View allAll Photos Tagged openwork
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
THE BISHOP'S PALACE AND BISHOP'S HOUSE
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1382873
Date first listed: 12-Nov-1953
County: Somerset
District: Mendip (District Authority)
Parish: Wells
Diocese of Bath and Wells
National Grid Reference: ST 55207 45781
Details
WELLS
Bishop's Palace and House. Begun in c1210 by Bishop Jocelyn but principally from c1230, restored, divided and upper storey added by Benjamin Ferrey 1846-54; north wing (now Bishop's residence) added in C15 by Bishop Bekynton, modified C18, and c1810 by Bishop Beadon. Local stone, roughly squared and coursed, with Doulting ashlar dressings, Welsh slate roofs, stone chimney stacks. PALACE EXTERIOR: the main palace now used for public functions and meetings is in 2 storeys with attics, in 7 bays. Plinth, string course between floors, wide buttresses with 2 offsets to bays 2 and 6, coped gables to bays 2, 4 and 6, paired octagonal stacks with openwork cappings to bays 3 and 5. Ground floor has 2-light trefoil-headed plate tracery windows to all but bay 4, similar windows to first floor with added quatrefoil windows with trefoil-arched labels, smaller versions of these windows to attic gables; central porch added c1824, has angled corner buttresses, gable with string and central panel of arms crowned with a mitre, the entrance through a moulded pointed- arched door flanked by two early C19 light fittings. The E wall is in 5 and-a-half bays, with large buttresses to 2 stepped offsets. The first 2 bays have lancets to the ground floor only, but bays 3, 4, and 5 have large 2-light windows with quatrefoil over, and lancets to the ground floor. The last half-bay has a corner stair-turret with stepped offsets. Far right is a deep gabled wing with a large stone-mullioned oriel above a panelled apron with shields of arms, carried on a deep moulded bracket, and with very large buttresses. A tower is set-back from this, adjacent to the moat, with 2 and 3-light cusped casements on 3 floors. PALACE INTERIOR: the original plan was with hall, solar, gallery and undercroft, the long range divided by a spine wall at each level; this remains the layout, with the addition of an upper floor (not inspected). The ground floor is entered through the central porch to a narrow gallery in 6 bays of quadripartite ribbed vaulting, carried on corbel capitals. In the central wall is a large C16 stone fireplace, brought in the late C19 from the former solar. The S wall has a doorway with Y-tracery to its head, and a corner door gives to Bishop Burnell's chapel (qv). The floor is of stone flags. At the N end is a very fine Jacobean open well stair with large square newels, including a double newel at the top landing, supporting carved griffons and with openwork pendants, panelled plaster soffite, painted dado panelling, and a compartmented ceiling with pendants. The undercroft beyond the wall is in 2x5 bays with a central row of Purbeck shafts to quadripartite vaulting, on faceted responds; there is a large stone fireplace of C15 design in the spine wall. The first floor, within Jocelyn's shell, has C19 detailing; Ferrey complained that much of the work to the ceilings was '.... done by an upholsterer from Bath....', but detailing is very rich, and good replica C19 patterned colourful wallpapers were installed c1970. On the E side is a suite of 3 rooms, with compartmental ceilings. The square room at the head of the stairs has a stone basket-arch fireplace with triple cusping, and retains some C18 panelling, and six 6-panel doors. The long central room has a 24-panel ceiling, and three C19 lighting pendants; at its S end a very rich pair of panelled doors opens to the square S room, in which are visible in the E wall remains of the original windows, which have been blocked externally. This room has no fireplace. The long gallery to the W of the spine wall has two fireplaces, dado panelling, and a ribbed panelled ceiling. The windows are in deep embrasures, and there are three 9-panel C19 doors. BISHOP'S HOUSE EXTERIOR: returns at the N end, being backed by the moat wall. It is in 2 parallel ranges, with a very narrow courtyard partly filled by C20 building, a cross wing containing a former hall, and opening to a porch at the S end, and a square tower on the NE corner. The S front is crenellated, and has 4 windows on 2 storeys with attic, all flush 2-light stone mullioned casements with cusped heads to the lights; at first floor 2 of the windows have C19 cast-iron small-paned casements, and there are 4 casement hipped dormers behind the parapet. To the left, in a lower wall with raked head are 2 similar casements, and set forward to the right, fronting the 3-storey N/S hall range is a low square tower with two 2-light plate-traceried windows as those in the adjacent Palace, and a round-arched C16 stone outer doorway with moulded and panelled responds and a large keystone with diamond embellishment. The porch is stone paved, with a stone bench to the left, and the inner doorway is a C15 stone 4-centred moulded arch with rosettes, hood-mould, and small diagonal pinnacles at the springing and key, above a carved angel keystone, containing a fine pair of early doors with panel, muntin and mid-rail, all with nail-heads. At the left end is a wide archway into the courtyard, on the site of the gateway seen in the Buck view. There are various lofty yellow brick stacks, including one very large stack to a coped gable in the rear range. BISHOP'S HOUSE INTERIOR: has been subdivided several times; in the front range are 2 plain rooms, then the inner hall to the porch, with the C15 doorway, a shell niche, and a stone arch matching that to the outer doorway of the porch; this gives to the main stair. N of the hall is a fine C15 oak screen with narrow panels and moulded muntins and mid-rail, and a central round-arched C20 doorway of C16 style. To the right is a large 3-light stone casement with transom, and to the left is a stone-flagged cross passage which runs through to a doorway at the moat end. The inner hall has 3 windows as in the outer hall, and the inner side of the screen has raised and moulded panels, and all members embellished, including small-scale chevron to the bressumer; the central C16 doorway has raised diamond keystone and enrichment. A dining room to the N has a peaked moulded wooden rere-arch, and opens in the NW corner to a small square study in the tower. This has a stone alcove in the N wall with a 3-light C16 casement, and in the corner access to a stone spiral stair rising the full height of the tower. There are many 6-panel doors, with raised mouldings, and with square centre panels. The main staircase is C20 with heavy turned balusters to the first floor, and a C19 straight flight with stick balusters in the upper flight. At first landing level the window contains fragments of mediaeval and C16 stained and painted glass; there is a second straight-flight stair between the ranges to the W. Rooms at first floor are generally plainly detailed; the N range had an extra floor inserted, and one bathroom has the lower part of one of the mediaeval oriels in its N wall. The second floor has a through corridor, and has many early 2-panel doors with raised mouldings. The square end room to the tower has a low relief plastered ceiling to a central rose, the window has early crown glass and a scratched date of 1822. Two of the bedrooms contain the upper parts of the oriels, and these have stone vaulted soffites, one including a carved angel keystone. Over the S range is a 6-bay collar and 2-purlin roof with original rafters, formerly with plaster; the space has 4 dormer windows. HISTORICAL NOTE: the complex building history, coupled with a splendid setting within its walled moat, makes this Palace an outstanding historic and visual document, with one of the most remarkable structures of the mediaeval period which '...represent the grandest aspect of the mediaeval way of life'.(Barley) The first-floor hall represents an outstanding example of its type, contemporary in date with those at St David's, Dyfed, and Southwark, London. (Buildings of England: Pevsner N: North Somerset and Bristol: London: 1958-: 312; Colchester LS: Wells Cathedral: A History: Shepton Mallet: 1982-: 227-244; Wood M: The English Mediaeval House: London: 1965-: 24 (PLAN); Bony J: The English Decorated Style: London: 1979-: PASSIM; Parker JH: Architectural Antiquities of the City of Wells: Oxford: 1866-; Barley M: Houses and History: London: 1986-: 60-63).
Listing NGR: ST5522445760
A few of the many details of the Town Hall - Brussel
The Town Hall of the City of Brussels is a Gothic building from the Middle Ages. It is located on the famous Grand Place in Brussels, Belgium.
The oldest part of the present Town Hall is its east wing (to the left, when facing the front). This wing, together with a small belfry, was built from 1402 to 1420 under direction of Jacob van Thienen, and future additions were not originally foreseen. However, the admission of the craft guilds into the traditionally patrician city government probably spurred interest in expanding the building. A second, shorter wing was completed within five years of Charles the Bold laying its first stone in 1444. The right wing was built by Guillaume (Willem) de Voghel who in 1452 also built the Magna Aula.
The 96 meter (310 ft) high tower in Brabantine Gothic style emerged from the plans of Jan van Ruysbroek, the court architect of Philip the Good. By 1455 this tower had replaced the older belfry. Above the roof of the Town Hall, the square tower body narrows to a lavishly pinnacled octagonal openwork. Atop the spire stands a 5-meter-high gilt metal statue of the archangel Michael, patron saint of Brussels, slaying a dragon or devil. The tower, its front archway and the main building facade are conspicuously off-center relative to one another. According to legend, the architect upon discovering this "error" leapt to his death from the tower. More likely, the asymmetry of the Town Hall was an accepted consequence of the scattered construction history and space constraints.
The Town Hall at night
The facade is decorated with numerous statues representing nobles, saints, and allegorical figures. The present sculptures are reproductions; the older ones are in the city museum in the "King's House" across the Grand Place.
After the bombardment of Brussels in 1695 by a French army under the Duke of Villeroi, the resulting fire completely gutted the Town Hall, destroying the archives and the art collections. The interior was soon rebuilt, and the addition of two rear wings transformed the L-shaped building into its present configuration: a quadrilateral with an inner courtyard completed by Corneille Van Nerven in 1712. The Gothic interior was revised by Victor Jamar in 1868 in the style of his mentor Viollet-le-Duc. The halls have been replenished with tapestries, paintings, and sculptures, largely representing subjects of importance in local and regional history.
The Town Hall accommodated not only the municipal authorities of the city, but until 1795 also the States of Brabant. From 1830, a provisional government assembled here during the Belgian Revolution.
A visit to Bangor Pier also known as the Garth Pier in Bangor, North Wales. The pier was undergoing another restoration at the time of our visit. To get on the pier, it's 50p each (goes to the renovation funds I think).
The pier has views to Anglesey and either side of the Menai Strait.
The pier is quite long, seems like it goes over half of the water between Gwynedd and Anglesey!
Garth Pier in Bangor.
Garth Pier is a Grade II listed structure in Bangor, Gwynedd, North Wales. At 1,500 feet (460 m) in length, it is the second-longest pier in Wales, and the ninth longest in the British Isles.
Designed by J.J. Webster of Westminster, London, the 1,550 feet (470 m) pier has cast iron columns, with the rest of the metal structure made in steel, including the handrails. The wooden deck has a series of octagonal kiosks with roofs, plus street lighting, which lead to a pontoon landing stage for pleasure steamers on the Menai Strait.
Opened to the public on 14 May 1896, the ceremony performed by George Douglas-Pennant, 2nd Baron Penrhyn. A 3 ft (914 mm) railway for handling baggage which had been included in the design, was removed in 1914.
The pontoon handled the pleasure steamers of the Liverpool and North Wales Steamship Company to/from Blackpool, Liverpool and Douglas, Isle of Man. In 1914, the cargo steamer SS Christiana broke free from the pontoon overnight,[1] and caused considerable damage to the neck of the pier. A resulting gap to the pontoon was temporarily bridged by the Royal Engineers, that remained until place until 1921 due to the onset of World War I. By this time, additional damage had occurred, and repairs took a few months over the originally envisaged few weeks.
Grade II* Listed Building
History
Built 1896 by Mr J J Webster of London, contractors Mr Alfred Thorne of London; cost £17,000. It is considered to be the best in Britain of the older type of pier without a large pavilion at the landward end. Damaged by a ship in 1914; closed in 1971 and currently undergoing restoration (Autumn 1987).
Exterior
1550ft long; the longest surviving in Wales. Largely original steel girders and cast iron columns carrying an extensively rebuilt 24ft wide timber planked deck, kiosks, and pavilions. The pier is entered through ornate wrought iron gates enriched with fleurons and barley twist uprights; square openwork gate piers carrying lanterns. These are flanked by octagonal kiosks with onion domed roofs and Indian style trefoil headed openings; beyond these are similar smaller gates. Cast iron lampstandards and fill length seating to each side of deck. The pier projects at various intervals beyond with polygonal timber kiosks with mostly tent-like roofs. Splayed out at NW end containing 14 sided timber pavilion with 2-stage pyramidal roof. The iron staircase at the end with 6 levels of platforms led to the former floating pontoon.
seagull
Southwell Minster is a minster and cathedral, in Southwell, Nottinghamshire, England. It is situated six miles from Newark-on-Trent and thirteen miles from Mansfield. It is the seat of the Bishop of Southwell and Nottingham and the Diocese of Southwell and Nottingham.
History
Middle Ages
The earliest church on the site is believed to have been founded in 627 by Paulinus, the first Archbishop of York, when he visited the area while baptising believers in the River Trent. The legend is commemorated in the Minster's baptistry window.[4]
In 956 King Eadwig gave land in Southwell to Oskytel, Archbishop of York, on which a minster church was established. The Domesday Book of 1086 recorded the Southwell manor in great detail. The Norman reconstruction of the church began in 1108, probably as a rebuilding of the Anglo-Saxon church, starting at the east end so that the high altar could be used as soon as possible and the Saxon building was dismantled as work progressed. Many stones from this earlier Anglo-Saxon church were reused in the construction. The tessellated floor and late 11th century tympanum in the north transept are the only parts of the Anglo-Saxon building remaining intact. Work on the nave began after 1120 and the church was completed by c.1150.[5]
The church was originally attached to the Archbishop of York's Palace which stood next door and is now ruined. It served the archbishop as a place of worship and was a collegiate body of theological learning, hence its designation as a minster. The minster draws its choir from the nearby school with which it is associated.[6]
The Norman chancel was square-ended. For a plan of the original church see Clapham (1936).[7] The chancel was replaced with another in the Early English style in 1234–51 because it was too small. The octagonal chapter house, built starting in 1288 with a vault in the Decorated Gothic style has naturalistic carvings of foliage (the 13th-century stonecarving includes several Green Men). The elaborately carved "pulpitum" or choir screen was built in 1320–40.[5]
Reformation and civil war
The church suffered less than many others in the English Reformation as it was refounded in 1543 by Act of Parliament.[8]
Southwell is where Charles I was captured during the English Civil War, in 1646. The fighting saw the church seriously damaged and the nave is said to have been used as stabling. The adjoining palace was almost completely destroyed, first by Scottish troops and then by the local people, with only the Hall of the Archbishop remaining as a ruined shell.[9] The Minster's financial accounts show that extensive repairs were necessary after this period[citation needed].
18th century
On 5 November 1711 the southwest spire was struck by lightning, and the resulting fire spread to the nave, crossing and tower destroying roofs, bells, clock and organ.[10]:118 By 1720 repairs had been completed, now giving a flat panelled ceiling to the nave and transepts.
Victorian
In 1805 Archdeacon Kaye gave the Minster the Newstead lectern; once owned by Newstead Abbey, it had been thrown into the Abbey fishpond by the monks to save it during the Dissolution of the Monasteries, then later discovered when the lake was dredged.[11] Henry Gally Knight in 1818 gave the Minster four panels of 16th century Flemish glass (which now fill the bottom part of the East window) which he had acquired from a Parisian pawnshop.[12]
In danger of collapse, the spires were removed in 1805 and re-erected in 1879–81 when the minster was extensively restored by Ewan Christian, an architect specialising in churches. The nave roof was replaced with a pitched roof[13] and the choir was redesigned and refitted.
Ecclesiastical history
Collegiate church
Southwell Minster was served by prebendaries from the early days of its foundation. By 1291 there were 16 Prebends of Southwell mentioned in the Taxation Roll.[14]:19–20
In August 1540, as the dissolution of the monasteries was coming to an end, and despite its collegiate rather than monastic status, Southwell Minster was suppressed specifically in order that it could be included in the plans initiated by King Henry VIII to create several new cathedrals. It appears to have been proposed as the see for a new diocese comprising Nottinghamshire and Derbyshire, as a replacement for Welbeck Abbey which had been dissolved in 1538 and which by 1540 was no longer owned by the Crown.[15][16]
The plan for the minster's elevation did not proceed, so in 1543 Parliament reconstituted its collegiate status as before. In 1548 it again lost its collegiate status under the 1547 Act of King Edward VI which suppressed (among others) almost all collegiate churches: at Southwell the prebendaries were given pensions and the estates sold, while the church continued as the parish church on the petitions of the parishioners[14]:32.
By an Act of Philip and Mary in 1557, the minster and its prebends were restored[citation needed]. In 1579 a set of statutes was promulgated by Queen Elizabeth I and the chapter operated under this constitution until it was dissolved in 1841[14]:36-38. The Ecclesiastical Commissioners made provision for the abolition of the chapter as a whole; the death of each canon after this time resulted in the extinction of his prebend. The chapter came to its appointed end on 12 February 1873 with the death of Thomas Henry Shepherd, rector of Clayworth and prebendary of Beckingham.[17]
Cathedral
Despite the August 1540 plans to make Southwell Minster a cathedral not initially coming to fruition at the time, in 1884, 344 years later, Southwell Minster became a cathedral proper for Nottinghamshire and a part of Derbyshire including the city of Derby[10]:126–127. The diocese was divided in 1927 and the Diocese of Derby was formed.[18][19] The diocese's centenary was commemorated by a royal visit to distribute Maundy money. George Ridding, the first Bishop of Southwell, designed and paid for the grant of Arms now used as the diocesan coat of arms.[20]
Architecture
Compartments of the nave, interior and exterior[21]
The nave, transepts, central tower and two western towers of the Norman church which replaced the Saxon minster remain as an outstanding achievement of severe Romanesque design. With the exception of fragments mentioned above, they are the oldest part of the existing church.
The Nave is of seven bays, plus a separated western bay. The columns of the arcade are short and circular, with small scalloped capitals. The triforium has a single large arch in each bay. The clerestory has small round-headed windows. The external window openings are circular. There is a tunnel-vaulted passage between the inside and outside window openings of the clerestory. The nave aisles are vaulted, the main roof of the nave is a trussed rafter roof, with tie-beams between each bay – a late C19 replacement.[5][22][23]
By contrast with the nave arcade, the arches of the crossing are tall, rising to nearly the full height of the nave walls. The capitals of the east crossing piers depict scenes from the life of Jesus.[24] Two stages of the inside of the central tower can be seen at the crossing, with cable and wave decoration on the lower order and zigzag on the upper. The transepts have three stories with semi-circular arches, like the nave, but without aisles.[5]
Rib vault of Southwell Minster choir
The western facade has pyramidal spires on its towers – a unique feature today, though common in the C12.[5] The existing spires date only from 1880, but they replace those destroyed by fire in 1711, which are documented in old illustrations.[25] The large west window dates from the C15.[5] The central tower's two ornamental stages place it high among England's surviving Norman towers. The lower order has intersecting arches, the upper order plain arches. The north porch has a tunnel vault, and is decorated with intersecting arches.[5]
The choir is Early English in style, and was completed in 1241. It has transepts, thus separating the choir into a western and eastern arm. The choir is of two stories, with no gallery or triforium. The lower storey has clustered columns with multiform pointed arches, the upper storey has twin lancet arches in each bay. The rib vault of the choir springs from clustered shafts which rest on corbels. The vault has ridge ribs. The square east end of the choir has two stories each of four lancet windows.[5]
Entrance portal of the Chapter House with the famous carved foliage
Chapter house capital with carving of hops
Southwell rood screen (pulpitum) from the choir
In the 14th century the chapter house and the choir screen were added. The chapter house, started in 1288, is in an early decorated style, octagonal, with no central pier. It is reached from the choir by a passage and vestibule, through an entrance portal. This portal has five orders, and is divided by a central shaft into two subsidiary arches with a circle with quatrefoil above. Inside the chapter house, the stalls fill the octagonal wall sections, each separated by a single shaft with a triangular canopy above. The windows are of three lights, above them two circles with trefoils and above that a single circle with quatrefoil[5][10]:87–105. This straightforward description gives no indication of the glorious impression, noted by so many writers[10]:91, of the elegant proportions of the space, and of the profusion (in vestibule and passage, not just in the chapter house) of exquisitely carved capitals and tympana, mostly representing leaves in a highly naturalistic and detailed representation. The capitals in particular are deeply undercut, adding to the feeling of realism. Individual plant species such as ivy, maple, oak, hop, hawthorn can often be identified. The botanist Albert Seward published a detailed description of the carvings and their identification in 1935[26] and Nikolaus Pevsner wrote the classic description entitled The Leaves of Southwell, with photographs by Frederick Attenborough, in 1945.[27]
The rood screen dates from 1320 to 1340, and is an outstanding example of the Decorated style.[5] It has an east and west facade, separated by a vaulted space with flying ribs. The east facade, of two stories, is particularly richly decorated, with niches on the lower story with ogee arches, and openwork gables on the upper storey. The central archway rises higher than the lower storey, with an ogee arch surmounted by a cusped gable.[5]
The finest memorial in the minster is the alabaster tomb of Edwin Sandys, Archbishop of York (died 1588).[23]
We are going to clean out the mice and guano and hornets' nests, and the entire upstairs is going to become my master suite, with king waterbed and white polyester fur bedcover. We are confident that the huge multicolored overhang is securely attached.
-----------------------
In Huntington, West Virginia, on December 24th, 2018, a building (built 1961) at the northeast corner of Adams Avenue (U.S. Route 60) and 15th Street West.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Cabell (county) (2002257)
• Huntington (7013731)
Art & Architecture Thesaurus terms:
• auction houses (businesses) (300417515)
• capital letters (300055061)
• commercial buildings (300005147)
• curtains (window hangings) (300037564)
• decals (300207875)
• oriented strand board (300380238)
• overhangs (300002713)
• shop signs (300211862)
• siding (300014861)
• weathering (300054115)
Wikidata items:
• 24 December 2018 (Q45922087)
• 1960s architecture (Q7160120)
• all caps (Q3960579)
• boarding up (Q4931416)
• Buildings and structures completed in 1961 (Q10090480)
• Christmas Eve (Q106010)
• December 24 (Q2705)
• December 2018 (Q31179612)
• U.S. Route 60 (Q409952)
• West Huntington (Q62309582)
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]
Schwarzenbach Germany.
About 420 BC
The openwork design shows characteristic early Celtic ornaments. The prototypes were palmettes and lotus-flower popular in Mediterranean antiquity. Original motifs were divided into individual leaves and the rearranged. The reason for displaying the ornaments on a bowl is still unknown, probably served as a drinking horn mounts.
Kunst der Kelten, Historisches Museum Bern.
Art of the Celts, Historic Museum of Bern.
This famous Buddhist temple, dating from the 8th and 9th centuries, is located in central Java. It was built in three tiers: a pyramidal base with five concentric square terraces, the trunk of a cone with three circular platforms and, at the top, a monumental stupa. The walls and balustrades are decorated with fine low reliefs, covering a total surface area of 2,500 m2. Around the circular platforms are 72 openwork stupas, each containing a statue of the Buddha. The monument was restored with UNESCO's help in the 1970s.
For more information see whc.unesco.org/en/list/592
Thuir’s elegant campanile belongs to the Église Notre-Dame de la Victoire, built between 1785 and 1787 and later modified in the 19th century. The distinctive openwork iron belfry was added in 1892 — a Catalan flourish often seen in Roussillon, designed to lighten the structure while showcasing local metalwork.
The clock face below, with its soft stone framing, still tells time for the town — a rhythmic presence above the market stalls and winding streets.
⸻
Ce gracieux campanile surplombe l’église Notre-Dame de la Victoire de Thuir, construite entre 1785 et 1787 puis remaniée au XIXe siècle. Le clocher ajouré en fer forgé, ajouté en 1892, est typique du Roussillon : une touche catalane qui allège la silhouette tout en mettant à l’honneur l’art du métal local.
En dessous, l’horloge aux chiffres romains veille encore sur la ville — témoin régulier du passage du temps, au-dessus des étals et des ruelles.
[This set contains 5 images] This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
The House of Benjamin at 602 2nd Street South in Columbus, Mississippi (Lowndes County) is hardly a spectacular residence, but it has some beautiful features. The 1 1/2 story frame home has a formidable roof with many gables with gable returns. A front dormer and side dormer interrupt (and enhance) the massing of the roof--both are barely visible in the photograph of the home. The symmetry of the front facade shows a gable unit on either side of the flat-roofed portico with a 4/1 window in each gable and a triple windows at street-level also on each side of the porch. The row of 3 windows has a decorative design in the upper portion probably of leaded glass in a mix of Cathedral and Diamond patterns: there surely is a proper name for this design. The portico is small with a flat roof supported by ornamental turned columns and an attractive open-work railing at the sides of the steps and extending the short distance to the entry. The entry itself is a single-leaf paneled wooden door with an acorn pediment above. Decorative lamps flank the entrance on each side. The name House of Benjamin is on a sign in front of the home. In the sign photo can be seen the Greek Revival residence of Riverview (1847-1851), a near neighbor to this gable-prominent structure. The House of Benjamin is included in the South Columbus Historic District, which was added to the National Register of Historic Places June 8, 1982 with reference number 82003104. The NRHP nomination form is located at npgallery.nps.gov/NRHP/GetAsset/NRHP/82003104_text
This Mississippi city is a treasure trove of architectural beauties. However, my photos in Columbus are barely adequate as I was under a time constraint, eager to continue my road trip to El Paso and see a new granddaughter.
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Detail of the Town Hall - Brussel
The Town Hall of the City of Brussels is a Gothic building from the Middle Ages. It is located on the famous Grand Place in Brussels, Belgium.
The oldest part of the present Town Hall is its east wing (to the left, when facing the front). This wing, together with a small belfry, was built from 1402 to 1420 under direction of Jacob van Thienen, and future additions were not originally foreseen. However, the admission of the craft guilds into the traditionally patrician city government probably spurred interest in expanding the building. A second, shorter wing was completed within five years of Charles the Bold laying its first stone in 1444. The right wing was built by Guillaume (Willem) de Voghel who in 1452 also built the Magna Aula.
The 96 meter (310 ft) high tower in Brabantine Gothic style emerged from the plans of Jan van Ruysbroek, the court architect of Philip the Good. By 1455 this tower had replaced the older belfry. Above the roof of the Town Hall, the square tower body narrows to a lavishly pinnacled octagonal openwork. Atop the spire stands a 5-meter-high gilt metal statue of the archangel Michael, patron saint of Brussels, slaying a dragon or devil. The tower, its front archway and the main building facade are conspicuously off-center relative to one another. According to legend, the architect upon discovering this "error" leapt to his death from the tower. More likely, the asymmetry of the Town Hall was an accepted consequence of the scattered construction history and space constraints.
The Town Hall at night
The facade is decorated with numerous statues representing nobles, saints, and allegorical figures. The present sculptures are reproductions; the older ones are in the city museum in the "King's House" across the Grand Place.
After the bombardment of Brussels in 1695 by a French army under the Duke of Villeroi, the resulting fire completely gutted the Town Hall, destroying the archives and the art collections. The interior was soon rebuilt, and the addition of two rear wings transformed the L-shaped building into its present configuration: a quadrilateral with an inner courtyard completed by Corneille Van Nerven in 1712. The Gothic interior was revised by Victor Jamar in 1868 in the style of his mentor Viollet-le-Duc. The halls have been replenished with tapestries, paintings, and sculptures, largely representing subjects of importance in local and regional history.
The Town Hall accommodated not only the municipal authorities of the city, but until 1795 also the States of Brabant. From 1830, a provisional government assembled here during the Belgian Revolution.
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.
Symbol of the Evangelist John. Fol. 104v.
The Book of Dimma (Dublin, Trinity College, MS.A.IV.23) is an 8th-century Irish pocket Gospel Book originally from the Abbey of Roscrea, founded by St. Cronan in County Tipperary, Ireland. In addition to the four Gospels, in between the Gospels of Luke and John, it has an order for the Unction and Communion of the Sick. The surviving illumination of the manuscript is a number of illuminated initials, three Evangelist portrait pages, and one page with an Evangelist's symbol. The pocket gospel book is a distinctively Insular format, of which the Book of Mulling is another leading example.
The gospels other than John are "written for the most part in a rapid cursive script", while John is "by a different scribe, in neat minuscule bookhand".[1] It was signed by its scribe, Dimma MacNathi, at the end of each of the Gospels. This Dimma has been traditionally identified with the Dimma, who was later Bishop of Connor, mentioned by Pope John IV in a letter on Pelagianism in 640. This identification, however, cannot be sustained.
A well-known legend relates that Cronan asked a monk named Dimma to copy the book, but that it had to be done in one day. Dimma set to work on this impossible task and copied continuously without a break for any meals. All the while he worked the sun never set. When Dimma finished, he thought that it had only taken him one day, when in reality it had taken forty. This miracle was attributed to Cronan.
In the 12th century the manuscript was encased in a richly worked cumdach or reliquary case, which remains with it at Trinity. On one face it has panels of openwork decoration in Viking Ringerike style over the wood case. There is a good reproduction of 1908 in the Metropolitan Museum of Art in New York, which is not on display there, but has good illustrations available online, unlike the original piece (Wikipedia).
Finally done! I've been gradually working my way down the fabric through April and May. (The left hand end in this photo is where I started). The broadest yellow band was in progress at Easter, and I finally completed the square-stitch edging this week. various threads on 28-count linen. I used the pale aqua-coloured eyelet pattern (far right) as the base for Nine Moons.
Monuments historiques: PA00089925
Address entered in the Mérimée database:
Grève (rue de la); General-de-Gaulle (rue du)
29590 Le Faou - France
Insee code of the municipality: 29053
Finistère [29] - Quimper - Brittany
Approximate address taken from GPS coordinates (latitude and longitude):
1 Rue du Général de Gaulle 29590 Le Faou
Protected elements:
Church (cad. 1999 AE 20): registration by decree of June 3, 1932
History:
The church consists of a nave, a wide double transept, a three-sided apse and gables. To the south, a large porch bears the dates of 1593 and 1613. The bell tower, openwork and elongated, is cushioned by a lantern dome and bears the dates of 1629, 1630, 1634 and 1640.
Periods of construction:
16th century, 17th century
The Saint-Sauveur church was rebuilt between 1544 and 1680 but retained the furniture of the previous church. And some parts are graded. In particular the “snakes” baptismal font, made of Kersanton stone, considered to be of exceptional interest, and a magnificent stone pietà. The stained glass windows recounting the legendary foundation of the parish, the altar of the rosary and the medallions illustrating the "joyful, glorious, painful mysteries", the Saint-Antoine altar with turrets, that of the "four women", the panels with angels and the carved wooden candlesticks from the 17th century... The church contains many treasures!
Logonna Stone
Illustrated explanatory panels (made by the Ar Faou association) evoke the history of the church and its heritage The exterior is also very beautiful: the Logonna stone gives the building a golden hue associated with the Kersanton stone for the statuary elements. You can also see beautiful gargoyles. And the porch protects the wooden statues of the 12 apostles. Finally, the steeple is domed, unlike the other pointed steeples. The church is open every day, from 10 a.m. to 7 p.m. and you can get an explanatory booklet for the visit, at the entrance.
Looking east down the 15c nave past early 16c granite arcade with round headed arches to the south aisle , including one overlapping into chancel
There is no chancel arch, instead there is an early 16c oak rood screen of 12 bays which was " faithfully renovated" in 1910 according to brass plaque, and includes an empty doorway to the chancel & south chapel. In each bay the wainscotting has two panels of applied Perpendicular tracery
There are ceiled wagon roofs throughout. The similar roofs to nave and aisle appear wholly 19c whilst the more ornate chancel wagon roof with its small panels, cross braces and carved bosses may include 16c carpentry . It has unusual delicate openwork wall plate, more the type of carving to be expected on a rood screen.
Throughout are 19c wrought iron lamp brackets .
The south Radford chapel now houses the 1927 organ
- Church of St. James, Chawleigh Devon
Picture with thanks - copyright David Smith CCL facultyonline.churchofengland.org/CHR/SourceDetails.aspx?...
I previously saw one end of the Royal Crescent in Cheltenham way back in 2009, so took this opportunity to look at both ends. also it was quite close to Cheltenham Bus Station, near where our coach would drop us off, and later pick us up to go to the GWSR at the Cheltenham Racecourse.
Grade II* Listed Building
Numbers 1 to 18 and Attached Area Railings
Listing Text
CHELTENHAM
SO9422SE ROYAL CRESCENT
630-1/13/792 Nos.1-18 (Consecutive)
12/03/55 and attached area railings
GV II*
Terrace of 18 houses, hotels and boarding houses, now offices,
surgeries and club, with flats and attached area railings.
Numbered right to left, described left to right. c1806-10 by C
Harcourt Masters of Bath with later single-storey extension to
left; railings and balconies supplied by John Bradley of
Worcester. Developed for Joseph Pitt. Stucco over brick with
double pitch, slate roof; brick and stucco party-wall stacks;
wrought- and iron balconies, verandahs and railings. A
symmetrical, concave terrace of double-depth plan houses with
mainly 3-lower-storey service ranges to rear; staircase hall
to side.
EXTERIOR: 3 storeys and basement, 3 first-floor windows each;
3-window return to left and 4-window return to right. Stucco
detailing includes rustication to ground floors except to Nos
2 and 3; first- and second-floor bands; tooled architraves to
first-floor windows of Nos 4 and 12; crowning cornice. Mainly
6/6 sashes where original, taller to first floor, some 2/2
horizontal-pane sashes; all in plain reveals and with sills.
Basements have 3/6 sashes where original. Entrances: 9 to
right and 9 to left, flights of roll-edged steps where
original to mainly 6-fielded-panel doors with fanlights, some
with batwing and circle glazing bars, all in round-arched
plain reveals. Rear has 6/6 and 8/8 sashes, some tripartite
windows with 6/6 between 2/2 sashes. Right return has 4
first-floor windows; ground-floor rustication, first- and
second-floor bands. Ground floor has 2/2 horizontal-pane
sashes with lugs; first and second floors have 6/6 sashes.
Left return has three first-floor windows and single-storey
outshut, 6/6 and 2/2 sashes.
INTERIOR: original plasterwork and joinery remains to many
interiors. No.12 retains most of its original interior
details: dogleg staircase has stick balusters and wreathed
handrail, fireplaces, cornices with acanthus motifs, reeded
doorcases with corner rosettes, some marble fireplaces, those
to first floor with Classical scene. No.1 has embellished
cornices to hall, ceiling frieze and lion masks, narrow
open-well staircase with stick balusters; No.11 has inner
double doors with wide batwing and circle glazing bars.
Panelled shutters to many windows. Otherwise not inspected.
SUBSIDIARY FEATURES: Nos 1-9 and 11-14 have long balconies
(verandahs to Nos 1 and 6) with sticks and oval panel, with
borders of half-circle and lozenge, the design used on the
second Assembly Rooms and similar to those at Nos 54-60
Winchcombe Street (qv); verandahs have uprights with similar
motifs and openwork friezes. Nos 15-18 have lattice motif
(verandah to No.16 has similar motif to uprights and lattice
frieze). Right return has individual balconies to first- and
second-floor windows with similar rods. One window to
first-floor of left return has individual balcony with lattice
motif. Spearhead area railings, those to Nos 9 and 10
incorporate brackets for oil lamps. Balconies and railings
provided by John Bradley of Worcester. Nos 9, 10, 12, 13, 14,
16, 17 and 18 have scrolled boot scrapers.
HISTORICAL NOTE: built as fashionable lodgings for visitors to
the Spa; the Duke of Gloucester lived at No.18 when he was
visited by Princess Victoria in 1830; No.11 was the home of Dr
Henry Charles Boisragan, Physician Extraordinary to the King,
among whose other fashionable patients was, in 1812, Lord
Byron. The Crescent originally looked out onto Crescent
Gardens, interrupted in 1826 by the erection of the Promenade.
Little thought the interiors 'the best .. in the town'.
'The earliest important terrace in Cheltenham', (Verey).
(Chatwin A: Cheltenham's Ornamental Ironwork: Cheltenham:
1975-1984: 19,23,61; Sampson A and Blake S: A Cheltenham
Companion: Cheltenham: 1993-: 94-5,111; The Buildings of
England: Verey D: Gloucestershire: The Vale and The Forest of
Dean: London: 1970-: 149; Little B: Cheltenham: London: 1952-:
52; Radford S: The Terraced Houses of Cheltenham 1800-1850:
1992-: 17-25).
Listing NGR: SO9466722414
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Church of All Saints, Eggesford Devon , a former estate church it is sited in an isolated spot near to the manor house
It consists of a nave with narrower and lower chancel, north aisle with narrower and lower Chichester mortuary chapel at the east end with vaults below, north porch and west tower. The two stage tower is 15c , the rest was completely restored and much rebuilt with new windows etc in 1867 although some of 15c rubble fabric at the east end of the chancel and north aisle survives
The north porch is narrow and gable-ended.. The moulded hood has labels carved as male and female heads. Above the arch the gable contains a carved plaque containing the crest of the Earls of Portsmouth with the date 1867. www.flickr.com/gp/52219527@N00/C4147LdshU
The Interior dates mainly from the 1867 restoration, including the tiled floors, altar rails, choir stalls, chandelier and pulpit. . The ceiled wagon roofs are also 19c - the north aisle roof has carved bosses and the wall plate is enriched with carved openwork and painted heraldic devices under each truss. The Beerstone chancel arch dates from this time . The arch between the chancel and chapel is granite and is probably reset 15c work.
The chancel is plain with 19c oak altar rail on twisted iron supports with ivy leaf brackets, the Gothic stalls are of the same age. www.flickr.com/gp/52219527@N00/7314LC7356 Benches include series of 18c box pews in the south nave. The rest are 19c and the north aisle includes a large enclosure, the 17c / 18c family pew of the Earls of Portsmouth which now holds a 20c organ.
The purple mudstone cushion font is Norman but much restored in 1919. www.flickr.com/gp/52219527@N00/rX15J8890U
The nave contains some fragments of medieval & 16c stained glass reset in the tracery. www.flickr.com/gp/52219527@N00/95LF9A8cB6 www.flickr.com/gp/52219527@N00/d3Ksm875W9
There are two very large 17c Chichester monuments attributed by Katherine Sidaile to William Smith of Charing Cross - one to Edward Lord Viscount Chichester 1648 & wife Anne Coplestone 1616 heiress to Eggesford , www.flickr.com/gp/52219527@N00/zpN6EL1F16 on the north aisle wall, the other on the south nave wall to their son Arthur Viscount Chichester, Earl of Donegal 1675 & his first 2 wives www.flickr.com/gp/52219527@N00/wVW3a257E6 who both built their monuments in their lifetime but "erected and finished by the said Arthur". Another massive one is on the east wall of the north aisle to William Fellowes 1723 www.flickr.com/gp/52219527@N00/2xy26Ce1y9 who bought the manor from the Chichester heiress in accordance with a legacy from his uncle. - These were all originally together in a room north of the chancel until 1867 when they were re-erected in their present positions.
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. EH Listing
Seen from the car park near Sackville Road in Bangor City Centre.
Main Building of Bangor University.
Grade I Listed Building
Road University College of North Wales Main Building (Original Courtyard Ranges only)
History
The University was founded in 1884 after the city of Bangor was chosen as the University’s North Wales site. First established of the former Penrhyn Arms Hotel; the present Penrallt site was donated in 1902.
Built 1907-11 by Henry T Hare, architect of London; chosen following a competition assessed by Sir Aston Webb and with other entrants including W D Caroe. The designs were modified by the University (Isambard Owen in particular) to take full advantage of the site. Contractors were Messrs Thornton and Sons of Liverpool; cost ca £175,000. Foundation stone laid by Edward VII on 9 July 1907; opened 14 June 1911.
"Collegiate Tudor" style with Arts and Crafts influences; Hare also carried it "generally of late Renaissance character". Designed around two courtyards, the larger of which was never completed (later enclosed with ranges by Sir Percy Thomas 1966-1970). The entire scheme is linked and focused upon the cathedral like central tower. Buff coloured Cefn stone in snecked courses with freestone dressings and flat buttresses; slate roofs with parapet and stone chimney stacks. Mullioned and transomed windows with leaded lights. Tudor style down-pipes etc dated 1909. Metalwork by William Bainbridge Reynolds of London. The building was described in his obituary as Hare’s finest work.
Exterior
Starting at the NW Hall range facing College Road. 2-storey, 6-window front with advanced end pavilions; altered to right by addition of modern entrance block closing the NW side of the SW courtyard. Steep roof, crenellated parapet and bellcote with lantern and spirelet. Tall segmental headed hall windows, double-transomed and with panel tracery; projecting flat roof ground floor with entrances to either end, deeply recessed doors. Left hand end pavilion had central stepped buttress flanked to 2nd floor by 2 segmental headed windows with unusual tear-drop oculi; right hand pavilion is lower with dentil cornice over 3-light window.
The original main entrances if on the SW gable end of this range. Broad gable with Tudor octagonal end turrets and Baroque niches containing statue of Lewis Morris to apex. Central segmental headed 4-light double-transomed and panel traceried window with flanking buttresses. Advanced below is a triple arched porch with panelled pilasters, coasts of arms and Latin inscription dated 1911. Enriched spandrels over recessed entrances with double doors and lugged architraves to each. Shaped gables at right angles to either side, to the advanced end bays of the adjoining ranges; commemorative tablets with garlanded borders below each gable. At the top of the steps up to the entrance are cast-iron square, tapered lamp standards with bracketed octagonal lamps and openwork ornament.
The spinal/administrative range, together with the Library, forms an :-plan group to the E side of the SW courtyard. The former has an 8-bay, 2-storey front, the advanced left hand bay as above, parapet is balustraded over cross frame windows with architraves to 1st floor and semicircular pediments to ground floor. Baroque entrance to centre with small-pane circular window over door.
The 2-stage tower to right has crenellated parapet and taller stair turret to SE side; splayed corners. 2 segmental-headed double-transomed windows flanking ogee niche to each face; niches contain statues of Welsh historical characters over coats of arms.
The Library at right angles has a 9-window front with central royal coat of arms; 2 bays are advanced with tall 1st floor oriel windows. Crenellated parapet and gabled and panelled buttress pilasters. Arched headed lights, square headed 1st floor windows and segmental headed ground floor windows and entrance which has open pedimented doorcase, lugged architrave and double doors. Plaque with Latin inscription.
Gable end to Penrallt Road has full height buttresses, extruded corners and small attic windows. Central 2-storey splayed bay with horseshoe shaped high arch above containing recessed 3-light window - no leaded glass to this elevation.
The 3-storey SE side of the Library overlooking the city had 1 9 bay front, (stylistically foreshadowing Sir Edwin Lutyens at Castle Drogo). Attic to the advanced and gabled end bay with Baroque scrolls over stepped buttresses; 2nd floor has statute flanked by cross frame windows under overall label. Symmetrical to right with a repeat of the courtyard elevation as above with the addition of a slightly swept out ground floor with single light windows and entrances below the oriels; 1st floor windows set in splayed recesses. Forward to right beyond the tower is the SE range of the NE courtyard. This has a gabled SW end with slate hung attic to left and chimney breast to right, the latter with open-pedimented tablet. 2-storey porch facing Penrallt road entrance with part balustraded parapet, tapered buttresses on chamfered corners and round arched entry with multipane fanlight - swaged shield over.
The main 3-storey and attic SE elevation is symmetrical with an especially collegiate feel to it. Tapered cross range gable ends advanced at the end advanced at the end of 10-bay range, the ground floor of which is arcaded and the central 4 bays open, forming a loggia; storey chimney stacks and flat roof attics over parapet. 2nd floor cornice extend to edges of end pavilions over shield; splayed broad buttresses. Lintels over 1st floor windows and broad ground floor windows, bowed to centre and with high parapets containing UCNW monogram, 1st floor double transomed windows between have lugged architraves and open pediments. Stilted arch arcade windows and part glazed doors to ends of loggia.
The NE end of this range is a repeat of the SW gable end. Advanced to its right is a 3-window bay with boldly tapered end pilasters; double transomed 1st floor windows. 9-bay tall roofed range beyond set into the hillside; largely 2-storey and attic with higher attic to south-eastern 3 bays, also with double transomed ground floor windows. Dividing pilasters to remaining bays. Segmental headed entrance to NW end bay and a smaller one lower down. Octagonal bellcote. The gabled NW return elevation is partly screened by the broader gable end of the hall range. This has a stronger Arts and Crafts feel to it - 4-light gable window, crenellated broad end pilasters with narrow lights (?stair projection) and grills to lower windows.
The enclosed NE courtyard is terraced with similar detail to that on the exterior of each range. The Hall range is at the top and has an ivy clad ground floor projection. The inner side of the SE range is symmetrical; lower gabled projection with polygonal corner turrets, lateral chimney breasts and frontis-piece with 3-light transomed window over scrolled inscription and round arched entrance. Six 2nd floor and three 1st floor segmental headed windows to either side; projecting ground floor. To SW the range is dominated by the tower’s 6-storey NE face; including splayed oriel with crenellated parapet and recessed plain Venetian window; lowest stage splayed out. Twin gabled 3-storey block projects to right of the tower matching similar projection opposite (NE range).
The 4-tier terrace has rubble walls, freestone copings and ball finials.
Main doors open onto a part groin vaulted entrance hall with original 3-lamp light fittings and brass War Memorial tablets by F Osborne and Co Ltd of London. Straight ahead is the 150 ft long Pritchard Jones Hall. 9-bay arches coffered ceiling with panelled ribs and strapwork ornamented ceiling panels, apsidal dais end; coats of arms over windows, panelled dado and other fine woodwork detail etc. Gallery raked over the entrance hall with panelled screen front and segmental open-pediments to the 3 doorways, Original brass light fittings (octagonal). Main staircase lies to SE in groin vaulted stairwell - marble topped ‘closed’ stone balustrade; stained glass window. Open pedimented and carved doorcase at top leads to hall gallery. To SE run 2 tiers of groin vaulted corridors with panelled ribs (not glazed until after 2nd Work War). 1st floor has various bronze oval plaques, panelled doors and cornices and similar pedimented doorcase at SE end leading to back stairs; plainer ground floor corridor. Stained glass windows at SE end by Dudley Forsyth of London 1910, the classical subject and signed "Architectus Dedit" with the monogram of a hare. Short arms of the passages lead off to the Library, that to the 1st floor contained a porcelain museum. The finest single room is the Council Chamber on 1st floor - segmental vaulted ceiling with panelled Jacobean plasterwork and coats of arms of the Welsh Princes full height wainscoting, segmental pedimented doorcases and ashlar fireplaces and overmantels with panelled and fireplaces. Also contains 2 busts by W Goscombe John, one of William Cadwallader Davies and another of Sir Isambard Owen.
NE range has smaller hall with coved ceiling ridges. SE range has metal staircase with barley twist uprights to courtyard side. Library range contains the ground floor Lloyd Reading Room which Hare had intended to be a museum and the 1st floor Shankland Library with segmental vaulted roof with square panel-lining and 36 heraldic shielded in oak frames. Two bays are screened off (corresponding to those with external oriels) and have broken Baroque pedimented openings - 1 bay also has wooden gates. Splayed oriel over entrance with similar doorcase.
Reasons for Listing
Architecturally, one of the most significant public buildings of the period in Britain and historically, the foremost institution in Wales to pioneer the academic development of the Welsh language.
Please also visit my Photoblog at brohardphotography.blogspot.com
Follow me and become Fan at Facebook Loïc Brohard Photography
Itchan Kala is the walled inner town of the city of Khiva, Uzbekistan. Since 1990, it has been protected as the World Heritage Site.
The old town retains more than 50 historic monuments and 250 old houses, dating primarily from the eighteenth or nineteenth centuries. Djuma Mosque, for instance, was established in the tenth century and rebuilt from 1788 to 1789, although its celebrated hypostyle hall still retains 112 columns taken from ancient structures.
The most spectacular features of Itchan Kala are its crenellated brick walls and four gates at each side of the rectangular fortress. Although the foundations are believed to have been laid in the tenth century, present-day 10-meters-high walls were erected mostly in the late seventeenth century and later repaired.
Tash-Hauli Palace
In the period of Allakuli-khan (1825-1842), the political, public and trading center of Khiva had moved to the eastern part of Ichan-Qala. A new complex formed at the gates of Palvan-darvaza: a new palace, madrassah, caravanserai and shopping mall (tim). The palace of Allakuli-khan was named Tash-Hauli ("Stone courtyard"). It looks like a fortress with high battlements, towers and fortified gates. Its architecture is based on the traditions of Khorezm houses and country villas ("hauli") with enclosed courtyards, shady column aivans and loggias.
Tash-Hauli consists of three parts, grouped around inner courtyards. The northern part was occupied by the Khan's harem. The formal reception room-ishrat-hauli adjoins the last one on the southeast; court office (arz-khana) - in the southwest. In the center of Ishrat-hauli there is a round platform for the Khan's yurt. Long labyrinths of dark corridors and rooms connected the different parts of the palace. Refined majolica on walls, colored paintings on the ceiling, carved columns and doors are distinctive features of Tash-Hauli decor.
A corridor separated the family courtyard of Tash-Hauli (harem or haram) from the official part. Its southern side is occupied by five main rooms: apartments for the Khan and his four wives. The two-storied structure along the perimeter of the courtyard was intended for servants, relatives and concubines. Each aivan of the harem represents a masterpiece of Khivan applied arts. Their walls, ceilings and columns display unique ornamental patterns. Majolica wall panels were performed in traditional blue and white color. Red-brown paintings cover the ceilings. Copper openwork lattices decorate the windows.
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
——————————————————————————————————
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
——————————————————————————————————
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.
Eastgate and Eastgate Clock in Chester, Cheshire, England, stand on the site of the original entrance to the Roman fortress of Deva Victrix. It is a prominent landmark in the city of Chester and is said to be the most photographed clock in England after Big Ben.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls. In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955. en.wikipedia.org/wiki/Eastgate_and_Eastgate_Clock
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.
#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.
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.
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
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
————————————————————————————————————————
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
————————————————————————————————————
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
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