centenas de agulhas altíssimas, de arcos e gárgulas, estátuas e cariátides esculpidos em mármore impressionam tanto quanto sua fachada, vista do nível da rua. A mais magestosa das imagens é a estatua dourada da Madonnina do Perego, situada no topo da agulha maior, onde foi colocada em 1744.
Uma visita ao seu telhado dá-nos a dimensão exata da grandiosidade do trabalho de construção desta monumental escultura e nos leva a imaginar o quão difícil deve ter sido, compreendendo-se porque ela iniciou-se em 1386 e terminou em 1887!
O Duomo di Milano é um monumento símbolo do patrimônio Lombardo, dedicado à Santa Maria Nascente e situado na praça central da cidade de Milão, Itália. É uma das mais célebres e complexas construções em estilo Gótico do mundo.
Leia mais sobre a catedral de Milão no endereço www.maconaria.net/portal/index.php?view=article&catid...
The case was made for an organ completed by Christian Vater of Hannover in 1731. The present instrument was made by Alfred Kern & Fils.
Eastgate and Eastgate Clock in Chester, Cheshire, England, stand on the site of the original entrance to the Roman fortress of Deva Victrix. It is a prominent landmark in the city of Chester and is said to be the most photographed clock in England after Big Ben.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls. In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955. en.wikipedia.org/wiki/Eastgate_and_Eastgate_Clock
~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...
Designated a National Treasure, the exterior wall of the building extending to the left and right of Yomeimon Gate is decorated with flower and bird carvings that are considered among the best in Japan. All the carvings are single-panel openwork painted in vivid colors.
At the Nikko Toshogu shrine.
1. Scarf and Purse, 2. Chrocheted scarf, 3. Lilac/green ruffles, 4. Fan Bookmark Scarf-collar up, 5. Scarves, 6. Granny square shawl/muffler - Mormorsrutesjal/halsduk, 7. Untitled, 8. "Fan Bookmark" scarf, 9. IMGP6219, 10. croche - manta em quadrados, 11. Wild Orchid - crocheted openwork lace boho scarf / scarflette / shawl in dark green and purple shades / eco-fashion, 12. IMGP506713. Not available14. Not available15. Not available16. Not available
Created with fd's Flickr Toys
Gilded wooden shield with Tutankhamun wearing an Antef crown and slaying lions.
The inscription identifies Tutankhamun with Montu. The delicacy of the openwork suggests that the shield was ceremonial and not intended for the use in battle.
Tutankhamun treasures of the golden pharaoh. Saatchi Gallery, London.
GEM325
~1500 ; rebuilt in the new church bldg. in 1877 by architect David Walker.
The statues all date from this period, as do many other expertly reconstructed details.
An excellent article about this screen can be read @
www.buildingconservation.com/articles/llananno-rood/llana...
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.
~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 Market Cross, Northload Street, Glastonbury, Somerset.
Built in 1846 by Benjamin Ferrey replacing an earlier cross dating from the 16th Century. Perpendicular. Ashlar. In 3 stages, with octagonal base supporting spirelet with openwork tracery, tabernacles and finials. Wrought-iron weathervane at apex.
Looking east down the 15c nave past early 16c granite arcade with round headed arches to the south aisle , including one overlapping into chancel
There is no chancel arch, instead there is an early 16c oak rood screen of 12 bays which was " faithfully renovated" in 1910 according to brass plaque, and includes an empty doorway to the chancel & south chapel. In each bay the wainscotting has two panels of applied Perpendicular tracery
There are ceiled wagon roofs throughout. The similar roofs to nave and aisle appear wholly 19c whilst the more ornate chancel wagon roof with its small panels, cross braces and carved bosses may include 16c carpentry . It has unusual delicate openwork wall plate, more the type of carving to be expected on a rood screen.
Throughout are 19c wrought iron lamp brackets .
The south Radford chapel now houses the 1927 organ
- Church of St. James, Chawleigh Devon
Picture with thanks - copyright Ian www.cornishchurches.com/Chawleigh%20Church%20Devon%20-%20...
A bank holiday weekend visit to Arbury Hall, near Nuneaton in Warwickshire. It is only open to the public on the four bank holiday weekends (8 days a year).
It is a private lived in house. While you can have tours of the house, you are not allowed to take photos inside, so grounds and exteriors only.
A Grade I listed building
Listing Text
NUNEATON AND BEDWORTH ARBURY PARK
SP38NW
4/7 Arbury Hall
06/12/47
GV I
Country house. Late C16 for Sir Edmund Anderson. Chapel remodelled 1678.
Completely remodelled and Gothicised 1749-1803 for Sir Roger Newdigate. Designs
by William Hiorn, mason-architect 1748-1755, Henry Keene 1761-1776 and Henry
Couchman, clerk of works 1776-1789, and probably also by Sir Roger himself;
Sanderson Miller may also have been involved. Grey Attleborough and Wilnecote
sandstone ashlar. Roofs hidden by parapets. Ashlar external and other stacks.
Courtyard plan. Gothic Revival style, with late Perpendicular details. 3
storeys. Moulded plinth and string courses, and moulded and embattled parapets
with crocketed pinnacles throughout. Moulded and chamfered 4-centred openings
throughout. Sashes and casements have Gothick glazing bars. South garden front:
western bay window 1752, eastern bay 1761, central Dining Room range 1769-1779.
Symmetrical. 1-1-3-1-1 bays. Projecting wings have polygonal clasping buttresses
to outer corners, with blind quatrefoil and lancet panelling, rising into
panelled and crocketed pinnacles. 2-storey polygonal bays have windows to 3
sides, leaf carving and blind arches. Elaborately moulded quatrefoil panel with
coat of arms below first floor windows. Second floor has straight-headed windows
of 2 arched lights with hood moulds throughout. Large one-storey 3-bay central
projection has polygonal clasping buttresses rising into panelled and crocketed
turrets with niches. Elaborate decoration throughout, with blind arcading and
quatrefoil frieze, and arcaded parapet with panelled and crocketed pinnacles
between bays. Large 4-light windows have panel tracery and ogee outer arches
with finials. Lower single-storey bays to left and right have moulded doorways
with hood moulds, and double-leaf sash doors with painted wood tracery and blind
tracery panels. Openwork embattled parapets. First floor has sashes. North
entrance front, probably designed 1783 but built 1792-1796, of 1-3-1 bays. Large
external stacks between centre and blank outer bays. Angles have buttresses with
turrets similar to garden front. Central 3-bay porte-cochere has angle and other
buttresses rising into panelled crocketed pinnacles. Moulded cornice and parapet
with finials. Interior is vaulted, with moulded piers. Central double-leaf sash
door has fanlight with painted wood tracery. Flanking bays have small quatrefoil
window in square panel. Windows to left and right of porte-cochere on each floor
are mostly blind. First floor has more elaborately treated windows; central
tripartite window has simple intersecting tracery. Second floor has central
2-light window, similar to garden front. East front of c.1786. Two storeys;
1-3-2-1 bays. 3 large external stacks. Detailing largely similar to entrance
front. 3-bay section has large polygonal one-storey bay window, of 7 mullioned
and transomed lights with elaborate Gothick glazing. Central sash door. Blind
fret frieze, moulded cornice and vine leaf frieze. Crocketed pinnacles and
fleur-de-lys cresting. West front of 1789-1803 is irregular. Some rubble walling
and remains of blocked mullioned and transomed windows may be a survival from
the earlier house. 3 large external stacks. Interior: Entrance Hall and the
Cloisters of 1783-1785 have plaster quadripartite vaulting with moulded ribs and
shafts. Semi-circular apse has stone geometrical staircase with re-used openwork
balusters, scrollwork, newel posts and finials of c.1580. Old armorial glass in
some windows. Chapel has plaster ceiling of 1678 by Edward Martin. Central
shaped panel has inner wreath and deep coving with festoons, and richly
decorated outer border of flowers, fruit and foliage. Small similarly decorated
shaped panels. Acanthus cornice. Contemporary panelling of bolection-moulded
lower panels; upper moulded panels have shouldered and indented architraves, and
are separated by carved drops suspended from winged cherubs' heads. Arched organ
recess at west end has fluted Tuscan pilasters, more elaborate drops between the
panels, and a late C18 ceiling. Panelled pulpit. Library of 1754-1761 by Hiorn
has Gothick panelling with shafts, cornice and ogee-gabled bookcases, and open
fretwork arches to bay window and recess. Chimney-piece has panelling and canopy
of 3 ornamented ogee arches. Segmental plaster ceiling with 'Etruscan' motifs
and medallions from a design of 1791 by Sir Roger. Dining Room by Keene
1769-1773 on the site of the hall. Plaster fan vaulting with wall shafts.
Windows are treated as an aisle with Gothick-panelled arches. Very large
fireplace has polygonal turrets with crocketed buttresses, moulded arch and a
row of triangular canopied niches with cresting. Tall elaborate canopied niches
above fireplace and in walls have casts of Roman statues. East wall has
Gothic-panelled recess with Classical relief. Gothic-panelled doors and
doorcases with triple canopies and pinnacles. Drawing Room by Keene 1762-1763
has Gothick plaster panelling with inset portraits. Segmental Gothic plasterwork
vault, and fan vault in bay window. Chimneypiece, inspired by the monument of
Aymer de Vallance in Westminster Abbey, carved 1764 by Richard Hayward of Weston
Hall (q.v.). Saloon, Little Sitting Room and School Room (Chaplain's Room), all
decorated under direction of Couchman. Saloon of 1786-1794, probably from
designs by Keene, has vaulting and pendants inspired by Henry VII's chapel;
scagliola columns and Gothic capitals were supplied by Joseph Alcott 1797.
Little Sitting Room has marble fireplace of c.1740 with eared architrave. School
Room has Gothick fireplace with ogee arch, inset with Classical medallions
probably carved by Hayward. Long Gallery on first floor has stone fireplace of
c.1580. Panelling, and possibly the painted wooden overmantel with columns and
obelisks, of c.1606. Shallow Gothic plaster vault and large moulded arch to
lobby of 1787. 'Arbury Hall is one of the finest examples of the early Gothic
Revival in England' (Buildings of England, p67). The house was built on the site
of a monestery.
(VCH: Warwickshire: Vol IV, p173-174; Buildings of England: Warwickshire:
p67-71; Gordon Nares: Arbury Hall, Country Life 8 October 1953, pp1126-1129; 15
October 1953, p1210-1213; 29 October 1953, pp1414-1417; G.C. Tyack: Country
House Building in Warwickshire 1500-1914, ppl98-206; Arbury Hall guidebook)
Listing NGR: SP3351989255
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Unfortunately the messed up brown venetian blind is depressing.
It is from 1962, according to the website of the Pima County Assessor. PS I highly recommend the website of the Pima County Assessor.
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In Tucson, Arizona, on October 10th, 2017, at the northeast corner of West Drachman Street and North 11th Avenue.
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Getty Thesaurus of Geographic Names terms:
• Pima (county) (2000100)
• Tucson (7014661)
Art & Architecture Thesaurus terms:
• architectural ornament (300378995)
• capital letters (300055061)
• commercial buildings (300005147)
• light blue (300129405)
• openwork (300253899)
• paint (coating) (300015029)
• precast concrete (300010771)
• shop signs (300211862)
Wikidata items:
• 10 October 2015 (Q21088298)
• 1960s architecture (Q7160120)
• all caps (Q3960579)
• Buildings and structures completed in 1962 (Q8318743)
• drug rehabilitation (Q1260022)
• drug test (Q1260023)
• October 10 (Q2921)
• October 2015 (Q16726267)
Library of Congress Subject Headings:
• Business names (sh85018315)
I splurged a little on some malabrigo merino yarn. It's really not that big of a splurge really but I am used to crappy acrylic. I love the color variation. I used this pattern which was very quick and easy:
creativeyarn.blogspot.com/2008/02/crochet-openwork-handwa...
Coachwork by Henri Chapron
At the paris Motor Show 1933, Delahaye broke totally with their traditional productions by presenting two modern chassis with independent front wheels : the four-cylinder Type 134 and the six-cylinder, 3,2-litre Type 138. The latter would lead to the celebrated Type 135, characterized by a lower chassis frame of even more modern design, with side-frames of with tubular struts, the ensemble being electrically welded.
In June 1934 Delahaye obtained approval from the Service des Mines (French vehicle-testing service) for a chassis with a 3,5-litre engine known as the 135M (for modified). The engine entered production in 1935 after being tested in competition.
This 135M with bodywork by Henri Chapron, belonged for many years to the well-known collector Jacques Dumontant, who inherited it from his father and often used it on his travels in search of vintage cars. Although that 135M usually came with openwork sheet-metal wheels, this one has more elegant wire wheels, always available as an option at the time.
Zoute Concours d'Elegance
The Royal Zoute Golf Club
Zoute Grand Prix 2016
Knokke - Belgium
Oktober 2016
OFFICIAL WEBSITE: calabarte.com/
FOLLOW CALABARTE ON FACEBOOK: www.facebook.com/calabarte
TABLE LAMP XXIV STILLA
The head of the lamp is made of Senegalese gourd. Its diameters is 20 cm.
The height of the whole lamp is 21 cm. The base created by Lech Kostyszak from Unique Wood Design is made of Padouk wood.
The diameter of the base is 18,5 cm. The perforation is made by drills of 18 diameters differing by only 0,1 mm. There are also openwork carvings.
The white carvings are the deeper layers of wood which allow some light to pass through it.
On the top of the lamp there is a 15 mm wide star ruby embedded.
The Neues Gemach is a late Gothic addition to the Lübeck Rathaus constructed in 1440. It features a stunning openwork wall. The gorgeous Renaissance Prunktreppe (grand staircase) was added in 1594.
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 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.
Hydraulic tower. 1851-2 by JW Wild for The Grimsby Dock Company. Red brick with limestone ashlar plinth and ashlar cap with iron lantern. Modelled on the Palazzo Publico at Sienna, with an oriental-style minaret. EXTERIOR: square section, approx 94m tall. 3 stages. Tall main stage has rock-faced rusticated plinth, recessed board door to east side beneath rubbed-brick arch, 6 tiers of 3 tall slit lights to each side. Brass memorial plaque to west side inscribed "1939 A TRIBUTE TO THOSE WHO SWEPT THE SEAS 1949". Stepped brick and ashlar string course. Splayed-out top section above with deep imitation machicolations and tall parapet with brick-coped pointed arched crenellations. Next stage is a smaller version of the lower stage with a single tier of 2 slit-lights to each side and a similar crenellated head. Above this, a short octagonal stage with a round-headed door to the balcony. Moulded cap with tall octagonal iron lantern crowned by an openwork spire and finial. Contains hydraulic gear which originally operated the gates to the adjacent east and west locks (qv), and dockside cranes. INTERIOR: not inspected. HISTORY: this is the largest and architecturally most distinguished hydraulic tower in the UK. The tower is one of William Armstrong's earliest applications of hydraulic power, and is believed to be the only hydraulics system of its type to be built. It is important as a representative of the first stage of hydraulic-power technology which operated on low pressure, with the pressure being gained through height, from an elevated water tank. It was superseded in 1892 by the high-pressure hydraulic accumulator tower which stands nearby to the west (qv). Together the 2 towers form a unique and important survival of early hydraulic systems. The tower is also a major landmark and seamark. EH Listing
Amar, Paul, (1919-2017), Algeria
A French Sephardic Jew and Roman Catholic, Paul Amar was born in Algiers, Algeria. At the age of 17 he went to Paris to learn the trade of hairdressing. In 1945, at the end of the Second World War during which he served as a soldier, he got married, became the father of two children and returned to Algiers to work as a taxi driver. But during the Algerian war, in 1962, he was repatriated to the French capital, where he again worked as a taxi driver. Twelve years later, aged 55, he discovered objects made from shells by chance in a souvenir shop.
Since then, he has embarked on the creation of an initial series of three-dimensional pictures using shells. He eats shellfish in all its forms in order to have sufficient stocks available. In a small room in his apartment used as a studio – he lives in a council flat in Paris – he grinds down and carves mussels, winkles and coral and decorates them with openwork. He subsequently assembles them with glue, then covers them with acrylic paint or nail varnish. Finally, he attaches them to lengths of wire arranged side by side in box-type frames. The pictures are presented in the form of high and low reliefs and are illuminated from within by light bulbs that the artist conceals in sea urchin shells. Ornamentation with vivid, pearly colours saturates the scenes and makes them verge on the sacred.
SIDE VIEW OF THE IMPERIAL STATE CROWN MINIATURE
Creator:
Garrard & Co (jeweller)
Creation Date:
1937
Materials:
Gold, platinum, silver, diamonds, rubies, emeralds, sapphires, spinel, pearls, velvet, ermine
Dimensions:
31.5 cm
Acquirer:
King George VI, King of the United Kingdom (1895-1952)
Provenance:
Commissioned for the Coronation of King George VI on 12 May 1937, from the Crown Jewellers, Garrard & Co.
Description:
The Imperial State Crown is formed from an openwork gold frame, mounted with three very large stones, and set with 2868 diamonds in silver mounts, largely table-, rose- and brilliant-cut, and coloured stones in gold mounts, including 17 sapphires, 11 emeralds and 269 pearls.
At the front of the crown band is the large cushion-shaped brilliant, Cullinan II, the second largest stone cut from the Cullianan Diamond (also known as the Second Star of Africa). At the back of the band is the large oval sapphire known as the 'Stuart Sapphire'. The two large stones are linked by an openwork frieze, containing eight step-cut emeralds and eight sapphires, between two rows of pearls.
Above the band are two arches (or four half-arches), each springing from a cross-pattée. The front cross is mounted with a large, irregular cabochon red spinel, known as the 'Black Prince's Ruby'. In its history the stone was pierced for use as a pendant, and the upper hole later plugged with a small cabochon ruby in a gold slip mount. The remaining three crosses are each mounted with a step-cut emerald mounted as a lozenge. The crosses alternate with four fleurs-de-lis, each with a mixed-cut ruby in the centre. Both crosses and fleurs-de-lis are further mounted with diamonds. The crosses and fleurs-de-lis are linked by swags of diamonds, supported on sapphires.
The arches are cast as oak leaves, set with diamonds, each having paired pearl acorns in diamond cups projecting from the sides. At the intersection of the arches are suspended four large pear-shaped pearls in rose-diamond caps, known as 'Queen Elizabeth's Earrings'. The arches are surmounted by a monde of fretted silver, pavé-set with brilliants, with a cross-pattée above, set in the centre with an octagonal rose-cut sapphire known as 'St Edward's Sapphire'.
The Crown is fitted with a purple velvet cap and ermine band. Small plates on the reverse of the 'Black Prince's Ruby' and the 'Stuart Sapphire' are engraved to commemorate the history of the Crown.
The Imperial State Crown, or Crown of State, is the crown the monarch exchanges for St Edward's Crown, at the end of the coronation ceremony. Before the Civil War the ancient coronation crown was always kept at Westminster Abbey and the monarch needed another crown to wear when leaving the Abbey. The Imperial State Crown is also used on formal occasions, such as the annual State Opening of Parliament. The term imperial state crown dates back to the fifteenth century when English monarchs chose a crown design closed by arches, to demonstrate that England was not subject to any other earthly power.
This crown was made for the coronation of King George VI in 1937 but is closely based on a crown designed for Queen Victoria in 1838 by the crown jewellers of the time, Rundell, Bridge & Rundell. The crown is mounted with several historic stones to which a number of legends are attached. These include:
St Edward's Sapphire which carries the legend that Edward the Confessor (1042-66), or St Edward, one of the last Anglo-Saxon kings of England, was asked for alms by a beggar. Carrying no money on him, the King presented the beggar with a ring. The beggar later turned out to be St John the Evangelist, who assisted two English pilgrims in Syria in gratitude for the King's help, and asked them to return the ring to St Edward. The King was buried with the ring in Westminster Abbey in 1066. In the 12th century his tomb was opened and the ring removed.
Queen Elizabeth's Earrings, the four large pearls, have become associated with the seven pearls that Catherine de Medici received from Pope Clement VII on her marriage to Henri II of France in 1533. She later gave them to her daughter-in-law, Mary, Queen of Scots, and after her imprisonment they were allegedly sold to Elizabeth I. Elizabeth is unlikely to have worn them as earrings, as she preferred to wear pearls scattered over her ruff, on her hair or on her costume, and despite this romantic tale it appears that at least two of the pearls did not enter the Collection until the nineteenth century.
The Black Prince's Ruby - in fact a large spinel - was traditionally thought to have been the ruby given to Edward, Prince of Wales (1330-76), son of Edward III, and known as the Black Prince, by Don Pedro, King of Castile, after the Battle of Najera near Vittoria in 1367. The stone, which measures 170 carats, is of Eastern origin and has been drilled in the past for use as a pendant. According to legend it passed to Spain in about 1366, where Don Pedro took it from the Moorish king of Granada. In 1415 it was one of the stones worn by Henry V in his helmet, at the Battle of Agincourt. It is difficult to prove that this is indeed the same stone but a large Balas (or spinel) certainly appears in the descriptions of historic state crowns, and it has been reset each time the crown was refashioned.
The Stuart Sapphire, which has also been drilled in its history for use as a pendant, is approximately 104 carats. It is traditionally thought to have been smuggled by James II, when he fled England in December 1688. He passed it to his son Prince James Francis Edward, 'the Old Pretender', and it eventually came into the collection of Henry, Cardinal York. When an Italian dealer, Angioli Bonelli was sent on behalf of George IV to retrieve any remaining Stuart papers, after the Cardinal's death, he encountered a Venetian merchant who produced a large sapphire, saying that it belonged to the Stuart Crown. Bonelli purchased the sapphire and returned it to Britain. George IV certainly believed it was the Stuart Sapphire and by the time of Queen Victoria's coronation it was set into the front of the band of her State Crown. It was moved to the rear of the band in 1909 to make way for the newly acquired Cullinan II.
Cullinan II, or the 'Second Star of Africa, weighs 317.4 carats. It is the second largest stone cut from the great Cullinan Diamond, the largest diamond ever discovered. It was found in 1905 by Frederick G.S. Wells, at the Premier Mine, about twenty miles from Pretoria in South Africa. The stone, which weighed 3025 carats, was named after Thomas Cullinan, the Chairman of the Premier (Transvaal) Diamond Mining Company. The diamond was presented to Edward VII in 1907 as a symbolic gesture to heal the rift between Britain and South Africa after the Boer War. It was formally handed over to the King on his birthday, 9 November 1907, at Sandringham. The stone was cut by Asschers of Amsterdam. Nine large stones were cut from the original diamond. The cutting and polishing took three men eight months to complete. A further 97 small brilliants and some unpolished fragments were also created. The largest cleaving of the stone, Cullinan I, the Star of Africa, was placed in the Sovereign's Sceptre, and Cullinan II placed in the front of the band of the Imperial State Crown. The remaining numbered stones were mounted as jewellery (and do not form part of the official Crown Jewels).
Be aware this miniature from Crowns and Regalia contains several more stones than the one they normally show. I believe it is no longer available, but best to check this out in case I am wrong.
Information is copyright of The Royal Collection Trust. Link here to be amazed by the original photos on their site which are so detailed.
www.royalcollection.org.uk/collection/31701/the-imperial-...
Dance Macabre 02/02/2023 15h29
A look over the fences and behind the scenes during the construction of Dance Macabre in the new thematic area Huyverwoud. The construction, but here also the preservation of the old tower that has been the eye-catcher of Spookslot since 1978. You can clearly see here that this was the old round room with the chandelier, which will therefore be retained and become part of the new Dance Macabre building.
Danse Macabre is designed as a ruin of a round Gothic monastery, with elements such as battlements, buttresses and pinnacles. On top of the domed roof is a so-called lantern; an openwork crown.
Huyverwoud
Huyverwoud (translated Shiver Forest) will have an area of 17,000 square metres. The Danse Macabre attraction will be located right next to the Spookslot remains. Efteling is also realizing a souvenir shop, toilets and a catering facility in the theme area, which must be completely finished in 2024. The total investment amounts to approximately 25 million euros.
[ Looopings, 11/2022 ]
Church of St Andrew, Chardstock Devon - the village lies on the border of Devon and was until 1896 in the County of Dorset.
The 1086 Domesday Survey records the manor was held by two knights, Walter and William. - Walter Tirel (?) whose daughter married a member of the Percy family
There was a church here given by Gerbert de Percy which was confirmed by Henry ll in 1158 when the manor was a prebend of Salisbury Cathedral and The Court, standing to the south of the church, was formerly a manor house of the bishops.
After the building fell into disrepair, the present church was built in the Decorated style in 1864,
Previously Rev Charles Woodcock had set about the task of changing the face of the village, and began by demolishing the old vicarage and re-building it on the same site. He then built the old school, St Andrew’s College (to which the north chapel was designated), and houses to accommodate the staff and pupils.
Finally, he built the church as it stands now with the whole project costing c £5,000, funded by his brother, T. Parry Woodcock and contributions from friends. It had 435 seats, 159 of which were free, while the remainder were allocated, later the number increased to 568).
It is a complete Victorian design by architect James Mountford Allen and retains his original fittings. The 15c south aisle and porch survive together with part of the south transept which may be older. At first it was designed to have a broach spire like the previous building, www.flickr.com/gp/52219527@N00/7Jke4pevif but this is thought never to have been constructed.
In the north transept, originally designated the Tytherleigh Aisle, is a war memorial plaque, commemorating the fallen of both world wars.
The organ chapel and vestry are to the south of the chancel;
There is a vestry area in the north transept, where a small kitchen has been installed. Many pews have been removed, leaving part of the north and south aisles for exhibitions and refreshments, while chairs are provided for large congregations.
The polygonal pulpit, reached by steps to the south of the chancel arch, is of brass and iron openwork, partly painted, with delicate foliate scrolls, and the inscription 'we preach not ourselves but Christ the lord'; this rests on a base of red and black Devon marbles. To the north side of the chancel arch, a second, Jacobean, pulpit.
Before 1868 the tower had five bells, but now there are six for ringing and one for striking the hour. Two were broken and were cast or re-cast in 1868. They were re-tuned and rehung in 1974-5.
The Victorian font stands to the west of the door, and is in neo-Norman style www.flickr.com/gp/52219527@N00/tp0C6wV179 - The original Norman font, returned to the church in 2010 following its 1864 displacement, stands to the east of the door, and is of similar form though smaller scale,
Now missing is a monument recorded n 1874/5 to the Simonds family with effigies of a gentle- man and lady kneeling before a desk, with other mutilated figures of 3 children.” later transferred to the north wall of the tower and then consisting of a slab with an inscription and shield of arms, which shield
the figures all gone.
Also Sir Simonds D’Ewes records the burial "near the upper end of the aisle joining to the chancel " of his grandparents Richard Simonds & Johanna Stephens upon the 23rd day of February, i6io-ii,”and 9th day of July, His grandfather was "brought with honour to his grave, and a fair monument, according to his own appointment in his will, was erected and set op on its north side to their memory
Picture with thanks - copyright Vanda Leary www.google.co.uk/maps/uv?pb=!1s0x487277a438c7b40d%3A0xb71...
THE BISHOP'S PALACE AND BISHOP'S HOUSE
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382873
Date first listed: 12-Nov-1953
County: Somerset
District: Mendip (District Authority)
Parish: Wells
Diocese of Bath and Wells
National Grid Reference: ST 55207 45781
Details
WELLS
Bishop's Palace and House. Begun in c1210 by Bishop Jocelyn but principally from c1230, restored, divided and upper storey added by Benjamin Ferrey 1846-54; north wing (now Bishop's residence) added in C15 by Bishop Bekynton, modified C18, and c1810 by Bishop Beadon. Local stone, roughly squared and coursed, with Doulting ashlar dressings, Welsh slate roofs, stone chimney stacks. PALACE EXTERIOR: the main palace now used for public functions and meetings is in 2 storeys with attics, in 7 bays. Plinth, string course between floors, wide buttresses with 2 offsets to bays 2 and 6, coped gables to bays 2, 4 and 6, paired octagonal stacks with openwork cappings to bays 3 and 5. Ground floor has 2-light trefoil-headed plate tracery windows to all but bay 4, similar windows to first floor with added quatrefoil windows with trefoil-arched labels, smaller versions of these windows to attic gables; central porch added c1824, has angled corner buttresses, gable with string and central panel of arms crowned with a mitre, the entrance through a moulded pointed- arched door flanked by two early C19 light fittings. The E wall is in 5 and-a-half bays, with large buttresses to 2 stepped offsets. The first 2 bays have lancets to the ground floor only, but bays 3, 4, and 5 have large 2-light windows with quatrefoil over, and lancets to the ground floor. The last half-bay has a corner stair-turret with stepped offsets. Far right is a deep gabled wing with a large stone-mullioned oriel above a panelled apron with shields of arms, carried on a deep moulded bracket, and with very large buttresses. A tower is set-back from this, adjacent to the moat, with 2 and 3-light cusped casements on 3 floors. PALACE INTERIOR: the original plan was with hall, solar, gallery and undercroft, the long range divided by a spine wall at each level; this remains the layout, with the addition of an upper floor (not inspected). The ground floor is entered through the central porch to a narrow gallery in 6 bays of quadripartite ribbed vaulting, carried on corbel capitals. In the central wall is a large C16 stone fireplace, brought in the late C19 from the former solar. The S wall has a doorway with Y-tracery to its head, and a corner door gives to Bishop Burnell's chapel (qv). The floor is of stone flags. At the N end is a very fine Jacobean open well stair with large square newels, including a double newel at the top landing, supporting carved griffons and with openwork pendants, panelled plaster soffite, painted dado panelling, and a compartmented ceiling with pendants. The undercroft beyond the wall is in 2x5 bays with a central row of Purbeck shafts to quadripartite vaulting, on faceted responds; there is a large stone fireplace of C15 design in the spine wall. The first floor, within Jocelyn's shell, has C19 detailing; Ferrey complained that much of the work to the ceilings was '.... done by an upholsterer from Bath....', but detailing is very rich, and good replica C19 patterned colourful wallpapers were installed c1970. On the E side is a suite of 3 rooms, with compartmental ceilings. The square room at the head of the stairs has a stone basket-arch fireplace with triple cusping, and retains some C18 panelling, and six 6-panel doors. The long central room has a 24-panel ceiling, and three C19 lighting pendants; at its S end a very rich pair of panelled doors opens to the square S room, in which are visible in the E wall remains of the original windows, which have been blocked externally. This room has no fireplace. The long gallery to the W of the spine wall has two fireplaces, dado panelling, and a ribbed panelled ceiling. The windows are in deep embrasures, and there are three 9-panel C19 doors. BISHOP'S HOUSE EXTERIOR: returns at the N end, being backed by the moat wall. It is in 2 parallel ranges, with a very narrow courtyard partly filled by C20 building, a cross wing containing a former hall, and opening to a porch at the S end, and a square tower on the NE corner. The S front is crenellated, and has 4 windows on 2 storeys with attic, all flush 2-light stone mullioned casements with cusped heads to the lights; at first floor 2 of the windows have C19 cast-iron small-paned casements, and there are 4 casement hipped dormers behind the parapet. To the left, in a lower wall with raked head are 2 similar casements, and set forward to the right, fronting the 3-storey N/S hall range is a low square tower with two 2-light plate-traceried windows as those in the adjacent Palace, and a round-arched C16 stone outer doorway with moulded and panelled responds and a large keystone with diamond embellishment. The porch is stone paved, with a stone bench to the left, and the inner doorway is a C15 stone 4-centred moulded arch with rosettes, hood-mould, and small diagonal pinnacles at the springing and key, above a carved angel keystone, containing a fine pair of early doors with panel, muntin and mid-rail, all with nail-heads. At the left end is a wide archway into the courtyard, on the site of the gateway seen in the Buck view. There are various lofty yellow brick stacks, including one very large stack to a coped gable in the rear range. BISHOP'S HOUSE INTERIOR: has been subdivided several times; in the front range are 2 plain rooms, then the inner hall to the porch, with the C15 doorway, a shell niche, and a stone arch matching that to the outer doorway of the porch; this gives to the main stair. N of the hall is a fine C15 oak screen with narrow panels and moulded muntins and mid-rail, and a central round-arched C20 doorway of C16 style. To the right is a large 3-light stone casement with transom, and to the left is a stone-flagged cross passage which runs through to a doorway at the moat end. The inner hall has 3 windows as in the outer hall, and the inner side of the screen has raised and moulded panels, and all members embellished, including small-scale chevron to the bressumer; the central C16 doorway has raised diamond keystone and enrichment. A dining room to the N has a peaked moulded wooden rere-arch, and opens in the NW corner to a small square study in the tower. This has a stone alcove in the N wall with a 3-light C16 casement, and in the corner access to a stone spiral stair rising the full height of the tower. There are many 6-panel doors, with raised mouldings, and with square centre panels. The main staircase is C20 with heavy turned balusters to the first floor, and a C19 straight flight with stick balusters in the upper flight. At first landing level the window contains fragments of mediaeval and C16 stained and painted glass; there is a second straight-flight stair between the ranges to the W. Rooms at first floor are generally plainly detailed; the N range had an extra floor inserted, and one bathroom has the lower part of one of the mediaeval oriels in its N wall. The second floor has a through corridor, and has many early 2-panel doors with raised mouldings. The square end room to the tower has a low relief plastered ceiling to a central rose, the window has early crown glass and a scratched date of 1822. Two of the bedrooms contain the upper parts of the oriels, and these have stone vaulted soffites, one including a carved angel keystone. Over the S range is a 6-bay collar and 2-purlin roof with original rafters, formerly with plaster; the space has 4 dormer windows. HISTORICAL NOTE: the complex building history, coupled with a splendid setting within its walled moat, makes this Palace an outstanding historic and visual document, with one of the most remarkable structures of the mediaeval period which '...represent the grandest aspect of the mediaeval way of life'.(Barley) The first-floor hall represents an outstanding example of its type, contemporary in date with those at St David's, Dyfed, and Southwark, London. (Buildings of England: Pevsner N: North Somerset and Bristol: London: 1958-: 312; Colchester LS: Wells Cathedral: A History: Shepton Mallet: 1982-: 227-244; Wood M: The English Mediaeval House: London: 1965-: 24 (PLAN); Bony J: The English Decorated Style: London: 1979-: PASSIM; Parker JH: Architectural Antiquities of the City of Wells: Oxford: 1866-; Barley M: Houses and History: London: 1986-: 60-63).
Listing NGR: ST5522445760
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
'Evesham’s iconic 16th century detached bell tower once part of the great Evesham Abbey.
This magnificent detached bell tower was originally part of Evesham Abbey which was demolished during the 16th Century Dissolution of the Monasteries. Dating back to 700AD, Evesham Abbey was once one of the richest and largest in Britain.
The tower, which was constructed around 1530AD on the instructions of Abbot Clement Lichfield, rises in three stages to a height of 110ft. The detailed masonry work was managed by Robert Vertue the younger who also worked on projects such as Westminster Abbey and Greenwich Palace. It is located at the entrance of Abbey Park and overlooks both the playgrounds and the River Avon. It is close to the surviving churches of St Lawrence and All Saints and remains an iconic landmark.
The bell tower was extensively restored between 2015 and 2016 and holds a peal of 14 bells which are considered by many to produce the finest rings in the country. The bells were all cast by John Taylor & Co. Bellfounders of Loughborough with the original set dating back to 1951.
While it is not possible to climb the tower visitors can walk through its arched base as they enter or leave Abbey Park. Pierced by an archway with unfinished vaulting, it is surmounted by openwork battlements and pinnacles. The Evesham Bell Tower is considered to be an excellent late example of the Perpendicular style and was described by the author and historian James Lees-Milne as ‘one of the nation’s architectural treasures’.'
I previously saw one end of the Royal Crescent in Cheltenham way back in 2009, so took this opportunity to look at both ends. also it was quite close to Cheltenham Bus Station, near where our coach would drop us off, and later pick us up to go to the GWSR at the Cheltenham Racecourse.
Grade II* Listed Building
Numbers 1 to 18 and Attached Area Railings
Listing Text
CHELTENHAM
SO9422SE ROYAL CRESCENT
630-1/13/792 Nos.1-18 (Consecutive)
12/03/55 and attached area railings
GV II*
Terrace of 18 houses, hotels and boarding houses, now offices,
surgeries and club, with flats and attached area railings.
Numbered right to left, described left to right. c1806-10 by C
Harcourt Masters of Bath with later single-storey extension to
left; railings and balconies supplied by John Bradley of
Worcester. Developed for Joseph Pitt. Stucco over brick with
double pitch, slate roof; brick and stucco party-wall stacks;
wrought- and iron balconies, verandahs and railings. A
symmetrical, concave terrace of double-depth plan houses with
mainly 3-lower-storey service ranges to rear; staircase hall
to side.
EXTERIOR: 3 storeys and basement, 3 first-floor windows each;
3-window return to left and 4-window return to right. Stucco
detailing includes rustication to ground floors except to Nos
2 and 3; first- and second-floor bands; tooled architraves to
first-floor windows of Nos 4 and 12; crowning cornice. Mainly
6/6 sashes where original, taller to first floor, some 2/2
horizontal-pane sashes; all in plain reveals and with sills.
Basements have 3/6 sashes where original. Entrances: 9 to
right and 9 to left, flights of roll-edged steps where
original to mainly 6-fielded-panel doors with fanlights, some
with batwing and circle glazing bars, all in round-arched
plain reveals. Rear has 6/6 and 8/8 sashes, some tripartite
windows with 6/6 between 2/2 sashes. Right return has 4
first-floor windows; ground-floor rustication, first- and
second-floor bands. Ground floor has 2/2 horizontal-pane
sashes with lugs; first and second floors have 6/6 sashes.
Left return has three first-floor windows and single-storey
outshut, 6/6 and 2/2 sashes.
INTERIOR: original plasterwork and joinery remains to many
interiors. No.12 retains most of its original interior
details: dogleg staircase has stick balusters and wreathed
handrail, fireplaces, cornices with acanthus motifs, reeded
doorcases with corner rosettes, some marble fireplaces, those
to first floor with Classical scene. No.1 has embellished
cornices to hall, ceiling frieze and lion masks, narrow
open-well staircase with stick balusters; No.11 has inner
double doors with wide batwing and circle glazing bars.
Panelled shutters to many windows. Otherwise not inspected.
SUBSIDIARY FEATURES: Nos 1-9 and 11-14 have long balconies
(verandahs to Nos 1 and 6) with sticks and oval panel, with
borders of half-circle and lozenge, the design used on the
second Assembly Rooms and similar to those at Nos 54-60
Winchcombe Street (qv); verandahs have uprights with similar
motifs and openwork friezes. Nos 15-18 have lattice motif
(verandah to No.16 has similar motif to uprights and lattice
frieze). Right return has individual balconies to first- and
second-floor windows with similar rods. One window to
first-floor of left return has individual balcony with lattice
motif. Spearhead area railings, those to Nos 9 and 10
incorporate brackets for oil lamps. Balconies and railings
provided by John Bradley of Worcester. Nos 9, 10, 12, 13, 14,
16, 17 and 18 have scrolled boot scrapers.
HISTORICAL NOTE: built as fashionable lodgings for visitors to
the Spa; the Duke of Gloucester lived at No.18 when he was
visited by Princess Victoria in 1830; No.11 was the home of Dr
Henry Charles Boisragan, Physician Extraordinary to the King,
among whose other fashionable patients was, in 1812, Lord
Byron. The Crescent originally looked out onto Crescent
Gardens, interrupted in 1826 by the erection of the Promenade.
Little thought the interiors 'the best .. in the town'.
'The earliest important terrace in Cheltenham', (Verey).
(Chatwin A: Cheltenham's Ornamental Ironwork: Cheltenham:
1975-1984: 19,23,61; Sampson A and Blake S: A Cheltenham
Companion: Cheltenham: 1993-: 94-5,111; The Buildings of
England: Verey D: Gloucestershire: The Vale and The Forest of
Dean: London: 1970-: 149; Little B: Cheltenham: London: 1952-:
52; Radford S: The Terraced Houses of Cheltenham 1800-1850:
1992-: 17-25).
Listing NGR: SO9466722414
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Oh, I know I have too many shadows in my photostream... But aren't they one of the biggest spring attraction? This soft promising light makes a naked ground carved with openwork lines. This was done from my power place – the forth floor of XX century Russian Art Tretyakov's Gallery building. I came there as a teen, as a student and continue to come as an adult.