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 Cornfoot CCL www.geograph.org.uk/photo/5203817

Ori Kiri Column Miura Fold and Half Octagon Accordion.

youtu.be/cBL6ABu6X6Q

#origami #tessellation #corrugation #PaperStructures #plissage #collapsible

From Calthorpe Road to Church Road in Edgbaston. Old white buildings on a nice sunny late February day!

Church Road in Edgbaston.

This is the former Old Royal School for the Deaf. It closed in 1984. Now a lot of derelict buildings.

I used to think that it was a former hospital. Maybe it was, in it's school form.

Grade II listed at 4 Church Road.

4, Birmingham

CHURCH ROAD

1.

5104

Edgbaston B15

No 4

SF 0585 SW 44/1

II GV

2.

Part of the Birmingham School for the Deaf. Circa 1815 one of the earliest

Calthorpe Estate villas added to circa 1860. Stucco; slate roof. Two storeys;

3 bays. Rusticated ground floor with 2 window in ball shallow round-arched

recesses and a central porch with coupled Roman Doric columns, triglyph frieze

and modillion cornice. First floor windows plain sashes (the centre one altered)

sitting on a moulded stringcourse. Glazing bars throughout. Moulded eaves

cornice and low parapet. To the left, a 2-storeyed full-height service wing

of circa 1860 with irregular fenestration, the same stringcourse and overhanging

eaves. To the right, a single-storey link to the 2-storeyed former coach

house. Tripartite window in place of the entrance, moulded stringcourse (partly

gone) and Venetian lst floor window in broken pediment. Rear of main house

with two 2-storeyed bow windows on a high basement with continuous cast-iron

verandah of slim shafts with scroll brackets supporting openwork girders and

ogee roof. Modern additions not included in the listing.

Listing NGR: SP0545185412

History

According to John Dlugosz first brick Romanesque church was founded by Bishop Iwo Odrowąż of Cracow in the years 1221-1222 on the site of the original wooden temple. Soon, however, the building was destroyed during the Mongol invasions.

In the years 1290-1300 was built partly on the previous foundations an early Gothic hall church, which was consecrated around the year 1320-1321. The work, however, continued even in the third decade of the fourteenth century.

In the period 1355-1365, through the foundation of Nicholas Wierzynka (citizen of Krakow and Sandomierz esquire carver), built the current sanctuary.

On the other hand, in the years 1392-1397 were instructed master Nicholas Werner better illumination of the church. The builder has lowered the walls of the aisles and, of main introduced the large window openings. In this way the indoor arrangement of the temple has changed over the basilica.

In 1443 (or 1442) he was a strong earthquake that caused the collapse of the ceiling of the temple.

In the first half of the fifteenth century the side chapels were added. Most of them were the work of a master Francis Wiechonia of Kleparz. At the same time it was increased north tower, designed to act as guardians of the city. In 1478 the carpenter Matias Heringkan covered the tower helmet. On it, in 1666, was placed a gilded crown.

At the end of the fifteenth century, the temple of Mary was enriched with sculptural masterpiece of the late Gothic Altar - Great - a work of Veit Stoss.

At the beginning of the sixteenth Polish begin the Paradise demand spolszczenia church belonging to the municipality German. In opposition are mayors of German cities Cipsar, Morsztyn, Ajchler and Shilling, who wanted to defend his possessions. The dispute also enters the Parliament, which in 1537 and under pressure from the nobility found edict of Sigismund I, to the morning worship German confined to after-dinner.

In the eighteenth century, at the behest of Archpriest Jack Augusta Łopackiego, interior thoroughly converted in the late Baroque style. The author of this work was Francesco Placidi. Then listed 26 altars, equipment, furniture, benches, paintings, and the walls are decorated with polychrome brush Andrzej Radwanski. From this period comes too the late Baroque porch.

At the beginning of the nineteenth century, in the framework of reorganizing the city closed down the churchyard. This is how the Marienplatz St. Mary's square arose.

In the years 1887-1891, under the direction of Tadeusz Stryjeński introduced into the interior of the neo-Gothic decor. Temple has a new design and murals by Jan Matejko, which collaborated Stanislaw Wyspianski and Mehoffer - authors of the stained glass windows in the chancel and the main organ.

Since the early 90s of the twentieth century were carried out a comprehensive restoration work, which resulted in the church regained its brilliance. The last element of repair was the replacement of roof in 2003.

April 18, 2010 year at St. Mary's Church held a funeral ceremony tragically deceased President Lech Kaczynski and his wife Maria, whose coffins then buried in a crypt of the Wawel Cathedral.

External architecture

The church from the south-west

View from the west

Church on the south side; on the facade visible sundial

View of St. Mary's Church from Wawel

View of St. Mary's Church mound of Krak

The present shape of the church gave reconstruction system basilica, which took place in the years 1392-1397.

Towers

The facade of the temple is included in two towers:

The tower higher, called the Bugle, it is 82 meters high. It is built on a square plan, which at a height of nine stories goes octagon, opened up lancet niches, falling two stories of windows. Gothic towers covers the helmet, which is the work of a master Matias Heringkana of 1478 helmet consists of an octagonal, sharpened spire, surrounded by a ring of eight lower turrets. On the needle was placed in 1666 gilded crown with a diameter of 2.4 m. And a height of 1.3 m. From the tower, with a height of 54 meters, it is played hourly bugle Mary. It is one of the symbols of Krakow. At the foot, from the north, is a rectangular annex, located a stone staircase leading to the interior of the tower. The entrance to the tower draws attention to a large, cast in bronze plaque depicting the entrance of King Jan III Sobieski. It was made on the basis of the draft sculptor Pius Weloński 1883 to celebrate the 200th anniversary of the siege of Vienna. On the tower there is a bell clock back to 1530 (tons Impact d ', diameter 165 cm).

In 2013. due to the poor technical condition of the tower was closed to the public. Re-making is expected in April 2015, after completion of the work related to the installation of new electrical, heating and plumbing, and the installation of a new - metal - staircase.

Lower tower, with a height of 69 meters, is for the church bell tower. Built on a square plan, it has clearly marked on the entire height of the cornices and windows division storey. On the first floor there is the Renaissance chapel of the Conversion of St. Paul (Kaufman). Outside, next to the window of the chapel, the trójspadowym roof is suspended bell "for the dying", cast by Kacper Koerber from Wroclaw in 1736. Tower covers the late Renaissance helmet, constructed in 1592, consisting of an elliptical dome, mounted on octagonal drum and topped with openwork lantern. In the corners are set four smaller domes on low, hexagonal bases. Suspended bell in the clock back to 1530 (diameter 135 cm), now unused.

Facade

The slender walls of the sanctuary are elongated, arched windows are decorated with floral motifs, and the keys figural sculptures of symbolic. Equally rich sculptural decoration presents 21 figures, placed on consoles, supporting the cornice crowning the walls of the main building. On the wall of the chapel. St. John of Nepomuk is a sundial made in sgraffito technique by Tadeusz Przypkowski in 1954.

Porch

For the interior of the temple, from the front, leading Baroque porch. It was built between 1750-1753, designed by Francesco Placidi. The shape of it is modeled on the architectural form of the Holy Sepulchre. Wooden door decorated with carved heads of Polish saints, prophets and apostles. It made in 1929 by Karol Hukan.

Above the porch is a large, arched window with stained glass windows, projected by Joseph Mehoffer and Wyspiański. Decorative division of windows made in 1891 according to the concept of Jan Matejko.

Kuna

At the entrance to the basilica, from the Saint Mary's square, is mounted kuna (ie. the rim penitents), which was formerly assumed on the heads of particular sinners. Rim penitents was mounted at such a height that convicted her could neither sit up nor kneel, what was all the more a nuisance punishment. For centuries the level of the square plate lifted in and out of the rim is a little above the ground.

Interior

Presbytery

The nave

Choir and organ

The chancel with altar by Veit Stoss

The presbytery is covered with a stellar vault, made by master Czipsera in 1442. The keystones ribs appear coats of arms: Polish, Cracow and the bishop Iwo Odrowąż - founder of the first church of St. Mary. The perimeter niches set statues of prophets, Jeremiah, Daniel, David, Ezekiel, Isaiah and Jonah. He made it in 1891, the Krakow sculptor Zygmunt Langman.

The walls adorned with wall paintings made in the years 1890-1892 by Jan Matejko. With its implementation cooperated with the master many of his students, later famous and prominent painters, m.in .: Anthony Grammar, Edward Better, Stanislaw Bankiewicz, Mehoffer, Stanislaw Wyspianski. Technical drawings made by Tomasz Lisiewicz and gilding work is the work of Michael Stojakowski. Stained glass windows in this part of the church are by Joseph Mehoffer, Stanislaw Wyspianski and Tadeusz Dmochowskiego.

On both sides of the presbytery covered with a canopy set up stalls. They were made in 1586 and then in 1635 supplemented by zapleckami that Fabian Möller decorated with bas-reliefs with scenes from the life of Christ and Mary. At the stalls right to present: Jesse Tree, Nativity of Mary, the Presentation of Mary, Marriage of St. Joseph, the Annunciation, the Visitation of St. Elizabeth and Christmas. At the stalls northern (left) are sculptures: Circumcision, Adoration of the Magi, The Presentation of Jesus in the temple, Farewell to the Mother, the Risen Christ appears to Mary, Our Lady of the Assumption, and the Coronation of the Madonna and Child surrounded by symbols of the Litany of Loreto. On the chorus authorities 12-voice.

The chancel is completed apse, which separates from the rest of the church, made in bronze, openwork balustrade with two goals. Hinged door decorated with the coats of arms of Krakow and archiprezbiterów church - Kłośnik and Prawdzic. Stained glass windows in the apse from the years 1370-1400, and made them master Nicholas called vitreator de Cracowia. They include two thematic cycles: the Book of Genesis in the Old and New Testaments and scenes from the life of Jesus and Mary.

The main altar

Main article: Altarpiece of Veit Stoss.

The main altar dedicated to Mary adorned with the great late Gothic altarpiece made in the years 1477 to 1489 by Veit Stoss what is the chef d'oeuvre of the artist of Krakow and Nuremberg. Numbering approx. 13 × 13 m. Polyptych consists of a main body of the cabinet-pełnoplastycznymi sculptures forming two scenes - the Dormition and Assumption of the Virgin Mary, two pairs of wings, movable and immovable. The continuation of the main thread is placed at the final Coronation of the Virgin in the company of two major Polish patrons - saints Stanislaw and Wojciech. On the side wings deployed bas-relief presenting forming two cycles of the life of Mary and Jesus Christ. The basis creates a predella with a plot Tree of Jesse.

The body of the aisle

The body creates nave nave with a pair of aisles are adjacent chapels. The body consists of four spans, the inside is covered with cross-ribbed vault built with the exception of later chapels, whose vaults are a diverse system of ribs.

The nave

The vault of the nave

The nave with a height of 28 meters is covered with a cross-ribbed vault. Murals done in the years 1890-1892 by Jan Matejko, Mehoffer and Wyspiański, who also designed the stained glass windows.

Above the cornice running around the nave are placed wooden statues: St. Stefan St. Kinga, Saint. Stanislaus Kostka, St.. Casimir, St. Jadwiga of Anjou, St. Ursula, St. Jack St. Adalbert, Bl. Salome and Bl. Bronisława. The sculptures are the work of Zygmunt Langman from the early twentieth century.

With the pillars separating the nave from the side, there are the eighteenth-century, late baroque altars. They have placed in them images: Giovanni Battista Pittoniego, Jacob Martens, Hans Suess Kulmbach, Luke Orlowski and others.

At the main entrance, next to the altar are covered with a canopy stalls councilors, aldermen, trustees and powerful families of Krakow from the seventeenth century. Nave and chancel is divided, placed on a rainbow (designed by Jan Matejko), a crucifix - the work of students Veit Stoss.

The eastern part of the main body houses several works of art, including ciborium of Giovanni Maria Padovano and several altars. Above the entrance to the choir authorities 56-voice bearing a decorative cover.

Northern nave

On the north side (left) is a Baroque church altar. St. Stanislaus (closing the left aisle) from the second half of the seventeenth century with a carved scene of the Resurrection Piotrowin. Mounted here is the Gothic mensa of approx. 1400 płaskorzeźbną decoration.

Second baroque altar was made in 1725 by the architect of Krakow Casper Bazanka. In it is a picture of the Annunciation, painted in 1740 by Giovanni Battista Pittoniego. At the gate railings bears decorative coat of arms Polish.

In front of the altar is a family tomb Celarich made in 1616. In niches set busts of the founders: Paul Celariego and his wife Margaret of Khodorkovsky and Andrew Celariego with his wife Margaret of Mączyńskich. At the top of the allegorical sculptures symbolize Faith and Hope.

Southern nave

Ciborium, on the right - a crucifix by Veit Stoss

Crucifix Veit Stoss

Main article: Crucifix Veit Stoss.

On the south (right) side there is a late Baroque altar (closing the right aisle) 1735, which is a stone crucifix, a work of Veit Stoss. Same crucifix was built in the late 80s and early 90s the fifteenth century at the request of the royal minter John Albert - Henryk Slacker. The image of Christ is characterized by naturalism and doloryzmem. The artist strongly stressed suffering martyrdom, but also its saving, triumphant aspect. Jesus has opened the eyes directed toward the person praying what may certify a devotional character of the dzieła.Tło cross is silver plate with views of Jerusalem, made in 1723 by Joseph Ceyplera.

Other equipment

Next to the altar is a Renaissance ciborium, designed in 1552 by Italian sculptor and architect Jan Maria Padovano, founded by Krakow goldsmiths Andrew Mastelli and Jerzy Pipan. Richly developed architecturally, the building is made of sand stone with the addition of multi-colored marble. From the aisles separating ciborium balustrade railings, and openwork gate, cast in bronze in 1595 by Michael Otto, who decorated them emblems of Polish and Lithuanian. There is also a chorus of historic organs.

Opposite the ciborium is a family tomb Montelupi (Wilczogórskich), whose origin should be attributed to the workshop of postgucciowskim (1600-1603). In the middle of the tombstone are carved in marble busts of the founders: Sebastian Montelupi and his wife Ursula of the base and Valery Montelupi with his wife Helena with Moreckich. In the top there heraldic cartouches and allegorical figures: Fortitude, Temperance and Prudence.

pl.wikipedia.org/wiki/Ko%C5%9Bci%C3%B3%C5%82_Mariacki_w_K...

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

I have been traveling to Leuven once a month for some 17 months now, and have not, until yesterday, visited the church of St Peter.

It stands in the centre of the town, opposite the ornate Town Hall, and around most of it is a wide pedestrianised area, so it doesn't feel hemmed in.

It is undergoing renovation, and a large plastic sheet separates the chancel from the rest of the church, and in the chancel, called the treasury, are many wonderful items of art. And maybe due to the €3 entrance fee, I had the chancel to myself, and just my colleagues with me when I photographed the rest.

----------------------------------------------

Saint Peter's Church (Dutch: Sint-Pieterskerk) of Leuven, Belgium, is situated on the city's Grote Markt (main market square), right across the ornate Town Hall. Built mainly in the 15th century in Brabantine Gothic style, the church has a cruciform floor plan and a low bell tower that has never been completed. It is 93 meters long.

The first church on the site, made of wood and presumably founded in 986, burned down in 1176.[1] It was replaced by a Romanesque church, made of stone, featuring a West End flanked by two round towers like at Our Lady's Basilica in Maastricht. Of the Romanesque building only part of the crypt remains, underneath the chancel of the actual church.

Construction of the present Gothic edifice, significantly larger than its predecessor, was begun approximately in 1425, and was continued for more than half a century in a remarkably uniform style, replacing the older church progressively from east (chancel) to west. Its construction period overlapped with that of the Town Hall across the Markt, and in the earlier decades of construction shared the same succession of architects as its civic neighbor: Sulpitius van Vorst to start with, followed by Jan II Keldermans and later on Matheus de Layens. In 1497 the building was practically complete,[1] although modifications, especially at the West End, continued.

In 1458, a fire struck the old Romanesque towers that still flanked the West End of the uncompleted building. The first arrangements for a new tower complex followed quickly, but were never realized. Then, in 1505, Joost Matsys (brother of painter Quentin Matsys) forged an ambitious plan to erect three colossal towers of freestone surmounted by openwork spires, which would have had a grand effect, as the central spire would rise up to about 170 m,[2] making it the world's tallest structure at the time. Insufficient ground stability and funds proved this plan impracticable, as the central tower reached less than a third of its intended height before the project was abandoned in 1541. After the height was further reduced by partial collapses from 1570 to 1604, the main tower now rises barely above the church roof; at its sides are mere stubs. The architect had, however, made a maquette of the original design, which is preserved in the southern transept.

Despite their incomplete status, the towers are mentioned on the UNESCO World Heritage List, as part of the Belfries of Belgium and France.

The church suffered severe damage in both World Wars. In 1914 a fire caused the collapse of the roof and in 1944 a bomb destroyed part of the northern side.

The reconstructed roof is surmounted at the crossing by a flèche, which, unlike the 18th-century cupola that preceded it, blends stylistically with the rest of the church.

A very late (1998) addition is the jacquemart, or golden automaton, which periodically rings a bell near the clock on the gable of the southern transept, above the main southern entrance door.

Despite the devastation during the World Wars, the church remains rich in works of art. The chancel and ambulatory were turned into a museum in 1998, where visitors can view a collection of sculptures, paintings and metalwork.

The church has two paintings by the Flemish Primitive Dirk Bouts on display, the Last Supper (1464-1468) and the Martyrdom of St Erasmus (1465). The street leading towards the West End of the church is named after the artist. The Nazis seized The Last Supper in 1942.[3] Panels from the painting had been sold legitimately to German museums in the 1800s, and Germany was forced to return all the panels as part of the required reparations of the Versailles Treaty after World War I.[3]

An elaborate stone tabernacle (1450), in the form of a hexagonal tower, soars amidst a bunch of crocketed pinnacles to a height of 12.5 meters. A creation of the architect de Layens (1450), it is an example of what is called in Dutch a sacramentstoren, or in German a Sakramentshaus, on which artists lavished more pains than on almost any other artwork.

In side chapels are the tombs of Duke Henry I of Brabant (d. 1235), his wife Matilda (d. 1211) and their daughter Marie (d. 1260). Godfrey II of Leuven is also buried in the church.

A large and elaborate oak pulpit, which is transferred from the abbey church of Ninove, is carved with a life-size representation of Norbert of Xanten falling from a horse.

One of the oldest objects in the art collection is a 12th-century wooden head, being the only remainder of a crucifix burnt in World War I.

There is also Nicolaas de Bruyne's 1442 sculpture of the Madonna and Child enthroned on the seat of wisdom (Sedes Sapientiae). The theme is still used today as the emblem of Katholieke Universiteit Leuven.

en.wikipedia.org/wiki/St._Peter%27s_Church,_Leuven

Gilded bronze horse tack with openwork reliefs of spirits. Viking, 7th Cnetury Ad - 8th Cnetury AD. Swedish History Museum, Stockholm, Sweden. Copyright 2018, James A. Glazier

north side aisle, 17th-century enclosure

The Strickland Brooch

Anglo-Saxon, mid-9th century AD

Animals large and small

The history of this elaborate silver disc brooch is almost unknown. It is named after the Strickland family of Yorkshire, and may well have belonged to Sir William Strickland, a keen collector of antiquities in the nineteenth century. The brooch was bought by an American buyer at auction in 1949 but it was refused an export licence and was then purchased by The British Museum.

An outstanding feature of the brooch is the extensive use of gold in its decoration, used at a time when it was scarce and highly prized. Plain gold panels enrich a lively pattern of dog-like animals (complete with collars!) deeply carved into the silver to form an openwork effect. These animals fill a quatrefoil where the lobes are divided by animal heads seen from above. There are raised bosses behind these heads. The arms of the central cruciform (cross-shaped) motif, with another boss at its centre, terminate with four identical heads towards the edge.

The rich look of the brooch is further enhanced by a number of decorative techniques which clearly show the Anglo-Saxon love of colour and light. A black niello inlay has been used to make the decoration stand out, and blue glass picks out the eyes of the animal heads. Small dots punched into some areas of the curved surface of the brooch gives it a sparkling appearance. This style is typical of fine Anglo-Saxon metalwork of the ninth century. It is called the Trewhiddle Style after a Cornish hoard.

The back of the brooch is undecorated, although attached are the remains of fixings for a pin which is now missing. The silver loop fitted by a rivet to the top of the brooch allows it to be worn as a pendant.

Diameter: 11.2 cm (max.)

M&ME 1949,7-2,1

Room 41, Sutton Hoo and early Medieval, case 42, no. 35

L. Webster and J. Backhouse, The making of England: Anglo-Saxon art and culture AD 600-900, exh. cat. (London, The British Museum Press, 1991), pp. 232-33, no. 189

D.M. Wilson, Anglo-Saxon art (London, Thames and Hudson, 1984), p. 110, fig. 115

R.L.S. Bruce-Mitford, 'Late Saxon disc-brooches' in D.B. Harden (ed.), Dark-Age Britain (London, Methuen, 1956)

Seamless elegant lace pattern-model for design of gift packs, patterns fabric, wallpaper, web sites, etc.

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.

Ruined Cathedral Church of St Michael, St Michael’s Avenue, Coventry

Grade I listed

List Entry Number: 1076651

Details

833/1/1

833/2/1

RUINED CATHEDRAL CHURCH OF ST MICHAEL

05-FEB-55

I

Among the largest medieval parish churches in England. Made a collegiate church in 1908, cathedral in 1918. Much damaged by an air raid, November 1940, leaving body of church unroofed and without arcades.

Nave and chancel with aisles, two pairs of chapels north and south of nave aisles, one on south still roofed. South porch. Apsidal sanctuary with crypt. Magnificent west steeple dominating centre of city.

Crypt and south porch circa 1300. West steeple 1373-94 with spire begun 1432. Church walls rebuilt 1373 - circa 1450. Stonework restored 1883-90 by J Oldrid Scott.

This entry was subject to a Minor Amendment on 2 October 2019.

historicengland.org.uk/listing/the-list/list-entry/1076651

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Cathedral of St Michael, Priory Street, Coventry

Grade I listed

List Entry Number: 1342941

Details

COVENTRY Priory Street SP 3379 SE Cathedral of St Michael 833/2/411 GV. I

Cathedral. 1951-62. Designed by Sir Basil Spence. Red sandstone ashlar with green slate cladding to chapels; concrete roof. Lofty space of 7 bays with nave; full height aisles; no clerestorey; full height Lady Chapel and Western (liturgical) porch; circular chapels to north-west (lit) and south-east (lit). Cathedral aligns east-west. Built at right angles to the ruins of the old cathedral, formerly Parish Church (q.v.) and attached to its north-east corner. Nave and chancel walls of new cathedral canted outwards in vertical bands, producing a 'saw-toothed' plan, with vertical 4-light stained glass windows facing north-west (lit) and south-west (lit). Porch with tall circular sandstone piers and 3 flat topped concrete vaults. Baptistry to south west (lit) with convex wall, partly solid and partly glazed with closely spaced vertical stone mullions; Epstein's sculpture of St.Michael and Lucifer attached to baptistry wall by the porch. Chapel of Christ the Servant to south-east (lit) circular with closely spaced vertical mullions. Chapel of Unity to north-west (lit) polygonal with largely solid walls of riven slate, and projecting fins tapering upwards, with vertical strip glazing to ends. East wall blind. West wall fully glazed, from floor to ceiling and wall to wall; 19 lights divided into 8 horizontal bands. Bronze glazing bars, plate glass with engraved figures of saints and angels by John Hutton. Low roof, crowned by openwork metal fleche crowned by cross designed by sculptor Geoffrey Clarke. Interior with cruciform reinforced concrete piers, tapering to the base and supporting concrete 'ribbed' canopy with panels of timber slats between ribs. This has the appearance of a vault but is structurally and visually separate from the walls. Interior contains fitments by the most prominent British artists and designers of the period. These include font and choir stalls designed by Spence himself, monumental inscriptions to walls and floor by Ralph Beyer, stained glass to Baptistry by John Piper and Patrick Reyntiens, to aisle walls by Lawrence Lee, Geoffrey Clarke and Keith New, to Lady Chapel by Einar Forseth, to Chapel of Unity by Margaret Traherne; pulpit and lectern by Spence, the latter with an eagle book rest by Elizabeth Frink, in bronze: tapestry to east wall of Lady Chapel, dominating the Cathedral,by Graham Sutherland, altar cross and crown of thorns by Geoffrey Clarke, large ceramic candlesticks by Hans Coper, chairs by Russell, Hodgson, and Leigh: mosaics by Einar Forseth, ceramic panels by Steven Sykes, etc.

Coventry Cathedral was one of the most important architectural commissions of its date in Britain, and was built following an architectural competition in 1951. The scheme was also notable in its period for the degree to which the bomb damaged shell of the Medieval church of St.Michael was preserved.

N.Pevsner and A.Wedgwood, B o E Warwickshire, pp 249-259 B.Spence, Phoenix at Coventry, 1962

Listing NGR: SP3362879067

historicengland.org.uk/listing/the-list/list-entry/1342941

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Coventry Cathedral

The ruins of Coventry Cathedral, destroyed in the Blitz of November 1940, with the new Cathedral alongside.

The Second Cathedral: St Michael's

After the Dissolution of the Monasteries and the destruction of the priory cathedral in 1545, Coventry ceased to be the seat of the bishop. The diocese was still Lichfield and Coventry, but there was no cathedral here as the bishop had moved his seat of business back to Lichfield. In 1837 Coventry was transferred into the diocese of Worcester and the old link with the Lichfield bishopric was lost. But times were changing: the old pattern of Church of England parishes and dioceses which had stood since the 1540s no longer matched the population size or location of late 19th century towns. Coventry was a bustling, growing urban centre, expanding thanks to the industry which was growing around it. The church was growing and new bishops were needed to oversee the spiritual needs of the expanding population. The diocese was revived in 1918 and a new bishop appointed: the 14th century parish church of St Michael became Coventry Cathedral.

Isabelo Tampinco (1850-1933)

Bed

dated 1909

Narra, Lanite and Rattan

H:103” x L:88 1/2” x W:48 1/2”

(262 cm x 225 cm x 123 cm)

Opening bid: P 1,400,000

Provenance:

Dr. Maximo Viola, thence by descent

Lot 63 of the Leon Gallery Auction on 10 June 2017. Please see www.leon-gallery.com for more information.

IsabeloTampinco y Lacandola, while taking courses at the Academia de Dibujo y Pintura, Manila’s art academy, drew the admiration of Jose Rizal for his work in a Modeling Class, wherein they were classmates. Later hailed as one of the most outstanding sculptors of his time, Tampinco garnered many awards and prizes in local and international exhibitions in Philadelphia, St. Louis, Madrid and Barcelona.

Tampinco was principally known as a laborista, a carver of ornament, because of the doors, altars, ceilings and other decorations he made for the Manila Cathedral and the churches of Sto. Domingo and San Ignacio in Intramuros. He also did decorative carvings for private homes like transoms, picture frames and even furniture. Later, he made statues of saints and angels in wood, plaster of Paris, concrete and marble. At the turn-of-the-20th century, when Art Noveau became fashionable, he created a uniquely Filipino style by incorporating native flora and fauna designs in his calado or pierced transoms. His sinuous openwork and whiplash outlines in woodcarving abounded with the anahaw, areca palm, gabi or taro leaves and bamboo. It came to a point that any frame or piece furniture decorated with these was instantly labeled as by ‘Tampinco’.

In the early 20th century, Tampinco often worked in conjuction with Emilio Alvero, an architect who was the most popular interior designer of the day and the foremost exponent of Art Nouveau in the Philippines. The two artists collaborated on many major works, the Bautista-Tanjosoy House in Malolos and the Villavicencio-Marella House in Taal, among them. In both these houses, Alvero designed the furniture and Tampinco executed them. On the other hand, Máximo Sison Viola of San Miguel, Bulacan was studying medicine in the University of Barcelona, when he met Jose Rizal and became his best friend in Europe. They both became involved in the Propaganda Movement and when Viola learned that Rizal was having difficulty in publishing the ‘Noli Me Tangere’ due to the delay of his allowance, Viola sought Rizal and offered to lend him the money needed to have the book published. When Rizal finally received his allowance from Manila, the P1,000 sent by his brother, Paciano, not only enabled him to repay Viola, but also invite him on a tour across Germany, Austria-Hungary, and Switzerland from May to June 1887. Soon after, Viola returned to the Philippines to practice his profession as a doctor.

Viola met Rizal briefly in Manila in 1892 and returned home to find that his home had been searched by the Spaniards who suspected him of having links with the secessionist movement. When the Philippine Revolution broke out, he joined the Katipuneros in Biak-na-Bato. After the Philippine-American War, he was imprisoned in a military prison in Manila by the Americans and later transferred to Olongapo. There, Viola was freed by Dr. Fresnell, an American doctor who asked for Viola's assistance in treating American soldiers who had tropical diseases, which he did not know how to treat.

Viola’s hobby of making furniture from kamagong in his later years garnered him an award in an exposition in Manila in 1920. This bed is a collaborative work between IsabeloTampinco and Emilio Alvero, who undoubtedly designed the footboard and the diamond-shaped cartouche incised with the date ‘1909’ on its reverse side. The bed stands on feet carved in the shape of an inverted and truncated trunk of an arecaor bonga palm emanating from a quadrant at each corner carved with a spray of anahaw leaves.

The bed frame, in the form of a corona of an entablature, is carved with a serrated frieze of joined, upended triangles incised with diamond-shaped depressions that give an impression of stylized anahaw leaves. A boss is carved below the junction of each triangle, while a cymatium molding decorates the upper edge of the bedframe. The mattress support is caned in one piece. The footposts, carved in the shape of a short areca palm, has a crownshaft terminating in a stylized ionic capital consisting of a small anahaw leaf on a thorny stem at the center flanked by an ionic scroll. The posts flank a wide narra plank forming the footboard that is carved with a central design of a diamond-shaped frame consisting of four bamboo canes tied together with rattan strips. A garland of sampaguitas and ylang-ylang is entwined and hangs from the upper canes. Surrounding the bamboo frame are whiplash vines bearing camote leaves and flowers, while small anahaw leaf quadrants are carved at the corners.

The entire ground of the footboard is stippled. An entablature above the posts and footboard is carved with a small anahaw leaf with a thorny stalk on the block above the post and a frieze of a coconut frond, a banana leaf and bamboo twigs tied at the center with a ribbon, both on an entirely stippled ground. The cymatium molding above the corona is topped with a beveled edge.

The tall bedpost supporting the headboard and the tester is shaped like a full-grown areca palm trunk supporting a stylized ionic capital like that on the bedpost at the foot. The headboard, consisting of an extremely wide narra plank, is framed by a pilaster with molded vertical edges and a capital in the form of an inverted anahaw leaf. The former is carved with a central cartouche in the form of a scroll following the outline of a gabi or taro leaf enclosing an inverted clump of miniature traveler’s palm leaves emanating from an anahaw leaf at the top.

At the bottom of the panel, beneath the cartouche, is carved a bird’s nest with a pair of eggs. Leafy, intertwined branches abloom with Chinese roses meander on either side of the cartouche to fill the headboard. A pair of doves are perched on the vines, that on the left holding a ribbon tied in a lover’s knot in its beak, while the one on the right has a wide band inscribed with ‘Felicidades’ or ‘Congratulations’. These symbols indicate that the bed was most probably a gift to Maximo Viola on the occasion of a wedding anniversary.

An entablature similar to that at the foot is surmounted by a wide crest consisting of a large spray of roses realistically carved in the round and topped by an acroterion superimposed with an anahaw leaf. Symmetrically arranged on either side are realistically carved jungle ferns, coconut fronds and banana leaves. Above the pilaster at either end is an acroterion in the form of a palmette carved with a small anahaw leaf with a thorny stalk inside its scrolled outline. At the top of the headpost is a half-tester supported by a carved console in the shape of a banana leaf. The frame of the tester is in the form of an entablature running around three sides, all carved with like those of the head and footboards with a frieze of a coconut frond, a banana leaf and bamboo twigs tied at the center with a ribbon on an entirely stippled ground. The latticed tester or canopy is carved with an anahaw leaf at each intersection. Instead of the usual fabric covering the top of the tester, rattan caning is used, an unusual and unique innovation.

-Martin I. Tinio, Jr.

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

Coughton Court

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.

First look at the Courtyard. There used to be an East Wing, but it was burnt down in 1688 and it was later demolished in the 1780s leaving one side exposed to the countryside.

The South Wing

Textile fragment, Chancay people. Pre-Columbian Peru, 50 x 30 cm. Photograph by D Dunlop. From the library of WikiMechanics.org.

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

Church of Our Lady Assumed into Heaven (St. Mary's Church) - is a Brick Gothic church re-built in the 14th century (originally built in the early 13th century), adjacent to the Main Market Square in Kraków, Poland. Standing 80 m (262 ft) tall, it is particularly famous for its wooden altarpiece carved by Veit Stoss (Wit Stwosz).

The chancel is covered with starry vault , made ​​by master Czipsera in 1442. The keystones of the ribs appear crests: Polish, Krakow and Bishop Iwo Odrowąż - the founder of the first temple Mary. The perimeter niches set statues of the prophets: Jeremiah, Daniel, David, Ezekiel, Jonah and Isaiah. It was made ​​in 1891 by Zygmunt Langman Kraków sculptor.

Walls decorated with wall paintings done in the years 1890-1892 by Jan Matejko . With its implementation has worked with many of his students master, later known and prominent painters, including: Anthony Grammar, Edward better, Stanislaw Bankiewicz, Mehoffer , Stanislaw Wyspianski . Technical drawings made ​​Thomas Lisiewicz and gilding work is the work of Michael Stojakowski. Stained glass windows in this part of the church is by Joseph Mehoffera , Wyspiański and Tadeusz Dmochowski.

On both sides of the sanctuary is covered with a canopy set stalls . They were made ​​in 1586 and then in 1635 supplemented zapleckami that Fabian Möller decorated with bas-reliefs depicting scenes from the life of Christ and Mary. The stalls right to present: Tree of Jesse , Nativity of Mary , the Presentation of Mary , Marriage of St. Joseph , the Annunciation , the Visitation of Holy. Elizabeth and Christmas . The stalls north (left) are sculptures: Circumcision , Homage of the Magi , Presentation of the Lord , Out of the Mother , the risen Christ appears to Mary , Our Lady of the Assumption , Coronation and the Madonna and Child surrounded by symbols of the Litany of Loreto . The choir organ 12-voice.

The presbytery is completed apse which is separated from the rest of the church, made ​​of bronze , openwork balustrade with two goals. Hinged doors are decorated with coats of arms: Krakow and archiprezbiterów church - Klośnik and Prawdzic . Stained glass windows in the apse from the years 1370 - 1.4 thousand , and made ​​them master Nicholas, called vitreator de Cracovia . They include two thematic series: Book of Genesis of the Old and New Testaments and scenes related to the life of Jesus and Mary [Wikipedia.org]

The Diana Temple in Arkadia park, Central Poland.

The Diana Temple was designed and raised by Szymon Bogumił Zug in 1783. The construction of classical proportions decorated with the openwork ornamentation is based on four lonic columns. Under the tympanum facing the pond you can see Latin inscription: "Dove pace trovai d'ogni mia guerra" (it was here that I found peace after each of the battles).

The interior of the temple constitute: the Vestibule, the Etruscan Cabinet, the oval Bedroom abd the Presence Chamber called Pantheon decorated with the stucco columns, ornamented mould and the plafond depicting Aurora pained by Jan Piotr Norblin.

The park was founded in 1778 by Princess Helena Radziwiłł, who lived in Nieborow. For designing and decorating its numerous pavilions she employed the most outstanding Polish architects and painters of the time. She also gathered one of the first antique art collections in Poland in the park. Owing to her, Arkadia enjoyed the status of one of the greatest cultural centers of the turn of the 18th and 19th centuries. In the park, nature and art are in harmony: the complex is composed of buildings imitating ancient ruins or the English Gothic style (Murgrabia House, Little Gothic House, Stone Arch, Diana's Temple with a Pantheon and Etruscan Room, the Sanctuary of the High Priest, the Cave of Sybil, the Tomb of Illusions, Circus and Amphitheatre). Arkadia is the only such classical-romantic historical complex in Europe, and the Museum received the European Award for the Protection of Historic Sites in 1994 for its restoration.

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Świątynia Diany wzniesiona została w roku 1783. Usytuowana nad stawem budowla prezentuje styl klasycystyczny. Jej fasadę frontową zdobi portyk kolumnowy z umieszczonym w tympanonie napisem "Dove pace trovai d'ogni mia guerra". Jest to cytat z sonetu Petrarki - tutaj odnalazłem spokój po każdej mojej walce. We wnętrzu Oglądać tu można dekorację sztukateryjną, oraz plafon autorstwa J. P. Noblina „Jutrzenka” z lat 1783-1785, usytuowany na drewnianej kopule. Za salą główną, po lewej stronie znajduje się sześcioboczny Gabinet Etruski, pełniący rolę muzeum. Oglądać tu można też ciekawe polichromie.

Arkadia - park romantyczny w stylu angielskim założony przez Helenę z Przeździeckich, żonę Michała Hieronima Radziwiłła właściciela pobliskiego Nieborowa. Koncepcja takich ogrodów wykluczała jakąkolwiek symetrię czy regularność. Poprzez umiejętne połączenie urozmaiconego ukształtowania terenu, zbiorników i cieków wodnych, swobodnego rozmieszczenia różnorodnych gatunków roślinności oraz wkomponowania najróżniejszych form architektonicznych (antycznych, neogotyckich, średniowiecznych, renesansowych, wiejskich) tworzono malownicze enklawy o bajkowym krajobrazie, zmieniającym się w zależności od pory roku, dnia, aktualnej pogody itp. Były to wymarzone miejsca kontemplacji, romantycznej zadumy, spacerów, lektury, wypoczynku, kontaktu z naturą i sztuką. Do zakładania ogrodu księżna przystąpiła w 1778 roku, a rozwijała go i komponowała do swojej śmierci. Obecnie park w Arkadii zajmuje obszar 14 ha położony między drogą Łowicz - Skierniewice a rzeką Skierniewką. Mimo licznych zmian jakie zaszły przez ponad dwa wieki jego istnienia jest jedynym w Polsce zabytkiem architektury ogrodowej w Polsce który zachował pierwotną koncepcję przestrzenną z końca XVIII wieku. Jest unikatowym zabytkiem klasy "0" chętnie odwiedzanym przez liczne rzesze turystów.

On Gorsedd Gardens Road in Cardiff. Heading towards the National Museum Cardiff.

Cardiff City Hall

City Hall is a civic building in Cathays Park, Cardiff, Wales, not to be confused with the modern County Hall recently built down in Cardiff Bay. Built of Portland stone, it became the fifth building to serve as Cardiff's centre of local government when it opened in October 1906. The competition to design a town hall and adjacent law courts for Cardiff was won in 1897 by the firm of Lanchester, Stewart and Rickards. Construction was carried out by local builders, E. Turner and Sons. Cardiff received its city charter while construction was underway, in 1905. The building is an important early example of the Edwardian Baroque style.

Grade I listed building.

Cardiff City Hall, Castle

Location

Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).

History

Cathays Park was purchased in 1898 by the Borough of Cardiff from The Third Marquess of Bute at a cost of 160,000 and developed as a civic centre to a layout by William Harpur. Cathays Park was developed over three-quarters of a century to become the finest in Britain reflecting Cardiff's status as city and eventually taking on a national importance as civic centre of the capital of Wales. A competition for Town Hall (Cardiff became a city only at opening ceremony of this building in1905) and Law Courts took place in in 1897; City Hall was built between 1901 and 1904 to design of Lanchester, Stewart and Rickards; details of design by E A Rickards. The building's Portland stone facing, and monumental Classical style set the pattern for other buildings in Cathays Park, particularly the contemporary Law Courts by the same architects, and the National Museum (By Smith and Brewer) which echoes its dome and general composition. The building reflects Cardiff's claims to be a city of international importance by its use of the grand European Baroque style which was also used in London to promote that city's staus as capital of an empire. The decoration of the building makes reference to Cardiff's economic power through trade with the world (maritime groups etc), and its relatively new position as leading city Wales (Welsh Unity and Patriotism etc). The interior contains an important series of Statues of Welsh Heroes (1912-1917) financed by D A Thomas (Lord Rhonnda).

City Hall forms an essential part of Cardiff's civic centre, the finest in Britain.

Interior

Sumptuous interior with sequence of brilliantly managed public and civic spaces.

Porte-cochere leads to polygonal lobby with stairs up to inner lobby. Deep rectangular entrance hall faced in Bath stone has staircase to each side (rich bronze balustrade) which rises to mezzanine landing then longer flight of steps to expansive first floor hall with polychrome marble paving; paired Doric columns with bronze capitals and bases and yellow veined marble shafts; landing side lit by tall round arched windows with stained glass; broad plaster band to ceiling with plaster foliage relief. Yellow marble architraves to doors; above doorways to ends, plaster shells and merfolk by Henry Poole. Group of life-size statues of Welsh Heroes by leading sculptors; statues on yellow-and-white marble pedestals. (On lower landings, bronze reliefs to Sir E J Reed, and Captain R F Scott). To S, Council Chamber in a style following Italian High Renaissance models. Coffered shallow dome, four broad piers (set diagonally) support spandrels pierced by round windows with plaster palm-fronds, and ventilation grilles. Arches between piers to E and W with flanking Ionic marble columns (swagged bronze capitals) supporting entablature.

Stained glass in grand S window is personification of Villa Cardiff by A Garth Jones (1905). Fine C17-style wall panelling in oak with lighter inlay of Cardiff arms; original circular banks of wooden seating (partly built into panelling) have barley-sugar posts and broad arms; to E, mayoral seat forms screen to lobby with similar panelling, to W, arch to similar lobby, visitors gallery over.

Exceptionally elaborate bronze electrolier by Rickards has Prince of Wales feathers and mirrors; smaller wall brackets in bronze also survive.

To N of landing, members' rooms flank entrances to Grand Assembly Hall with tunnel vaulted ceiling with transverse and longitudinal banding with elaborate plaster reliefs (by G P Bankart). Room lit by thermal windows at clerestorey level which break into vault and have cartouche decoration above. Ionic marble columns support entablature and diagonal scrolls by windows. Panelled walls and doors. At one end, recessed stage with flanking pairs of marble columns.

Three exceptionally elaborate bronze electroliers as in council chamber.

At front corners of building the Lord Mayor's parlour and Member's Room are said to have arched recesses and circular clerestorey windows. Corridors with committee rooms and offices have simple classicising doorcases and panelled doors. On ground floor, the large Benefits Office has Doric Columns painted as yellow veined marble, wooden panelling, classicising doors. Secondary entrance in King Edward VII Avenue has mosaic floors, 2 lobbies, arches to secondary stair with iron balustrade.

Exterior

Quadrangular city hall building in Baroque style and faced with Portland Stone; two- and three-storeys on deeply banded basement, broad areas of banding at angles; small-pane steel glazing. Tower to W, and smaller tower to rear. South-east elevation with central projecting wing of 5 bays surmounted by octagonal drum (maritime sculptures by H Poole) with round windows, and semi-circular dome to council chamber with snarling Welsh Dragon finial (by H C Fehr) on lantern; 1 storey porte cochre with trophies and lion masks projects from centre bay of wing; first floor window above is round-headed and projects into entablature; flanked by 2 blank openings decorated to either side with trophies. Saucer dome to porte cochere, entrances with heavy iron-grille gates with relief decoration. Projecting to west and east from centre portion, a lateral wing of 2 storeys, 6 bays with fenestration consisting of rectangular windows above, with aprons and with panelling between windows and round-headed windows in concave surrounds below. At each end projecting splayed bay of 2 storeys with similar fenestration to intermediate wings but surmounted by attic storey with sculptured group before it, western group by Paul Montford representing Poetry and Music and eastern group by Henry Poole, Unity and Patriotism.

Western elevation with wide projecting windowless bay at each end, with rusticated quoins and attic storey with oval lunette. Intermediate wings of 9 bay width with similar fenestration to intermediate wings of south-east front, but outer sections have square-headed windows to ground floor. In centre of west front, splayed 3-sided bay through 2 storeys and attic; rectangular doorway with window over in centre ground floor facet; first floor windows rectangular headed, centre facet window with trophies and with surmounted parapet rising over curved headed attic window. Above this rises a clock tower (circa 61m high) lower part quite plain, upper part ornate and Baroque and surmounted by a Cupola (carving by H C Fehr); below this, stage with open windows and volutes, then stage with putti and cartouches above clock stage with openwork clock faces, composite columns flanking openings with balcony grilles, Michelangelesque seated figures (The Four Winds) to corners. North elevation of 3 storeys, central canted bay, square windows to upper floor, rectangular windows beneath below which are camber-headed windows with voussoirs, entrance to central yard R; yard elevations in yellow brick, (modern glazed infill in yard to E). East elevation has central slightly advanced 5-window block with splayed central bay with sculptural group above; 7 windows to each side.

Reason for Listing

Graded I as amongst the finest examples of Edwardian civic architecture in Britain with ambitious exterior and extremely interesting interiors, all virtually unaltered.

The interior is remarkable not only for its sumptuous decoration but for the survival of fittings including lighting, panelling, integral seating to council chamber etc.

Part of a group of exceptionally fine public buildings in Cathays Park which form what is certainly the finest civic centre in Britain. In addition to its architectural interest, the building and its setting express Cardiff's claims to be a city of international importance at the peak of its economic power.

References

J Newman, Glamorgan (Buildings of Wales Series), 1995, pp220-225.

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).

Source: Cadw

Listed building text is © Crown Copyright. Reproduced under licence.

clock tower

Cathedral and Chapter House. Transepts 1220-1255; nave 1291-1360, Chapter House 1275-90. Lady Chapel 1361-71; Choir and integral transepts c1380-1418; east end 1360-c1408; Zouche Chapel and Vestry late C14. West front and towers c1290-c1470; crossing tower 1410-70; Library 1418-20; Choir screen c1460. Deemed complete and consecrated 3 July 1472. Floor paved to designs of Lord Burlington 1730-6. Chapter House vault renewed in plaster by John Carr 1798. Restored 1802-28 by William Shout. Fire 1829. Choir roof rebuilt 1829-32 by Sir Robert Smirke. Fire 1840. Nave roof rebuilt 1840-44 by Sydney Smirke. South transept restored 1871 by GE Street. Flying buttresses added to nave 1905-7 by GF Bodley. Extensive restoration 1966-72 by Bernard Fielden. Fire 1984. South transept roof rebuilt 1984-88.

Built from oolitic limestone ashlar from Tadcaster. Early English, Decorated and Perpendicular styles. Aisled nave with western towers; crossing tower and aisled transepts, with chapter house to north and former library to south. Eastern arm consisting of aisled choir and Lady Chapel with integral transepts; Zouche Chapel and vestry to south of choir. West end is flanked by 4-stage buttressed towers encircled by tiers of gabled niches. West door in centre in single-arched doorway with gable hood, flanked by 3 rows of niches, some containing restored statuary of 1802-16. West window is of 8 lights with elaborate flowing tracery in the head and gable hood which rises into nave gable: both gables are filled with blind tracery. Nave gable capped by parapet of pierced stepped battlements and central openwork pinnacle.

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]

This blouse was displayed in the Arte Textil exhibit that was in Oaxaca Mexico. The sleeves and neck area are decorated with openwork and I see deer among the designs. I believe that blouses like this one are worn in Mitla, Oaxaca. The crochet for the upper part of the blouse may have been made in San Juan Del Rio, a Zapotec town near Mitla

The Cathedral Church of St Andrew, Wells (Wells Cathedral)

Overview

Heritage Category: Listed Building

Grade: I

List Entry Number: 1382901

Date first listed: 12-Nov-1953

Statutory Address: CATHEDRAL CHURCH OF ST ANDREW, CATHEDRAL GREEN

County: Somerset

District: Mendip (District Authority)

Parish: Wells

National Grid Reference: ST 55148 45885

Details

Cathedral Bishopric established in 909. Saxon cathedral built, nothing now visible (excavations 1978/79). See transferred to Bath in 1090. Church extended and altered in 1140, in Norman style, under Bishop Robert Lewes; part of this lies under south transept of the present church.

Present church begun, at east end, in 1176 and continued to consecration in 1239, but with substantial interruption from 1190-1206. Designer Adam Lock, west front probably by Thomas Norreys. Nave, west front (but not towers), north porch, transepts, and part of choir date from this phase. Bishopric becomes Bath and Wells in 1218. Central tower begun 1315, completed 1322. Designer Thomas Witney Lady Chapel begun 1323, completed c 1326. Probably by Thomas Witney. At this stage the Chapel a free-standing structure to the east of the original (1176) east end. Extension of choir and presbytery in 1330 to connect with the new Lady Chapel. Designer Thomas Witney, but presbytery vaults by William Joy.

Following signs of dangerous settlement and cracking under the new tower, the great arches and other work inserted to prevent collapse in 1337; designer William Joy. (The St Andrew's arches known as strainer arches). South-west tower begun in 1385 to design of William Wynford, completed c 1395. North-west tower built 1410. Tracery added to nave windows in 1410. Central tower damaged by fire in 1439; repair and substantial design modification (designer not known) completed c 1450. Stillington's chapel built 1477, (off east cloister) designer William Smyth, who also designed the fan vault to the main crossing. The chapel was demolished in 1552.

MATERIALS: Doulting ashlar with blue Lias dressings, partly replaced by Kilkenny marble, some Purbeck marble internal dressings, and pink rubble outer cloister walls.

PLAN: Cruciform plan with aisled nave and transepts, north porch, cruciform aisled chancel with transeptal chapels and Retroquire. East Lady Chapel, north-east Chapter House and south Cloister.

EXTERIOR: Early English Gothic style, Decorated Gothic style Chapter House, Retroquire and Lady Chapel, Perpendicular Gothic style west and crossing towers and cloister. Early English windows throughout, mainly filled with two-light tracery c 1415, with a parapet of cusped triangles added c 1320 to all but the Chapter House and west front. Five-sided Lady Chapel has angle buttresses, drip and a parapet of cusped triangles, with wide five-light windows with reticulated tracery of cusped spheroid triangles; a late C14 flying buttress with a square pinnacle to the south-east. North chancel aisles: the east bay has a shallow two-centre arched five-light window with Decorated tracery, steeper three-light windows to the west bays, the transept chapel window of four-lights with reticulated tracery. The early C14 east end of the chancel has flying buttresses to the gable and three east bays; the east end has a five-light window with Decorated tracery, including two mullions up to the soffit, and a raised surround beneath a shallow canted parapet, with the coped gable set back and lit by four lozenge windows divided by a wide Y-shaped mullion; the north clerestory windows of three-lights, the three to the east have ogee hoods, the three late C12 west and two north transept windows linked by a continuous hood mould.

North Transept and nave aisles have a plinth, sill band, corbel table and parapet, with wide buttresses separating aisle lancet windows with inserted early C15 two-light Perpendicular tracery, and a clerestory with similar moulding and fenestration. Transept gable in three stages, with clasping buttress turrets and sill bands: three lower-stage windows and one to the end of west aisle, middle stage has a blind arcade of six lancets, the middle four truncated beneath three tall stepped lancets to upper stage, with similar blind panels paired to the turrets, and medallions to the spandrels; a weathered band beneath an arcade of stepped blind lancets, and panelled turret pinnacles with octagonal caps, a third to the flanking aisle; the right-hand turret has a good c 1475 clock with paired soldiers above striking two bells, and a crenellated canopy. Nine-bay nave aisle, ten-bay clerestory, of which the two windows flanking the transept re-entrant cut off above a mid C14 relieving arch.

Fine north porch two bays deep with blue Lias shafts and C18 outer doors: entrance archway of five orders with alternate paired banded columns with stiff leaf capitals to the west, carved showing the martyrdom of King Edmund to the east, and a roll-moulded arch, including two orders of undercut chevron mouldings with filigree decoration over fine doors of c 1200; clasping buttresses with octagonal pinnacles as the transept, and a gable with six stepped lancets beneath three stepped parvise lancets with sunken panels in the spandrels. Inside of two bays, articulated by banded vault shafts with stiff leaf capitals to a sexpartite vault; side benches are backed by arcades of four bayed seats with stiff leaf spandrels, beneath a string bitten off at the ends by serpents; a deeply recessed upper arcade of three arches to a bay, with complex openwork roll mouldings intersecting above the capitals, on coupled shafts free standing in front of attached shafts, enriched spandrels, and openwork Y-tracery in the tympanum beneath the vault. The south end decorated after the front entrance, including a moulded arch with a chevron order, and containing a pair of arched doorways with a deeply-moulded trumeau and good panelled early C13 doors with C15 Perpendicular tracery panels.

South elevation is similar: the chancel wall of the 1340 extension is recessed for the three east bays with flying buttresses, the windows to the west have uncusped intersecting tracery. Crossing tower has a c 1200 blind arcade to a string level with the roof ridge; upper section 1313, remodelled c 1440, has ribbed clasping buttresses to gabled niches with figures and pinnacles with sub-pinnacles; each side of three bays separated by narrow buttresses with pinnacles, a recessed transom with openwork tracery beneath and louvred trefoil-headed windows above, gabled hoods and finials. Corbels within for a spire, destroyed 1439.

West front screen is a double square in width, divided into five bays by very deep buttresses, with the wider nave bay set forward. The towers stand outside the aisles, the design of the front continued round both ends and returned at the rear. Statues of c 1230-1250, to an uncertain iconographic scheme. Divided vertically into three bands, beneath a central nave gable and Perpendicular towers; arches with originally blue Lias shafts, now mostly Kilkenny marble, and stiff leaf capitals. A tall, weathered plinth, with a central nave entrance of four orders with paired doorways and quatrefoil in the tympanum containing the seated Virgin with flanking angels, and smaller aisle entrances of two orders. Above is an arcade of gabled hoods over arches, containing paired trefoil-headed statue niches with bases and fifteen surviving figures; two-light Perpendicular tracery windows between the buttresses outside the nave; sunken quatrefoils in the spandrels, which cut across the corners of the buttresses. The third and principal band contains three tall, slightly stepped nave lancets, paired blind lancets between the outer buttresses, with narrower arches flanking them and to the faces and sides of the buttresses, all with banded Lias shafts and roll-moulded heads; the three arches to the sides and angled faces on the south-west and north-west corners have intersecting mouldings as in the north porch. All except the window arches contain two tiers of gabled statue niches with figures, taller ones in the upper tier, and across the top is an arcade of trefoil-headed statue niches with seated figures and carved spandrels. The nave buttresses have gabled tops containing cinquefoil-arched niches, and tall pinnacles with arched faces and conical tops; above the nave is a three-tier stepped gable with a lower arcade of ten cinquefoil-arched niches containing seated figures, a taller arcade of twelve niches with c 1400 figures of the Apostles, and a central top section with outer trefoil arches, corner sunken quatrefoils; the central oval recess with cusped sides and top contains a 1985 figure of Christ in Judgement beneath a pinnacle, with crosses and finials on the weathered coping. The Perpendicular towers continue the buttresses up with canopied statue niches to their faces and blank panelling to the sides, before raking them back into deep angle buttresses; between are a pair of two-light west windows, louvred above a transom and blind below, with a blind arcade above the windows, and a low crenellated coping.

INTERIOR: Lady Chapel: An elongated octagon in plan, with triple vault shafts with spherical foliate capitals to a tierceron vault forming a pattern of concentric stars, with spherical bosses and a paint scheme of 1845; the three west arches with Purbeck marble shafts onto the Retroquire have blind arched panels above; beneath the windows is a sill mould with fleurons, and a bench round the walls. Stone reredos has six statue niches with crocketed canopies and smaller niches in between, with four C19 sedilia with ogee-arched and crocketed canopies and a C14 cusped ogee trefoil-arched south doorway; C19 encaustic tiles.

The Retroquire extends laterally into east chapels each side and transeptal chapels: all with ogee-arched piscinae with crockets and finials, with a complex asymmetrical lierne vault on Purbeck marble shafts and capitals. The three east bays of the choir added early C14, and the high lierne vault of squares extended back over the three late C12 west bays, on triple vault shafts, Purbeck marble with roll-moulded capitals for the C14 and limestone with stiff leaf capitals for the C12; above the two-centre aisle arches and below the clerestory walk is a richly-carved openwork grille of statue niches with canopies, containing eight early C20 figures across the east end; clerestory walk has ogee-arched doorways. Rich canopies over choir stalls on Purbeck marble shafts, and five sedilia with enriched canopies. Ogee-arched doorways with crockets and pinnacles each side of the choir give onto the aisles, which have lierne vaults forming hexagons.

Transepts: Three bays deep and three wide, with cluster columns and stiff leaf capitals, including some fine figure carving in the south-west aisle, paired triforium arches between the vault shafts; the chancel aisles entered by C14 ogee-arched doorways with cinquefoil cusps and openwork panels each side; the north transept has a doorway from the east aisle with a depressed arch and moulded sides with a panelled Perpendicular ridge door, and Perpendicular panelled stone screens across the arcade; the south transept has an early C14 reredos with cusped ogee arches. The openings to the crossing contain inserted cross ogee strainer arches with triple chamfered moulding, on the west one an early C20 raised crucifix and flanking figures on shafted bases, and the roof has late C15 fan vaulting with mouchettes to the springers.

Nave: Ten-bay nave has compound columns of eight shafts with stiff leaf capitals enriched with figures, a continuous hood mould, with carved stops until the four west bays, which also have more richly-carved stiff leaf; a continuous triforium arcade of roll-moulded lancets with moulded rere arches, three to each bay, with enriched tympana and paterae in the spandrels above, carved corbels and springers to vault shafts above to a quadripartite vault without ridges; vault painted to a scheme of 1844. A panelled c 1450 gallery in the south clerestory window six from the west; aisles vaulted as nave, with enriched stiff leaf corbels. The west end has a trefoil-headed blank arcade on blue Lias shafts and a central stilted depressed-arch doorway, beneath the three west windows; the aisles end with a lateral rib from the vault to the west arcade. Chapels beneath the towers have sexpartite vaults with an enriched hole for the bell ropes; the south-west chapel has a shallow arch to the cloister beneath three cusped arched panels. The parvise over the north chapel contains a rare drawing floor. Two chantry chapels set between the east nave piers have fine openwork Perpendicular tracery and cresting, the south chapel of St Edmund c 1490 has a fan-vaulted canopy over the altar and two statue niches with canopies, and an ogee-arched doorway, the North Holy Cross Chapel c 1420 has quatrefoil panelling to the east canopy, distressed statue niches, and four-centre arched doorways.

FITTINGS: Lady Chapel: Brass lectern 1661 has a moulded stand and foliate crest.

Retroquire, North-East Chapel: fine oak C13 Cope Chest with a two-leaf top doors; panelled C17/C18 chest; north transept chapel: C17 oak screen with columns, formerly part of cow stalls, with artisan Ionic capitals and cornice, set forward over chest tomb of John Godilee; C14 floor tiles; south-east chapel: Bound oak C14 chest for Chapter Seal.

North Transept: Very fine c 1390 clock, considered the second oldest in the world after Salisbury Cathedral (qv), the face with heavenly bodies represented and four knights riding round above, and a quarter jack in the corner striking bells with a hammer and his heels; pine chest with bowed top.

Choir: Very fine stalls with misericords, c 1335; Bishop's Throne, c 1340, restored by Salvin c 1850, wide with panelled, canted front and stone doorway, deep nodding cusped ogee canopy over, with three stepped statue niches and pinnacles; C19 pulpit opposite, octagonal on a coved base with panelled sides, and steps up from the North aisle; organ within the chancel arch rebuilt and new case 1974.

South Transept: Round font from the former Saxon cathedral, with an arcade of round-headed arches, on a round plinth, with a c 1635 cover with heads of putti round sides.

Nave: Pulpit and tomb of William Knight, mid C16, built out from the Sugar chantry, with panelled buttresses, curved sides and a cornice.

Library: Good shelves and desks with panelled ends, cornices and scroll crests, and benches with ogee ends with ball finials of 1686.

MONUMENTS: Quire Corpus Christi North Transept Chapel: marble chest tomb of Robert Creyghton d 1672, an alabaster effigy on a sarcophagus with bowed sides; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Middleton, d c 1350, effigy set beneath the window; chest tomb of John Godelee, d 1333, effigy on a chest with open ogee arcade.

North Quire aisle: chest tombs of Bishop Giso, d 1088, Ralph of Salisby, d 1463, alabaster, and two further c 1230 effigies of Saxon Bishops, on mid C20 plinths; panelled chest tomb with three heraldic panels and moulded top; South-East Chapel of St John the Baptist: chest tomb encloses north side, with arcaded sides, thin mullions to a good openwork top with cusped gables and a canopy to east end.

St Katherine's Transept Chapel: Chest tomb of John Drokensford, d 1329, a painted effigy on a chest with open ogee arcade, as that for John Godelee; chest tomb of John Gunthorpe, d 1498 with five heraldic panels and moulded top. South chancel aisle: effigy of John Bernard, d 1459 on a mid C20 plinth; fine chest tomb of Bishop Bekynton, d 1464 but made c 1450, a cadaver within the open lower section with enriched shafts and angel capitals, with a painted marble figure on top, surrounded by a fine C15 wrought-iron screen with buttress stanchions; raised, incised coffin slab of Bishop Bytton d 1274, blue Lias; large chest tomb of Bishop Harvey d 1894 with five trefoil panels and an effigy with putti to the head; three c 1230 effigies of Saxon Bishops on mid C20 plinths; chest tomb of Bishop Harewell d 1386, a marble effigy on a C20 plinth.

North Transept, east aisle: Enriched marble chest tomb of John Still d 1607 with black Corinthian columns to entablature, sarcophagus with alabaster effigy; chest tomb to Bishop Kidder, d 1703 marble with an enriched naturalistic reclining figure of his daughter in front of two urns of her parents.

South Transept: Chapel of St Calixtus, fine un-named chest tomb of c 1450, with carved alabaster panels and effigy; Chapel of St Martin, chest tomb of William Bykonyll c 1448 with an arcaded front, cusped shallow arch over the effigy, panelled ceiling and a rich crested top; C15 wrought-iron gates to both chapels; in the south wall, good monument to Bishop William de Marchia, d 1302, three cusped cinquefoil-headed arches on moulded shafts, ogee hoods and pinnacles to a crenellated top, with an effigy within, with a three-bay segmental vaulted canopy, and decorated with six carved heads beneath.

STAINED GLASS: Original early glass is mainly in the choir and Lady Chapel; the Parliamentarians caused extensive damage generally in August 1642 and May 1643. Earliest fragments are in two windows on the west side of the Chapter House staircase (c 1280-90), and in two windows in the south choir aisle (c 1310-20), but of principal interest is the Lady Chapel range, c 1325-30, the east window including extensive repairs by Willement, 1845, and the others with substantial complete canopy-work, otherwise much in fragments. The choir east window is a fine Jesse Tree, including much silver stain, flanked by two windows each side in the clerestory, with large figures of saints, all these of c 1340-45; a further window each side is late C19. The chapel of St Katherine has interesting panels of c 1520, attributed to Arnold of Nijmegen; these, in the south and east windows were acquired from the destroyed church of St John, Rouen, the last panel was bought in 1953. The large triple lancet to the nave west end was glazed at the expense of Dean Creyghton at a cost of £140 in c 1664: repaired in 1813, but the central light largely replaced to a design by A K Nicholson between 1925-31. The main north and south transept end windows are by Powell, 1903-05, and the nave south aisle has four paired lights of 1881-1904, with a similar window at the west end of each aisle.

Milan Cathedral (Italian: Duomo di Milano; Milanese: Domm de Milan) is the cathedral church of Milan in Lombardy, northern Italy. Dedicated to Santa Maria Nascente (Saint Mary Nascent), it is the seat of the Archbishop of Milan, currently Cardinal Dionigi Tettamanzi.

The Gothic cathedral took five centuries to complete and is the fourth-largest church in the world.

History

Milan's layout, with streets either radiating from the Duomo or circling it, reveals that the Duomo occupies what was 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 later rebuilt as the Duomo.

Architecture and art

The plan consists of a nave with four side-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, which 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, set upon delicate flying buttresses.

The cathedral's five broad naves, divided by 40 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.

Bronze mountain incense burner (Boshan Lu) with animal emblems of directions (Eastern Blue Dragon, Southern Red Bird, Western White Tiger, Northern Dark Warrior Camel) and a man leading a cart and a child on a panther as stand derived from Hellenistic Bacchic models. Found in Tomb #2, Dou Wan, Mancheng, Hebei, China. Chinese, Western Han, 206 BC - 9 AD. From the Hebei Provincial Museum, Shijiahuang. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier

Marilyn - Opaque openwork pattern tights with cotton Sophia, 120 DEN

by strawberrycouture (35.00 USD) ift.tt/1oaOq57

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

Arbury Hall

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.

On the lake front is the Gatehouse and Attached Kitchen Courtyard Walls (to the left of Arbury Hall).

Grade II listed.

Gatehouse and Attached Kitchen Courtyard Walls at Arbury Hall

Listing Text

NUNEATON AND BEDWORTH ARBURY PARK

SP38NW

4/8 Gatehouse and attached kitchen

courtyard walls at Arbury Hall

GV II

Gatehouse and attached walls. Gatehouse said to be dated 1754. Sandstone ashlar.

Old plain-tile roof hidden by gable parapets. Gothic Revival style with

4-centred arched openings. Embattled square angle turrets have moulded string

course with niche above, and cornice with fleur-de-lys decoration. Large moulded

and chamfered gateway has ribbed double doors. Hood moulds throughout. Embattled

moulded gable has shield of arms and cross finial. Stable yard elevation is

simpler, with chamfered arch, plain gable and shield of arms. Interior is

plaster vaulted. Kitchen courtyard walls are mainly early C19. Flemish bond

brick with stone coping. Approximately 3 metres high. South screen wall is faced

with sandstone ashlar. Gothic Revival style. 3 bays. Hollow-chamfered 4-centred

arched openings. Third bay has doorway with sash door. Windows with Y-tracery.

Jacobean openwork stone balustrade on top, re-used from elsewhere in the garden.

(VCH: Warwickshire, Vol IV, p174)

Listing NGR: SP3349489253

This text is from the original listing, and may not necessarily reflect the current setting of the building.

Also to the far left the Grade II listed Screen Wall, and Attached Garden Feature and Wall Adjoining Gatehouse West of Arbury Hall

Listing Text

NUNEATON AND BEDWORTH ARBURY PARK

SP38NW

4/9 Screen wall, and attached

garden feature and wall

adjoining gatehouse W of

Arbury Hall

GV II

Screen wall, attached garden feature and wall. Screen wall is possibly C17 with

late C18/early C19 alterations. Brick with some stone dressings. Rusticated

alternating quoins to lower part. Stone-coped embattled parapet. Moulded cornice

forms string course to raised end sections with more elaborate cornice and

larger battlements. Interior not inspected. Garden feature is composed of 2

re-erected Elizabethan bay windows, probably from Arbury Hall, with an arched

seat between. Sandstone. Large 5-light avolo-aoulded mullioned and transomed

windows, now blocked, with 2 tiers of Tuscan pilasters to angles, moulded

cornice and ornamented frieze. Dentil cornice and entablature, decorated frieze.

and strongly moulded cornice. Seat has lower moulded Tudor arch with moulded

spandrels, cornice and entablature, and wooden bench seat. Set back on right is

a lower section of wall adjoining gatehouse. C17/C18. Front of brick, with

return section of sandstone ashlar. Front has blocked segmental-arched doorway,

with another inserted below and to left. 3 small shaped openings above. Top has

vents. Jacobean openwork stone balustrade on top, re-used from elsewhere in the

garden.

(Buildings of England: Warwickshire, p71)

Listing NGR: SP3347189242

This text is from the original listing, and may not necessarily reflect the current setting of the building.

"de style Louis XV"

Gilded copper reliquary with applied relief figurines of saints, openwork and engraved Celtic Knots with snakes and dragons, lion heads, stones and crosses. Irish, Medieval, 11th Century AD. National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier

Designed by Frank Matcham, the London Hippodrome first opened at the corner of Charing Cross Road and Cranbourn Street (the north-eastern arm of Leicester Square) in January 1900 for circus and variety performances, featuring both a proscenium stage and an arena over a 70 m, ~380,000 l water tank, plus fountains, a retractable painted glass roof and unusually good sightlines from the galleried auditorium. Truly the product of a different age.

As the name suggests, the venue accommodated animal acts, and I found a fascinating cutaway drawing online, showing "How [in 1901] The Elephants Come Down The Slide"!

Apparently the first ever show included an early appearence by a certain Charlie Chaplin.

This can't have been cheap to maintain, and in 1909 Matcham converted the Hippodrome into a more conventional 1,340 seat music-hall and variety theatre, where Tchaikovsky's 'Swan Lake' received its UK premiere in 1910. The Hippodrome also hosted Britain's first 'official' jazz concert in 1919; in 2009, it was recognised as amongst the most important venues in UK jazz history.

At the time, the theatre (where a 12-year-old Julie Andrews made her stage debut) was best known for revue and musical comedy; in the period 1949 to 1951, it was "the London equivalent of the Folies Bergères".

By 1958 it seems the theatre format was giving way to cabaret, and the Hippodrome was refitted for Bernard Delfont as the legendary 'The Talk of the Town', which hosted the leading musical acts of the era. However, this format gradually declined too (pop bands had gone back to theatre-style venues, I suppose, and 'lounge' acts were unfashionable), leading to closure in 1982.

Peter Stringfellow's 'The London Hippodrome' reopened in 1983 as a nightclub/restaurant rather than a live venue; under a range of ownerships, the club was popular into the mid-2000s. However, the burlesque-themed 'Cirque at the Hippodrome' lost its alcohol licence in 2005 during a crackdown on drunken street violence in the Leicester Square area, and closed.

After a brief period as a venue for private/corporate events and the home of an award-winning adult cabaret, the Hippodrome was comprehensively renovated for £40 million, returning the building to Matcham's original state (surely not including the pool and elephant slide...) to become a casino opened by Mayor Boris Johnson in 2012.

I hadn't really appreciated how big the Hippodrome is – I'd thought it occupied the corner of a block of buildings, but it's the whole block, including street-level shops and the 'The Crown' pub, now the Cafe Rouge cafe bar (I don't mean a US-style city block; the ~2,000 m² footprint of the 5-storey, Grade II Listed building is only about 10% of the size of a standard Manhattan block).

This corner façade in red sandstone and terracotta, aptly featuring a quadriga on the openwork metal cupola, seems to reflect the 1895-1900 original but, as its pristine condition and a little research indicate, much of it is brand new, dating from the 2009-12 renovation and conversion to a casino.

The 'gladiator' statue on the left features the name 'Jez Ainsworth' on its base. I haven't been able to identify a sculptor by that name, but is it a coincidence that Ainsworth Game Technology is a prominent company in the slot machine, and hence casino, business? Might the name be a dedication rather than an artist's signature?

On Gorsedd Gardens Road in Cardiff. Heading towards the National Museum Cardiff.

Cardiff City Hall

City Hall is a civic building in Cathays Park, Cardiff, Wales, not to be confused with the modern County Hall recently built down in Cardiff Bay. Built of Portland stone, it became the fifth building to serve as Cardiff's centre of local government when it opened in October 1906. The competition to design a town hall and adjacent law courts for Cardiff was won in 1897 by the firm of Lanchester, Stewart and Rickards. Construction was carried out by local builders, E. Turner and Sons. Cardiff received its city charter while construction was underway, in 1905. The building is an important early example of the Edwardian Baroque style.

Grade I listed building.

Cardiff City Hall, Castle

Location

Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).

History

Cathays Park was purchased in 1898 by the Borough of Cardiff from The Third Marquess of Bute at a cost of 160,000 and developed as a civic centre to a layout by William Harpur. Cathays Park was developed over three-quarters of a century to become the finest in Britain reflecting Cardiff's status as city and eventually taking on a national importance as civic centre of the capital of Wales. A competition for Town Hall (Cardiff became a city only at opening ceremony of this building in1905) and Law Courts took place in in 1897; City Hall was built between 1901 and 1904 to design of Lanchester, Stewart and Rickards; details of design by E A Rickards. The building's Portland stone facing, and monumental Classical style set the pattern for other buildings in Cathays Park, particularly the contemporary Law Courts by the same architects, and the National Museum (By Smith and Brewer) which echoes its dome and general composition. The building reflects Cardiff's claims to be a city of international importance by its use of the grand European Baroque style which was also used in London to promote that city's staus as capital of an empire. The decoration of the building makes reference to Cardiff's economic power through trade with the world (maritime groups etc), and its relatively new position as leading city Wales (Welsh Unity and Patriotism etc). The interior contains an important series of Statues of Welsh Heroes (1912-1917) financed by D A Thomas (Lord Rhonnda).

City Hall forms an essential part of Cardiff's civic centre, the finest in Britain.

Interior

Sumptuous interior with sequence of brilliantly managed public and civic spaces.

Porte-cochere leads to polygonal lobby with stairs up to inner lobby. Deep rectangular entrance hall faced in Bath stone has staircase to each side (rich bronze balustrade) which rises to mezzanine landing then longer flight of steps to expansive first floor hall with polychrome marble paving; paired Doric columns with bronze capitals and bases and yellow veined marble shafts; landing side lit by tall round arched windows with stained glass; broad plaster band to ceiling with plaster foliage relief. Yellow marble architraves to doors; above doorways to ends, plaster shells and merfolk by Henry Poole. Group of life-size statues of Welsh Heroes by leading sculptors; statues on yellow-and-white marble pedestals. (On lower landings, bronze reliefs to Sir E J Reed, and Captain R F Scott). To S, Council Chamber in a style following Italian High Renaissance models. Coffered shallow dome, four broad piers (set diagonally) support spandrels pierced by round windows with plaster palm-fronds, and ventilation grilles. Arches between piers to E and W with flanking Ionic marble columns (swagged bronze capitals) supporting entablature.

Stained glass in grand S window is personification of Villa Cardiff by A Garth Jones (1905). Fine C17-style wall panelling in oak with lighter inlay of Cardiff arms; original circular banks of wooden seating (partly built into panelling) have barley-sugar posts and broad arms; to E, mayoral seat forms screen to lobby with similar panelling, to W, arch to similar lobby, visitors gallery over.

Exceptionally elaborate bronze electrolier by Rickards has Prince of Wales feathers and mirrors; smaller wall brackets in bronze also survive.

To N of landing, members' rooms flank entrances to Grand Assembly Hall with tunnel vaulted ceiling with transverse and longitudinal banding with elaborate plaster reliefs (by G P Bankart). Room lit by thermal windows at clerestorey level which break into vault and have cartouche decoration above. Ionic marble columns support entablature and diagonal scrolls by windows. Panelled walls and doors. At one end, recessed stage with flanking pairs of marble columns.

Three exceptionally elaborate bronze electroliers as in council chamber.

At front corners of building the Lord Mayor's parlour and Member's Room are said to have arched recesses and circular clerestorey windows. Corridors with committee rooms and offices have simple classicising doorcases and panelled doors. On ground floor, the large Benefits Office has Doric Columns painted as yellow veined marble, wooden panelling, classicising doors. Secondary entrance in King Edward VII Avenue has mosaic floors, 2 lobbies, arches to secondary stair with iron balustrade.

Exterior

Quadrangular city hall building in Baroque style and faced with Portland Stone; two- and three-storeys on deeply banded basement, broad areas of banding at angles; small-pane steel glazing. Tower to W, and smaller tower to rear. South-east elevation with central projecting wing of 5 bays surmounted by octagonal drum (maritime sculptures by H Poole) with round windows, and semi-circular dome to council chamber with snarling Welsh Dragon finial (by H C Fehr) on lantern; 1 storey porte cochre with trophies and lion masks projects from centre bay of wing; first floor window above is round-headed and projects into entablature; flanked by 2 blank openings decorated to either side with trophies. Saucer dome to porte cochere, entrances with heavy iron-grille gates with relief decoration. Projecting to west and east from centre portion, a lateral wing of 2 storeys, 6 bays with fenestration consisting of rectangular windows above, with aprons and with panelling between windows and round-headed windows in concave surrounds below. At each end projecting splayed bay of 2 storeys with similar fenestration to intermediate wings but surmounted by attic storey with sculptured group before it, western group by Paul Montford representing Poetry and Music and eastern group by Henry Poole, Unity and Patriotism.

Western elevation with wide projecting windowless bay at each end, with rusticated quoins and attic storey with oval lunette. Intermediate wings of 9 bay width with similar fenestration to intermediate wings of south-east front, but outer sections have square-headed windows to ground floor. In centre of west front, splayed 3-sided bay through 2 storeys and attic; rectangular doorway with window over in centre ground floor facet; first floor windows rectangular headed, centre facet window with trophies and with surmounted parapet rising over curved headed attic window. Above this rises a clock tower (circa 61m high) lower part quite plain, upper part ornate and Baroque and surmounted by a Cupola (carving by H C Fehr); below this, stage with open windows and volutes, then stage with putti and cartouches above clock stage with openwork clock faces, composite columns flanking openings with balcony grilles, Michelangelesque seated figures (The Four Winds) to corners. North elevation of 3 storeys, central canted bay, square windows to upper floor, rectangular windows beneath below which are camber-headed windows with voussoirs, entrance to central yard R; yard elevations in yellow brick, (modern glazed infill in yard to E). East elevation has central slightly advanced 5-window block with splayed central bay with sculptural group above; 7 windows to each side.

Reason for Listing

Graded I as amongst the finest examples of Edwardian civic architecture in Britain with ambitious exterior and extremely interesting interiors, all virtually unaltered.

The interior is remarkable not only for its sumptuous decoration but for the survival of fittings including lighting, panelling, integral seating to council chamber etc.

Part of a group of exceptionally fine public buildings in Cathays Park which form what is certainly the finest civic centre in Britain. In addition to its architectural interest, the building and its setting express Cardiff's claims to be a city of international importance at the peak of its economic power.

References

J Newman, Glamorgan (Buildings of Wales Series), 1995, pp220-225.

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

Between King Edward VII Avenue and Museum Avenue, facing Gorsedd Gardens between Law Courts (L) and National Museum of Wales (R).

Source: Cadw

Listed building text is © Crown Copyright. Reproduced under licence.

gate

Made in 1851 by Petrus van Oeckelen for ƒ5000.

Mounted knight siezing and enemy. Saffle decorated with severed trophy head. Gold flask with reposse decoration. Sassanian, 5th Century AD. Gold cup with floral openwork,, reposse decoration and buckle handle. Sassanian, 5th Century AD. Vienna, Austria. Copyright 2016, James A. Glazier.

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

Arbury Hall

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.

On the lake front is the Gatehouse and Attached Kitchen Courtyard Walls (to the left of Arbury Hall).

Grade II listed.

Gatehouse and Attached Kitchen Courtyard Walls at Arbury Hall

Listing Text

NUNEATON AND BEDWORTH ARBURY PARK

SP38NW

4/8 Gatehouse and attached kitchen

courtyard walls at Arbury Hall

GV II

Gatehouse and attached walls. Gatehouse said to be dated 1754. Sandstone ashlar.

Old plain-tile roof hidden by gable parapets. Gothic Revival style with

4-centred arched openings. Embattled square angle turrets have moulded string

course with niche above, and cornice with fleur-de-lys decoration. Large moulded

and chamfered gateway has ribbed double doors. Hood moulds throughout. Embattled

moulded gable has shield of arms and cross finial. Stable yard elevation is

simpler, with chamfered arch, plain gable and shield of arms. Interior is

plaster vaulted. Kitchen courtyard walls are mainly early C19. Flemish bond

brick with stone coping. Approximately 3 metres high. South screen wall is faced

with sandstone ashlar. Gothic Revival style. 3 bays. Hollow-chamfered 4-centred

arched openings. Third bay has doorway with sash door. Windows with Y-tracery.

Jacobean openwork stone balustrade on top, re-used from elsewhere in the garden.

(VCH: Warwickshire, Vol IV, p174)

Listing NGR: SP3349489253

This text is from the original listing, and may not necessarily reflect the current setting of the building.

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

Coughton Court

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.

A look along The West Front with The Gatehouse in the middle, from the road in front of this side of the house.

The road links both churches on the estate.

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.

Burgos Cathedral

Castile, Spain

✶built in the 13th century based on French gothic of that era

✶the 15th century, Juan de Colonia raised the openwork spires or 'agujas' atop the towers; their architecture is derived from German gothic

✶cathedral declared a world heritage site by UNESCO in 1984

20221013_185425

Openwork and sea creatures

Church of Our Lady Assumed into Heaven (St. Mary's Church) - is a Brick Gothic church re-built in the 14th century (originally built in the early 13th century), adjacent to the Main Market Square in Kraków, Poland. Standing 80 m (262 ft) tall, it is particularly famous for its wooden altarpiece carved by Veit Stoss (Wit Stwosz).

The chancel is covered with starry vault , made ​​by master Czipsera in 1442. The keystones of the ribs appear crests: Polish, Krakow and Bishop Iwo Odrowąż - the founder of the first temple Mary. The perimeter niches set statues of the prophets: Jeremiah, Daniel, David, Ezekiel, Jonah and Isaiah. It was made ​​in 1891 by Zygmunt Langman Kraków sculptor.

Walls decorated with wall paintings done in the years 1890-1892 by Jan Matejko . With its implementation has worked with many of his students master, later known and prominent painters, including: Anthony Grammar, Edward better, Stanislaw Bankiewicz, Mehoffer , Stanislaw Wyspianski . Technical drawings made ​​Thomas Lisiewicz and gilding work is the work of Michael Stojakowski. Stained glass windows in this part of the church is by Joseph Mehoffera , Wyspiański and Tadeusz Dmochowski.

On both sides of the sanctuary is covered with a canopy set stalls . They were made ​​in 1586 and then in 1635 supplemented zapleckami that Fabian Möller decorated with bas-reliefs depicting scenes from the life of Christ and Mary. The stalls right to present: Tree of Jesse , Nativity of Mary , the Presentation of Mary , Marriage of St. Joseph , the Annunciation , the Visitation of Holy. Elizabeth and Christmas . The stalls north (left) are sculptures: Circumcision , Homage of the Magi , Presentation of the Lord , Out of the Mother , the risen Christ appears to Mary , Our Lady of the Assumption , Coronation and the Madonna and Child surrounded by symbols of the Litany of Loreto . The choir organ 12-voice.

The presbytery is completed apse which is separated from the rest of the church, made ​​of bronze , openwork balustrade with two goals. Hinged doors are decorated with coats of arms: Krakow and archiprezbiterów church - Klośnik and Prawdzic . Stained glass windows in the apse from the years 1370 - 1.4 thousand , and made ​​them master Nicholas, called vitreator de Cracovia . They include two thematic series: Book of Genesis of the Old and New Testaments and scenes related to the life of Jesus and Mary [Wikipedia.org]

The brown was an ahem interesting choice of paint color for this but whatever, right? Did the wall formerly have globular light fixtures on its corners.

-----------------------

In downtown Huntington, Indiana, on November 7th, 2015, on the north side of West State Street, west of Cherry Street.

-----------------------

Getty Thesaurus of Geographic Names terms:

• Huntington (2032243)

• Huntington (county) (1002496)

Art & Architecture Thesaurus terms:

• brown (color) (300127490)

• concrete (300010737)

• corners (object portions) (300266471)

• freestanding walls (300078898)

• geometric patterns (300165213)

• Mid-Century Modernist (300343610)

• openwork (300253899)

• paint (coating) (300015029)

Wikidata items:

• 7 November 2015 (Q21411071)

• Fort Wayne–Huntington–Auburn Combined Statistical Area (Q57891214)

• Northern Indiana (Q7058433)

• November 7 (Q2989)

• November 2015 (Q16726268)

Library of Congress Subject Headings:

• Concrete walls (sh85030747)

Keble Chapel

Church of St Peter, Hinton Road, Bournemouth

Grade I Listed

List Entry Number: 1153014

Listing NGR: SZ0888791218

Details

101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER

GV I

13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter

SZ 0891 13/1 5.5.52.

I GV

2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.

The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.

Listing NGR: SZ0888791218

historicengland.org.uk/listing/the-list/list-entry/1153014

St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.

In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.

Gilded copper reliquary with applied relief figurines of saints, openwork and engraved Celtic Knots with snakes and dragons, lion heads, stones and crosses. Irish, Medieval, 11th Century AD. National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier

Stylish openwork pattern tights with cotton www.tights-store-online.com/omero/omero-stylish-openwork-...

Bronze with turquoise, silver foil, and gold foil inlay, 3rd century B.C.E.

H. 15.2 cm.

Similar to catalogue number 93 in its openwork plaque-like format but larger and considerably grander, this belt hook displays one of the most complex designs of its kind known. Under close scrutiny, its intricately intertwined and overlapping elements crystallize into two creatures, a sinuous-bodied feline and a fancy-feathered bird, locked in fierce struggle.

With its head reared backward to form the hook, a feline looks straight down at its victim, whose head (with open beak) and neck strain back in an arch as the feline yanks the bird's long plume with the sharp claws of its left forelimb. One of the bird's scaled and feathered wings unfolds and extends from behind its strained neck, obscuring the body of the feline although the overlapping feathers are gripped by its right forelimb. The bird's two thin, scaled legs bend upward on either side of the wings. The feline's body emerges from underneath the bird's wings, to show two clawed hind limbs, the right extending to grab the end of the bird's long tail, while the left reaches up to clutch the bird's strained neck. The feline's curled tail, marked by striations and heart-shaped motifs, issues from behind the legs. The bird's other wing is visible, extending upward under the left front leg of the feline.

Every part of the feline's and bird's bodies are lavishly inlaid with gold and silver foil in curved bands punctuated with volutes and spirals, accented by striations, dots, and scales. Seven large turquoise cabochons distributed evenly over the design give additional color.

The underside of the plaque is decorated by a less complex, but still asymmetrically configured design of four felines. These are recognizable by their heads with silver-inlaid spots, alternating gold and silver-inlaid stripes on the bodies, and silver-spotted limbs and claws. A large button, inlaid with gold and silver volutes, projects from the underside for attachment. Another small lunette-shaped piece of bronze issues from under the neck of the feline-head hook. Broken remnants of a pin left in the hole of the projection suggest that it might have been used to fasten the hook to the leather belt. Unusually large and heavy belt hooks, like this and a 48-centimeter long gold- and silver-inlaid cast-iron example excavated from Jiangling Wangshan, Hubei province,1 may have required such an additional attachment device to keep them in place on the belt.

Although its decorative technique--using gold and silver foil and turquoise cabochons inlaid into prepared depressions in the bronze surface--is typical of the late Eastern Zhou period, its inspired design is unmatched by known examples of the time. Another unusually large belt hook, formerly in the J. T. Tai Collection, featuring four sinuous dragons attacking a large bird, displays similar color and complex openwork, but it exhibits a staid symmetry, rather than the drama and energy of the Shumei example.2 The openwork, plaque-like body, as well as the dynamic depiction of predator and victim suggest that designs like this were indebted to belt plaques worn by seminomadic peoples who lived along China's northern frontiers (cat. Nos. 110, 111). The carefully choreographed relationship between the feline predator and its elegantly feathered victim, together with the extravagant inlays on front and back, represent a brilliant integration of northern and Chinese cultural and artistic characteristics during the last centuries B.C. in China.

The creatures on the underside, however, compare well with similar motifs, also inlaid with gold and silver, on the back of a mirror in the Freer Gallery of Art, Smithsonian Institution, Washington, D.C.,3 and on the lids of three miniature ding vessels: in the Pillsbury collection, Minneapolis Institute of Arts,4 the Mengdiexuan collection,5 and recovered from an early Western Han tomb in Lianshui Sanliduan, Jiangsu province;6 the last example possibly was an antique already at the time of its interment.

JFS

1. Metropolitan Museum of Art 1980, no. 76.

2. Deydier 1980, no. 68.

3. Lawton 1982, no. 38.

4. Karlgren 1952, no. 47, pls. 66-67.

5. Rawson and Bunker 1990, no. 41.

6. Kaogu 1973.2, p. 82, fig. 3.1.

Text and image from the website of the Miho Museum.

Sanctuary

Built in 1864. The glowing centrepiece of the high altar is a detailed carving by Thomas Earp, showing Christ in Glory, framed by a mandorla and surrounded by angels. On either side of this there are enamelled mosaic panels depicting even more angels. These were installed in 1899 to replace earlier ones designed by Burne-Jones, which had, unfortunately, deteriorated beyond repair. The sanctuary lamps date from 1897. The East window, by Clayton & Bell, was designed by George Edmund Street.

Church of St Peter, Hinton Road, Bournemouth

Grade I Listed

List Entry Number: 1153014

Listing NGR: SZ0888791218

Details

101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER

GV I

13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter

SZ 0891 13/1 5.5.52.

I GV

2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.

The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.

Listing NGR: SZ0888791218

historicengland.org.uk/listing/the-list/list-entry/1153014

St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.

In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.

I have been traveling to Leuven once a month for some 17 months now, and have not, until yesterday, visited the church of St Peter.

It stands in the centre of the town, opposite the ornate Town Hall, and around most of it is a wide pedestrianised area, so it doesn't feel hemmed in.

It is undergoing renovation, and a large plastic sheet separates the chancel from the rest of the church, and in the chancel, called the treasury, are many wonderful items of art. And maybe due to the €3 entrance fee, I had the chancel to myself, and just my colleagues with me when I photographed the rest.

The naive is dominated by a huge wooden pulpit. If that were just it, a large wooden font that would enough. But the font is a carved scene an oak tree, complete with squirrels and cherubs, above a huge sounding board, and above that two palm trees.

I am sure that it wasn't carved from a single piece of wood, if not, the joins are well hidden.

----------------------------------------------

Saint Peter's Church (Dutch: Sint-Pieterskerk) of Leuven, Belgium, is situated on the city's Grote Markt (main market square), right across the ornate Town Hall. Built mainly in the 15th century in Brabantine Gothic style, the church has a cruciform floor plan and a low bell tower that has never been completed. It is 93 meters long.

The first church on the site, made of wood and presumably founded in 986, burned down in 1176.[1] It was replaced by a Romanesque church, made of stone, featuring a West End flanked by two round towers like at Our Lady's Basilica in Maastricht. Of the Romanesque building only part of the crypt remains, underneath the chancel of the actual church.

Construction of the present Gothic edifice, significantly larger than its predecessor, was begun approximately in 1425, and was continued for more than half a century in a remarkably uniform style, replacing the older church progressively from east (chancel) to west. Its construction period overlapped with that of the Town Hall across the Markt, and in the earlier decades of construction shared the same succession of architects as its civic neighbor: Sulpitius van Vorst to start with, followed by Jan II Keldermans and later on Matheus de Layens. In 1497 the building was practically complete,[1] although modifications, especially at the West End, continued.

In 1458, a fire struck the old Romanesque towers that still flanked the West End of the uncompleted building. The first arrangements for a new tower complex followed quickly, but were never realized. Then, in 1505, Joost Matsys (brother of painter Quentin Matsys) forged an ambitious plan to erect three colossal towers of freestone surmounted by openwork spires, which would have had a grand effect, as the central spire would rise up to about 170 m,[2] making it the world's tallest structure at the time. Insufficient ground stability and funds proved this plan impracticable, as the central tower reached less than a third of its intended height before the project was abandoned in 1541. After the height was further reduced by partial collapses from 1570 to 1604, the main tower now rises barely above the church roof; at its sides are mere stubs. The architect had, however, made a maquette of the original design, which is preserved in the southern transept.

Despite their incomplete status, the towers are mentioned on the UNESCO World Heritage List, as part of the Belfries of Belgium and France.

The church suffered severe damage in both World Wars. In 1914 a fire caused the collapse of the roof and in 1944 a bomb destroyed part of the northern side.

The reconstructed roof is surmounted at the crossing by a flèche, which, unlike the 18th-century cupola that preceded it, blends stylistically with the rest of the church.

A very late (1998) addition is the jacquemart, or golden automaton, which periodically rings a bell near the clock on the gable of the southern transept, above the main southern entrance door.

Despite the devastation during the World Wars, the church remains rich in works of art. The chancel and ambulatory were turned into a museum in 1998, where visitors can view a collection of sculptures, paintings and metalwork.

The church has two paintings by the Flemish Primitive Dirk Bouts on display, the Last Supper (1464-1468) and the Martyrdom of St Erasmus (1465). The street leading towards the West End of the church is named after the artist. The Nazis seized The Last Supper in 1942.[3] Panels from the painting had been sold legitimately to German museums in the 1800s, and Germany was forced to return all the panels as part of the required reparations of the Versailles Treaty after World War I.[3]

An elaborate stone tabernacle (1450), in the form of a hexagonal tower, soars amidst a bunch of crocketed pinnacles to a height of 12.5 meters. A creation of the architect de Layens (1450), it is an example of what is called in Dutch a sacramentstoren, or in German a Sakramentshaus, on which artists lavished more pains than on almost any other artwork.

In side chapels are the tombs of Duke Henry I of Brabant (d. 1235), his wife Matilda (d. 1211) and their daughter Marie (d. 1260). Godfrey II of Leuven is also buried in the church.

A large and elaborate oak pulpit, which is transferred from the abbey church of Ninove, is carved with a life-size representation of Norbert of Xanten falling from a horse.

One of the oldest objects in the art collection is a 12th-century wooden head, being the only remainder of a crucifix burnt in World War I.

There is also Nicolaas de Bruyne's 1442 sculpture of the Madonna and Child enthroned on the seat of wisdom (Sedes Sapientiae). The theme is still used today as the emblem of Katholieke Universiteit Leuven.

en.wikipedia.org/wiki/St._Peter%27s_Church,_Leuven